Writer 1879: Solitary Journey in France

Chapter 192 Brother Duklow's Illusion (Seeking Monthly Tickets!)
Before returning to Paris, a little incident occurred—Maupassant made a bet with Huysmann, saying he could do it twenty times in a row.

Huysmann, of course, did not believe it, nor did Paul Alexis, Céar, and others. So they brought several prostitutes from Vienna's brothels to the hotel to verify it on the spot.

Maupassant was equally decisive, taking off his trousers and having others time and count.

Lionel happened to have business with Maupassant, and when he pushed open the door, he saw this guy shouting angrily, "The fifth time!"

Then he quietly left.

He found Émile Zola, who was still unaware of the situation, and said earnestly, "Mr. Zola, if we don't return to Paris soon, the 'Seven Sons of Médan' will become the 'Seven Sons of Syphilis'..."

Zola then reluctantly declined the further arrangements and dragged the still-enthusiastic Maupassant and others back to Paris.

As for who won the bet between Maupassant and Huysmann that night, Lionel didn't inquire, leaving it an unsolved mystery in literary history.

Sigrún has taught at the Iceland University of the Arts as a part-time lecturer since and was Dean of the Department of Fine Art from -. In – she held a research position at Reykjavík Art Museum focusing on the role of women in Icelandic art. She studied fine art at the Icelandic College of Arts and Crafts and at Pratt Institute, New York, and holds BA and MA degrees in art history and philosophy from the University of Iceland. Sigrún lives and works in Iceland.

In mid-November in Paris, you already need to wear a thick coat to go out.

When Lionel returned, he happened to arrive just in time for the first rehearsal of the "Choir" cast.

Although it wasn't a formal performance, an unusual tension and anticipation permeated the backstage area.

Inside the rehearsal hall, the makeshift stage set created a somber and solemn atmosphere for the "Pond Bottom Reformatory"—

Tall, dark wood walls, narrow windows, and neatly arranged, simple desks and chairs.

The gaslights illuminated the stage, and the actors moved around, rehearsed their lines, and adjusted their positions in the halo of light.

Lionel Sorel stood in the shadows at the side of the stage, arms crossed over his chest, scanning every detail on stage.

Standing next to him was Mr. Emil Perrin, the director of the comedy theater.

Dean Perrin whispered to Lionel, "Mune-Shuli is in good form; he has captured Matthew's awkward kindness and growing determination."

Lionel nodded.

Jean Mounet-Sulli is one of the pillars of the Comédie-Française, known for his ability to create complex and profound characters.

At this moment, he is dressed in a somewhat shabby music teacher's outfit and is acting opposite Leopold Barrett, who is playing the young Pierre.

Barrett is a talented young actor, only 19 years old, who perfectly blends Pierre's rebelliousness and vulnerability, creating a unique sense of youthfulness.

In the back corner of the rehearsal hall, there was a solitary figure—Brother Duclos.

He was dressed in a black monk's robe, his hands clasped tightly on his lap, leaning forward, watching the stage with almost breathless concentration.

He was responsible for overseeing whether this "cooperative" production deviated from their intended course.

Although Monsignor Valette was eventually persuaded by Lionel, the church leadership was clearly not entirely at ease.

Tonight was the first rehearsal with full music and main characters. The selected clips mainly featured Dean Lazi showcasing his "management philosophy" and "sense of responsibility".

This includes the touching moment when the choir encountered resistance during their first rehearsal, but finally their singing rang out.

Once everything was ready, the stage manager called out, "Begin Act III, Scene 2, starting from Dean Lazi entering the classroom."

François Jules Edmond Gautier-Luzarche, who plays "Dean Razzie," took a deep breath and instantly got into character.

He is extremely experienced, and is especially good at playing authoritative roles.

When he walked onto the stage with steady, slightly heavy steps, the atmosphere in the entire rehearsal hall changed.

The character he played, Dean Lazi, was not a "villain," but rather imbued with a suffocating sense of "justice."

On the stage, Dean Lazi stood at the front of the classroom, his gaze sweeping over the boys with their heads down like a hawk.

His voice was deep and authoritative, not a roar, but with an undeniable penetrating power: "Quiet."

Just two words were enough to silence the entire room.

He paced slowly: “I heard some sounds… some… disobedient sounds. Music? Singing?” He shook his head slightly, his tone not of anger, but of deep worry and almost pity: “Children, do you think this is a shortcut to freedom and happiness? No, it is the devil’s most ingenious trap.”

...]

Brother Duclos nodded slightly involuntarily from below the stage.

He saw not a tyrant, but a worried shepherd who feared his flock might go astray.

Gautier-Lüzarche's performance imbues the dialogue with a terrifying persuasiveness—he genuinely believes that his harshness is the only way to save these souls.

Dean Lazi: "Look around you! This world is full of temptations and depravity! Your souls are as fragile as newborn lambs. Discipline! Rules! Punishment!"
This is not torture for you, but the anvil and fire that forges your souls! It is to empower you to resist the filth of the outside world, to make you worthy of the light of the future!

His eyes even betrayed a hint of pain, as if carrying out these punishments was an ordeal for him as well, but one he had to do for a "higher responsibility." It was a masterful performance, more like that of a martyr than a dictator.

...]

Brother Duklow was completely mesmerized.

He was completely absorbed in the performance, muttering to himself, "That's right... If it weren't for such strict discipline, how could these children of lowly birth and unruly nature have any chance of being saved?"

Dean Lazi...how much pressure and misunderstanding he endured!

He even felt his eyes well up with tears, feeling a pang of grievance for this "loyal" and "responsible" priest who might not be understood.

He completely forgot that Dean Razzie in the script was driven more by a fascination with control and order than by selfless love...

[Mune-Sulli, who plays teacher Mathieu, tries to explain: "Mr. Headmaster, perhaps music can open their hearts, in a different way..."]

Dean Lazi interrupted him, his tone sarcastic yet tinged with pity: "Open your heart? Mr. Matthew, you're too naive. What you see is innocence, but what I see is a mind that needs to be disciplined and reshaped."

Forgiveness? That's irresponsible towards them! It's a crime against their eternal souls!

...]

Throughout this confrontation, Dean Razzie, played by Gautier-Luzarche, maintains a sense of moral and experiential superiority, making Mathieu's insistence seem kind yet naive.

This performance greatly embellished Dean Lazi's motives.

Then came the crucial musical part.

Despite Dean Lazzi's explicit prohibition, Matthew secretly organized the children to rehearse at night.

The stage lights dimmed, and a soft beam of light shone on the "children" gathered together.

The prelude to Debussy's "Night" quietly began, flowing from the piano on one side of the stage.

The children's singing was initially hesitant and uneven, but with Matthew's encouragement, it gradually became harmonious, pure, and full of hope.

Leopold Barrett, playing Pierre, stood at the front, his trained voice clear as a mountain stream, penetrating every corner of the rehearsal hall.

The singing possessed a magical power, bringing a focused, calm, and even sacred light to the faces of the previously unruly "children."

It was as if the music had truly cleansed their souls.

...]

Brother Duclos was completely captivated by the performance.

Tears silently streamed down his cheeks: "My God... this is simply the voice of an angel... only under such strict management, only in a serious environment that tries to resist this 'decadent music,' can such pure and rebellious beauty be born!"
This precisely proves the necessity and effectiveness of church management! It was the 'adversity' created by Dean Lazzi that inspired Matthew and the children to make even greater efforts and achieve even purer results!

His logic was completely guided by performance and music to a distorted but self-consistent direction: harshness is the soil, and music is the flower that blooms in adversity.

What he saw was not resistance against oppression, but a "miracle" produced under oppressive conditions.

This perfectly aligns with the Church's inherent "suffering as a form of purification" thinking!

(End of this chapter)