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| Giovanni Lanfranco, Giovane con un gatto sul letto (1620, Walpole Gallery, London) |
Time passes and, their honeymoon over, the cats begin to tell us things about humanity which even the lid of civilization cannot conceal in the world of men. They tell us — what, alas, we already know — that husbands soon tire of their wives, particularly when they are expecting or nursing families; that the essence of maleness is the love of adventure and infidelity; that guilty consciences and good resolutions are the psychological symptoms of that disease which spasmodically affects practically every male between the ages of eighteen and sixty — the disease called “the morning after”; and that with the disappearance of the disease the psychological symptoms also disappear, so that when temptation comes again, conscience is dumb and good resolutions count for nothing. All these unhappily too familiar truths are illustrated by the cats with a most comical absence of disguise. No man has ever dared to manifest his boredom so insolently as does a Siamese tomcat, when he yawns in the face of his amorously importunate wife. No man has ever dared to proclaim his illicit amours so frankly as this same tom caterwauling on the tiles. And how slinkingly — no man was ever so abject -he returns next day to the conjugal basket by the fire! You can measure the guiltiness of his conscience by the angle of his back-pressed ears, the droop of his tail. And when, having sniffed him and so discovered his infidelity, his wife, as she always does on these occasions, begins to scratch his face (already scarred, like a German student’s, with the traces of a hundred duels), he makes no attempt to resist; for, self-convicted of sin, he knows that he deserves all he is getting. It is impossible for me in the space at my disposal to enumerate all the human truths which a pair of cats can reveal or confirm. I will cite only one more of the innumerable sermons in cats which my memory holds — an acted sermon which, by its ludicrous pantomime, vividly brought home to me the most saddening peculiarity of our human nature, its irreducible solitariness. The circumstances were these. My she-cat, by now a wife of long standing and several times a mother, was passing through one of her occasional phases of amorousness. Her husband, now in the prime of life and parading that sleepy arrogance which is the characteristic of the mature and conquering male (he was now the feline equivalent of some herculean young Alcibiades of the Guards), refused to have anything to do with her. It was in vain that she uttered her love-sick mewing, in vain that she walked up and down in front of him rubbing herself voluptuously against doors and chairlegs as she passed, it was in vain that she came and licked his face. He shut his eyes, he yawned, he averted his head, or, if she became too importunate, got up and slowly, with an insulting air of dignity and detachment, stalked away. When the opportunity presented itself, he escaped and spent the next twenty-four hours upon the tiles. Left to herself, the wife went wandering disconsolately about the house, as though in search of a vanished happiness, faintly and plaintively mewing to herself in a voice and with a manner that reminded one irresistibly of Mélisande in Debussy’s opera. “Je ne suis pas heureuse ici,” she seemed to be saying. And, poor little beast, she wasn’t. But, like her big sisters and brothers of the human world, she had to bear her unhappiness in solitude, uncomprehended, unconsoled. For in spite of language, in spite of intelligence and intuition and sympathy, one can never really communicate anything to anybody. The essential substance of every thought and feeling remains incommunicable, locked up in the impenetrable strong-room of the individual soul and body. Our life is a sentence of perpetual solitary confinement. This mournful truth was overwhelmingly borne in on me as I watched the abandoned and love-sick cat as she walked unhappily round my room. “Je ne suis pas heureuse ici,” she kept mewing, “je ne suis pas heureuse ici.” And her expressive black tail would lash the air in a tragical gesture of despair. But each time it twitched, hop-la! from under the armchair, from behind the book-case, wherever he happened to be hiding at the moment, out jumped her only son (the only one, that is, we had not given away), jumped like a ludicrous toy tiger, all claws out, on to the moving tail. Sometimes he would miss, sometimes he caught it, and getting the tip between his teeth would pretend to worry it, absurdly ferocious. His mother would have to jerk it violently to get it out of his mouth. Then, he would go back under his armchair again and, crouching down, his hindquarters trembling, would prepare once more to spring. The tail, the tragical, despairingly gesticulating tail, was for him the most irresistible of playthings. The patience of the mother was angelical. There was never a rebuke or a punitive reprisal; when the child became too intolerable, she just moved away; that was all. And meanwhile, all the time, she went on mewing, plaintively, despairingly. “Je ne suis pas heureuse ici, je ne suis pas heureuse ici.” It was heartbreaking. The more so as the antics of the kitten were so extraordinarily ludicrous. It was as though a slap-stick comedian had broken in on the lamentations of Mélisande -not mischievously, not wittingly, for there was not the smallest intention to hurt in the little cat’s performance, but simply from lack of comprehension. Each was alone serving his life-sentence of solitary confinement. There was no communication from cell to cell. Absolutely no communication. These sermons in cats can be exceedingly depressing.
Aldous Huxley, Music at Night
Huxley entra aqui no mais completo dos delírios, o que não tem qualquer importância, uma vez que o que lhe interessa não é, obviamente, falar de gatos. «For in spite of language, in spite of intelligence and intuition and sympathy, one can never really communicate anything to anybody.» E se é possível inspirarmo-nos nos negros das Índias Ocidentais para retratar o microcosmos do Mayfair, por que razão não poderemo esboçar a mais trágica das solidões no gatinho que brinca com a cauda da mãe, indiferente a que esta seja o seu pathos de fêmea rejeitada?
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