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But when we have succeeded in deciphering these living texts, and have grasped the allusion; when, beside the symbol, we have succeeded in finding the commentary, then the most desolate corner of the earth appears to the solitary seeker as a gallery full of the masterpieces of an unsuspected art. Fabre puts into our hands the golden key which opens the doors of this marvellous museum.
The two do really resemble one another; Michelet was no less fitted than Fabre to play the confidant to Nature, and his heart was of the same mettle. Since I have spoken of his favourites, let me also speak of his dislikes; Racine, whom he cannot bear; Molière, whom he does not really like; Buffon, whom he frankly detests for his too fluent prose, his ostentatious style, and his vain rhetoric.
At the end of the year 1878 he was able to assemble a sufficient number of studies to form material for what was to be the first volume of his "Souvenirs entomologiques." Let us stop for a moment to consider this first book, whose publication constitutes a truly historical date, not only in the career of Fabre, but in the annals of universal science.
What touches us in him is the accent, the simplicity, the measure, the good sense, and the perfect equilibrium of each of these pages: simple, often commonplace, even incorrect or trivial, but so alive, so human, that the blood seems to flow in them. It is the lover in Fabre that draws us to him; nothing quite like his work has been seen since the days of Jean de La Fontaine.
Too often he leaves his readers undecided as to the nature of the species whose habits he describes. Fabre himself, by dint of criticizing with so much humour the abuse of classifications, has sometimes allowed himself to fall into the same fault.
What poor and sordid means! And Fabre is astonished, in spite of all his candid faith, that the fatality of the belly should have entered into the Divine plan, and the necessity of all those atrocious acts in which the Unconscious delights. Could not God ensure the preservation of life by less violent means? Why these subterranean dramas, these slow assassinations?
It resembles in appearance the tarantula of Europe, described by Fabre, and has many of the same habits; but its habitation is a much more ingenious and artistic piece of workmanship than that of its European relative.
The grub of the Capricorn is even more ingenious: it moves at the same time on its back and belly; instead of the useless legs of the thorax, it has a walking-apparatus almost resembling feet, which appear, contrary to every rule, on the dorsal surface. The Life and Love of the Insect, by J. Henri Fabre, translated by Alexander Teixeira de Mattos: chap. xi.
When she left her old debauched husband, she found consolation in the friendship and intimacy of the poet Alfieri, who at his death left her his whole property. Cardinal York settled a handsome income upon her, and her second lover a Frenchman, named Fabre added to her store.
In the Philinte de Moliere, which also bears the title of La Suite du Misanthrope, and in which FABRE D'EGLANTINE has presented the contrast between an egotist and a man who sacrifices his interest to that of his fellow-creatures, MOLE vents all the indignation of virtue with a warmth, a truth, and even a nobleness which at this day belong only to himself.
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