II
THE LIFE OF CYRANO DE BERGERAC
The family of Cyrano was not Gascon and was not noble. The first Cyrano of whom anything was known in France is Savinien I de Cyrano, of Sardinian origin, bourgeois of Paris and a merchant of fish. Doubtless the prejudice of noble birth is antiquated, yet when one has been brought up on Rostand's Cyrano the discovery is a shock, rather like finding that Sir Philip Sidney's grandfather was a London fishmonger. But this is only the first of the disagreeable surprises modern investigators prepare for us.
This Savinien, grandfather of the poet, became notary and 'secrétaire du Roy' in 1571. He was wealthy, he owned a large house in the rue des Prouvaires, various annuities, the fiefs of Boiboisseaux, Mauvières, and Bergerac, the last two bought in 1582. These purchases represent a familiar scene in the eternal social comedy of the rise and fall of families; the genuine old de Bergerac family had disappeared but their memory lingered on and no member of the Cyrano family ventured to call himself de Bergerac at Bergerac. Indeed the poet was the only member of the family who used the name either during the fifty-four years they possessed the fief or afterwards. In any case this Bergerac is not the Dordogne or Gascon Bergerac but a little estate not very far from Paris in the modern department of Seine et Oise.[11]So much for the noble Gascon of Gautier and Rostand.
This Savinien I de Cyrano married Anne Le Maire; their eldest son, Abel I de Cyrano, 'avocat au Parlement de Paris,' married Espérance Bellenger on the third of September 1612.[12]An inventory of their goods shows that Cyrano's father was an educated man who read Greek, Latin, and Italian. Abel de Cyrano had six children; the eldest surviving son was Savinien II, the poet, baptised on the sixth of March 1619 in Paris.
In 1622 Abel de Cyrano left Paris for his house at Mauvières, where young Savinien de Cyrano remained "until he was old enough to read". He was then sent to a small private school kept by a country parson, where he met his lifelong friend and posthumous panegyrist, Henry Le Bret. Savinien did not like his tutor; and this is not the first or the last time in history when there has existed a mutual hatred between a pert boy of talent and some plodding pedagogue. The boy complained so continually to his father that he was taken away from the parson and sent to the Collège de Beauvais in Paris.
These meagre details are all we know positively of Cyrano's childhood except that his godmother left him six hundredlivresin 1628. How much of the rebelliousness of his temper in later years was due to hatred of this pedagogical parson is a matter of pure conjecture, but Cyrano's dislike of pedants and priests might plausibly be attributed at least in part to this man's clumsy usage. We may also surmise that access to his father's extensive library gave him that precocity for which he was remarkable, and that the years of childhood spent at Mauvières created in him a genuine love of nature. Numerous passages might be quoted from his writings to show that he really liked out-of-doors life, enjoyed the beauty of the country, and felt that kinship with wild living things—animals, birds, plants—which is supposed to be a wholly modern sentiment. This sentiment may be seen in theLetters, expressed with a good deal of affectation; but unmistakably in those pages ofThe Voyage to the Sunwhich describe the talking birds and trees.
The head-master of Beauvais was at that time Jean Grangier, described by some as an excellent pedagogue, by others as brutal, superstitious, violent, and vicious. Apparently he was one of those pedagogues who, in Ben Jonson's words, "swept their livings from the posteriors of little children"; and therefore was very unpopular with Cyrano, who made him the hero ofThe Pedant Outwitted. Flogging will always drive a sensitive and high-spirited boy to revolt; and when we find a truculent and sometimes offensive mood of revolt a main feature of Cyrano's work, we should remember before condemning him that a large portion of his childhood was passed under the birch of two bigoted pedants.
Cyrano left Beauvais in 1637, when he was eighteen. In the preceding year Abel de Cyrano had sold the fiefs of Mauvières, and Bergerac and had returned to Paris. This sale of land only fifty-four years after the purchase by the first Savinien de Cyrano shows how rapidly the affairs of the family declined financially. It would be interesting to know more of Cyrano's life in the period between his leaving school and joining the guards. Le Bret tells us that "at the age when nature is most easily corrupted", and when Cyrano "had liberty to do as he chose", he (Le Bret) stopped him "on a dangerous incline". It will easily be conjectured that the change from a flogging school to complete liberty in the Paris of 1637 would not incline a precocious youth to the monastic virtues. Many fantastic pictures of Paris under Louis XIII have been drawn by novelists and essayists; whether it were quite as picturesque as they make out may be doubted, but that its taverns were filled with riot, excitement and debauch is certain; and Cyrano frequented the taverns. The famousPomme de Pin, theCroix de Lorraine, theBoisselière, thePressoir d'Or, and a dozen other taverns were crowded with heterogeneous sets of courtiers, gentlemen, gossips, poets, atheists, duellists, rogues of all sorts, talking, laughing, drinking, writing, whoring, gambling and brawling. From Gaston d'Orléans, the King's brother, downwards, the greater part of the nobility, gentry and the learned at some time of their lives frequented these commodious taverns, rubbed shoulders with knaves and bawds and poets and held high carouse.
"Mordieu! comme il pleut là dehors!Faisons pleuvoir dans nostre corpsDu vin, tu l'entens sans le dire,Et c'est là le vray mot pour rire;Chantons, rions, menons du bruit,Beuvons ici toute la nuit,Tant que demain la belle AuroreNous trouve tous à table encore."[13]
"Mordieu! comme il pleut là dehors!Faisons pleuvoir dans nostre corpsDu vin, tu l'entens sans le dire,Et c'est là le vray mot pour rire;Chantons, rions, menons du bruit,Beuvons ici toute la nuit,Tant que demain la belle AuroreNous trouve tous à table encore."[13]
"Mordieu! comme il pleut là dehors!Faisons pleuvoir dans nostre corpsDu vin, tu l'entens sans le dire,Et c'est là le vray mot pour rire;Chantons, rions, menons du bruit,Beuvons ici toute la nuit,Tant que demain la belle AuroreNous trouve tous à table encore."[13]
"Mordieu! comme il pleut là dehors!
Faisons pleuvoir dans nostre corps
Du vin, tu l'entens sans le dire,
Et c'est là le vray mot pour rire;
Chantons, rions, menons du bruit,
Beuvons ici toute la nuit,
Tant que demain la belle Aurore
Nous trouve tous à table encore."[13]
Into that society of revellers, unscrupulous, heedless, coarse, irreligious, but brave, witty, chivalrous, talented and merry, came a young man of eighteen, the owner of a curious nose "shaped like a parrot's beak", talented, witty and brave himself, already a brilliant swordsman, scatter-brained, vain with all the vanity of young men in Latin countries, eager for knowledge but filled with hatred for the theology and pedantry of his early masters. Imagine the London of James the First's reign so vividly and delightfully sketched inThe Fortunes of Nigel, adding to it that freedom of speech, morals and speculation which Scott largely left out; transfer it to the turbulent Paris of 1637 and throw into thatmilieunot a sober Scotch laird, but a hot-headed young Frenchman. Is it not almost hypocritical to expect that he would do anything different from what he apparently did do: Drink, gamble, blaspheme, whore, talk atheism, play mad pranks and slit men's throats in duels?
From this wild cabaret life Cyrano was rescued by Le Bret just about the time when Abel de Cyrano threatened seriously to cut off supplies. At nineteen Cyrano entered the company of guards commanded by the "triple Gascon", M. de Carbon de Casteljaloux.
Cyrano de Bergerac was a good soldier, but that does not mean he was free from the ordinary vices of soldiers. If the "dangerous incline" from which Le Bret rescued his friend was gambling, he chose a curious remedy; for gambling is inevitably one means of dispelling the crushing ennui of military life. Another, almost universal, military amusement is drinking; one would not expect to find teetotallers among the Gascon guard. It seems probable that the "dangerous incline" was atheism or a serious love affair; for the military life is dulling to the affections and fatal to thought. Certainly, the mess and guard-room of M. de Carbon de Casteljaloux's company would not greatly differ from a noisy cabaret. One hardly sees what moral advantages were gained by the change, except that military discipline and comradeship probably steadied Cyrano if they failed to correct the extravagance of his character and behaviour. Casteljaloux's company consisted almost entirely of Gascons, and this fact has helped to propagate the myth of Cyrano's noble birth; and doubtless he assumed the Gascon-sounding name of de Bergerac to increase the illusion. But he must have possessed some other merit than that of an assumed name to enable him to enter the guards; this was of course his swordsmanship.
Duelling in France in the first half of the 17th century was more than a fashionable mania, it was a real danger to the state. The fashion was at its height in the reigns of Henry IV and Louis XIII. During eight years of the former reign no less than two thousand gentlemen lost their lives in duels. Even the great Cardinal Richelieu only succeeded in diminishing, not in crushing the habit. The duelling in Rostand'sCyranois the most accurate part of the play; indeed it would be difficult to exaggerate the fantastic nature of these duels. Men fought for the merest trifles; not so much for honour as for the love of fighting, of prestige and notoriety. Successful duelling was then a sure means to those commonly desired ends. The thirst for "monomachy" was so ardent that the seconds were not content to regulate the combat but must needs take part in it; so that a girl's ribbon might be the pretext for six men to pull out their rapiers in mortal combat, with the result perhaps of several wounds and more than one death. Cyrano de Bergerac was a brilliant swordsman, a talent which gave him a position comparable to that of an aeroplane "ace" during the European war. The stories told of his duelling sound fabulous and are probably exaggerated, but certainly have a foundation in fact. Le Bret tells us:
"Duels, which at that time seemed the unique and most rapid means of becoming known, in a few days rendered him so famous that the Gascons, who composed nearly the whole company, considered him the demon of courage and credited him with as many duels as he had been with them days."
The most remarkable thing about these duels, and a point very much in Cyrano's favour, was that he fought over a hundred as second to other men and not on his own account. He was no Bobadil. Brun tries to argue that Cyrano must have fought on his own account, but even M. Lachèvre, who is hostile to Cyrano, denies it. Moreover, we have Cyrano's own declaration: "I have been everybody's second."
Casteljaloux's company was ordered for active service in 1639. The company was besieged in Mouzon by the Croats of the Imperial Army. Cyrano has described part of the siege in the twenty-fourth of hisLettres Diverses. The garrison was short of provisions and during one of the numerous sorties Cyrano was shot through the body. He had not recovered when the garrison was relieved by Chatillon on the twenty-first of June 1639. Next year Cyrano was again on active service. He was wounded a second time by a sword-thrust in the throat at the siege of Arras, sometime before the ninth of August 1640. He had served this campaign in Conti's gendarmes.
Two severe wounds in fourteen months are "cooling cards" even to a pseudo-Gascon. Cyrano determined to retire from the service.
"The hardships he suffered during these two sieges," says Le Bret, "the inconveniences resulting from two severe wounds, the frequent duels forced upon him by his reputation for courage and skill, which compelled him to act as second more than one hundred times (for he never had a quarrel on his own account), the small hope he had of preferment, from the lack of a patron, to whom his free genius was incapable of submitting, and finally his great love of learning, caused him to renounce the occupation of war which demands everything of a man and makes him as much an enemy of literature as literature makes him a lover of peace."
Cyrano, then, returned to his studies. Hitherto he had been unfortunate in his instructors, but he now made the acquaintance of several scholars and men of letters who had a strong influence on him, whose ideas he adopted and copied in his works. The celebrated Gassendi, who revived the philosophy of Epicurus and opposed both the Aristotelians and Descartes, came to Paris and lectured to a small number of selected students. Niceron makes the unlikely assertion that Cyrano forced his way into this learned society at the sword's point. It is certain that Cyrano sat at Gassendi's feet and picked up from his lectures those fragments of Epicurean physics he afterwards scattered through his works. There most probably he met Molière, Rohault, Bernier, Chapelle and the younger La Mothe Le Vayer. Cyrano was therefore a member of a distinguished literary group which contained one eminent philosopher and a dramatist of supreme genius.
Philosophy and the society of men of letters did not cause Cyrano to abandon his sword. Two documents are extant, dated October 1641, showing Cyrano's arrangements to take lessons in dancing and fencing. It is in these years 1641-43 that he began seriously to write and at the same time performed his most famous feats with the sword.
The battle of the Porte de Nesle, more authentic and even more heroic than the feats of Horatius celebrated by Lord Macaulay, has been related by every writer on Cyrano, from Le Bret to Rostand, from Gautier to M. Emile Magne. What happened, as far as one can make out, was this. A friend of Cyrano's, the Chevalier de Lignières, had been rash enough to banter the conjugal infelicities of a great lord who, sensible of the affront to his person and rank, hired a set of fellows to fall upon Lignières and to crop his ears in the public highway. Lignières heard of this, took refuge with Cyrano and remained with him until night, when they set out together for Lignières's home with Cyrano as escort and two officers of Conti's regiment as witnesses, in the rear. At the Porte de Nesle thebraviwere ambushed to catch Lignières on his way to the Faubourg Saint-Germain; Le Bret says there were a hundred of them. In any event there was a crowd. Incredible as it seems, the fact is well attested that Cyrano attacked them all single-handed, killed two, wounded seven and put the rest to flight.[14]
The battle of Brioché's monkey is less creditable to Cyrano and far less authentic. The evidence is the unreliable one of an anonymous work,Combat de Cyrano de Bergerac avec le Singe de Brioché, au Bout du Pont-Neuf, almost certainly written by Dassoucy, a friend with whom Cyrano had quarrelled. Dassoucy fled to Italy when the pamphlet was published. The gist of the pamphlet is as follows:
One Brioché exhibited a marionette show near one end of the Pont-Neuf. Among the troup was a live monkey.
Cyrano came along, and some thirty or forty lackeys, waiting for the puppet show, began to hustle him and to make fun of his singular appearance; one of them actually flipped him on the end of his nose. Out came that deadly rapier in a flash, and the intrepid little "fiery whoreson," rushed at them, driving the whole mob of them before him. Brioché's monkey, "making a leg" for asou, got in Cyrano's way and the gallant swordsman, not unnaturally mistaking it for one of the rabble, pierced it effectually with his rapier. Brioché brought an action against Cyrano to recover fiftypistolesdamages.
"Bergerac defended himself like Bergerac, that is, with facetious writings and grotesque jokes. He told the judge he would pay Brioché like a poet, or 'with monkey's money' (i.e.laugh at him); that coins were an article of furniture unknown to Phœbus. He vowed he would immortalise the dead beast in an Apollonian epitaph."
It is possible that Dassoucy was merely parodying the battle of the Porte de Nesle; none of the facetious writings referred to is extant; but they may have perished with the elegy Le Bret saw Cyrano writing in the guard-room and theStory of the Sparkand Cyrano'sLyric Poems.
The third anecdote attached to this period relates to the actor Mondory or Montfleury, the latter of whom is satirised in Cyrano's letterAgainst a Fat Man. The 1695 edition of theMenagianagives the story as follows:
"Bergerac was a great sword-clanker. His nose, which was very ugly, was the cause of his killing at least ten people. He quarrelled with Montdory, the comedian, and strictly forbade him to appear on the stage. 'I forbid you to appear for a month', said he. Two days later Bergerac was at the play. Montdory appeared and began to act his part as usual; Bergerac shouted to him from the middle of the pit, with threats if he did not leave, and for fear of worse Montdory retired."[15]
The year 1645 in several respects opens a new phase in Cyrano's life. His mother was dead, he began to suffer from poverty—due to gambling it is said—and contracted a disease. There is a mystery about the death of Cyrano de Bergerac and the "maladie" which preceded it. M. Lachèvre has discovered a document showing the payment of four hundredlivresto a barber-chirurgeon by Cyrano and, from circumstantial evidence we need not repeat, M. Lachèvre asserts that this was venereal disease. If so, the moral philosopher created by Le Bret disappears as completely as the delicate lover invented by Rostand.
It is a remarkable fact that Cyrano did not make a serious appearance in print until the year before his death, 1654. He wrote earlier and published prefaces and commendatory poems; he scribbled a few pamphlets and libels during the Fronde; but his reputation as a writer during his lifetime must have been based on the circulation of his writings in manuscript. The letters were not published until 1654, but they must have been written much earlier;The Pedant Outwitteddoes not seem to have been played, andThe Voyage to the Moonwas circulated in manuscript for some years before it was published.
The fact is we know very little about the last ten years of Cyrano's life. Abel de Cyrano died in January 1648 and the poet's share of the inheritance rescued him at least for a time from the poverty into which he had fallen. In February 1649 there appeared an anti-Mazarin pamphlet in verse, entitledLe Ministre d'Etat Flambé, signed D. B. This was followed by several prose pamphlets directed against Mazarin:Le Gazetier des Interressé,La Sybille Moderne ou l'Oracle du Temps,Le Conseiller fidèle. Some have denied that these were Cyrano's work; others are convinced to the contrary. If he did write them he soon changed his political opinions; for in 1651 he published his pro-MazarinContre les Frondeurs. One biographer thinks Cyrano was bribed by Mazarin to change his politics; another biographer thinks that since Cyrano undoubtedly wrote for Mazarin he could never have written against him.
There is a legend that about this time Cyrano visited England, but there is no confirmation of this.
Hitherto Cyrano had been too independent to enter the service of any nobleman. We have noticed his refusal of the offers made him by Marshal Gassion. Subjection to the whims of some wealthy person of note was a misery endured by many authors of the 17th century; Cyrano de Bergerac avoided it as long as he could, but about the end of 1652 he entered the service of the duc d'Arpajon. Saint-Simon in his usual contemptuous way calls this nobleman "Un bonhomme"; he was a good soldier, religious, vain and probably not very intelligent. Under his patronage Cyrano's works were printed in two handsome quartos in 1654. They containedThe Death of Agrippina,The Pedant Outwitted, andThe Letters. There was a dedication to the duke and a charming sonnet to his daughter. The success of these writings was considerable and their popular vogue lasted at least half a century.
The death of Cyrano de Bergerac is surrounded with mystery. He was only thirty-five when he died. Was this early death the result of a disease, as M. Lachèvre asserts; or was it, as other commentators say, the result of a blow on the head from a falling beam? If he were hit by a piece of timber, was this an accident, or was it revenge? Had Cyrano's very free philosophical speculations anything to do with it? It is impossible to answer these questions definitely; each commentator has replied to them according to his own prejudices.
The accident, if there were an accident, happened early in 1654. For some unknown reason Cyrano was turned out of the Hôtel d'Arpajon about this time. In June 1654 Cyrano was received into the house of M. des Bois Clairs, with whom he remained for fourteen months until a few days before his death. He then begged to be moved to a house at Sannois, belonging to his cousin Pierre de Cyrano, where he died on the 28th of July 1655. He was not buried in the convent of the Filles de la Croix as the reference books say (this was his brother Abel), but in the church of Sannois. He was converted to Christianity on his death-bed, presumably by his sister, who was a nun, and his friend Le Bret, the canon. A document is in existence stating that "Savinien de Cyrano, escuier, sieur de Bergerac," died a good Christian; it is dated the 28th of July 1655, and signed by the parish priest, who owned the curious name of Cochon. That Cyrano, like most of his contemporaries, yielded to a death-bed repentance is probably true; it is equally true that he spent most of his life as a free-thinker.