Angels and Absences: Child Deaths in the Nineteenth Century (63 page)

Read Angels and Absences: Child Deaths in the Nineteenth Century Online

Authors: Laurence Lerner

Tags: #History, #Modern, #19th Century, #Social Science, #Death & Dying, #test

 
Page 171
Plague differs from meningitis in being an epidemic: each death is one of many, not an isolated event. Yet though
La Peste
is a novel about an epidemic, seen as a social and not just a natural occurrence, this death is treated as an individualand shockingevent. It is described in more detail than any other death in the book, it is watched by all the main characters, and its emotional impact is devastating, not only on Dr. Rieux, the hero, but also on the priest, Father Paneloux, whom it leads to the edge of heresy.
That this death is designed to raise a religious issue is clear from the moment we are told that to Rieux and his friend Tarrou the pain inflicted on innocent children never ceased to seem what it was in truth, that is, a scandal (la douleur infligée à ces innocents n'avait jamais cessé de leur paraître ce qu'elle était en verité, c'est-à-dire un scandale). Nature does not perpetrate scandals: the term implies a world that can be judged morally, a world for which someone is responsible.
In fact it is not God, or Nature, alone that is responsible for the child's suffering. A new vaccine has been devised but not yet tested, and Rieux, deciding that the child is doomed, uses him as the subject for the first trial: it does not save his life, but he does resist longer than one would have expected. When Rieux points this out, Paneloux, who is present, observes that if the child has to die, he will have suffered longer. The remark is a deliberate distraction. Paneloux, who had delivered a fiery sermon when the plague struck, beginning, "My brothers, you are in trouble, and my brothers, you have deserved it" (Mes frères, vous êtes dans le malheur, et mes frères, vous l'avez mérité), suffers as much as anyone watching the child's agony, and his first remark is to single out for condemnation the element in the agony that is due to man. This, however, only postpones his reaction to the real scandal, the suffering inflicted by God. In his second sermon, he deals with this issue: the church this time is less crowded, the delivery less fiery, but for Paneloux it is his supreme confrontation with God. It quite explicitly rejects the stock consolation:
Il lui aurait été aisé de dire que l'éternité des délices qui attendait l'enfant pouvait compenser sa souffrance, mais en vérité, il n'en savait rien. Qui pouvaitt affirmer en effet que l'éternité d'une joie pouvait composer un instant de la douleur humaine? (iv, 3)
It would have been easy for him to say that the eternity of delight awaiting the child could make up for his suffering, but in truth he knew nothing about that.
 
Page 172
Who in fact could affirm that an eternity of joy could make up for an instant of human pain?
That disposes, in a moment of brusque skepticism, of tomes of Victorian comfort: eternities of delight are the language of conventional piety, which costs nothing; human pain is what we know. But what then is to replace conventional piety? For Rieux the question is set aside, for he goes in for healing, not for theodicy: his is the modest and agnostic task of curing as much suffering as he can. For the Christian, the suffering of the child must not be ignored or minimized; it can only be rejected or accepted. To reject it is to hate God (et qui oserait choisir la haine de Dieu?). But to accept it is to will that suffering. This is the doctrine of Tout ou rien, of all or nothing, and it raises the eyebrows of Paneloux's fellow priests. It derives, surely, from Kierkegaard, whom Camus had read even if Paneloux had not, and it is turned on its head by Leverkühn, for the devil's universe is the universe in which Paneloux hates God.
***
How would Victorian readers have responded to these novels? The question may seem so hypothetical as to be pointless, but I have an answer.
In 1850 Elizabeth Gaskell paid a visit to the Bishop of Manchester, and was shown his library:
Over the door being an exquisitely painted picture of a dead child perhaps Baby's age,deathly livid, and with the most woeful expression of pain on its little wan face,it looked too deeply stamped to be lost even in Heaven.
29
Like so many Victorian parents, she had herself lost a child: "my darling
darling
Willie, who now sleeps sounder still in the dull dreary chapel-yard at Warrington,"
30
and no doubt her grief sharpened the interest with which she looked at the Bishop's picture and listened to the story. The painting was
so true to the life that an anatomist of that sort of thing on seeing it said "that child has lost its life by an accident which has produced intense pain"and it was true,it had been the child of the people with whom the artist lived, and had been
burnt,
had lingered 2 days in the greatest agony, poor darlingand

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