Memoirs of Extraordinary Popular Delusions and the Madness of Crowds, Charles Mackay [best inspirational books TXT] 📗

“Toutes êtes, serez, ou fûtes,

De fait ou de volonté, putains;

Et qui très bien vous chercherait,

Toutes putains vous trouverait.”36

This naturally gave great offence; and being perceived one day in the king’s antechamber, by some ladies who were waiting for an audience, they resolved to punish him. To the number of ten or twelve, they armed themselves with canes and rods, and surrounding the unlucky poet, called upon the gentlemen present to strip him naked, that they might wreak just vengeance upon him, and lash him through the streets of the town. Some of the lords present were in no wise loath, and promised themselves great sport from his punishment. But Jean de Meung was unmoved by their threats, and stood up calmly in the midst of them, begging them to hear him first, and then, if not satisfied, they might do as they liked with him. Silence being restored, he stood upon a chair, and entered on his defence. He acknowledged that he was the author of the obnoxious verses, but denied that they bore reference to all womankind. He only meant to speak of the vicious and abandoned, whereas those whom he saw around him were patterns of virtue, loveliness, and modesty. If, however, any lady present thought herself aggrieved, he would consent to be stripped, and she might lash him till her arms were wearied. It is added, that by this means Jean escaped his flogging, and that the wrath of the fair ones immediately subsided. The gentlemen present were, however, of opinion, that if every lady in the room whose character corresponded with the verses had taken him at his word; the poet would in all probability have been beaten to death. All his life long he evinced a great animosity towards the priesthood, and his famous poem abounds with passages reflecting upon their avarice, cruelty, and immorality. At his death he left a large box, filled with some weighty material, which he bequeathed to the Cordeliers, as a peace-offering, for the abuse he had lavished upon them. As his practice of alchymy was well known, it was thought the box was filled with gold and silver, and the Cordeliers congratulated each other on their rich acquisition. When it came to be opened, they found to their horror that it was filled only with slates, scratched with hieroglyphic and cabalistic characters. Indignant at the insult, they determined to refuse him Christian burial, on pretence that he was a sorcerer. He was, however, honourably buried in Paris, the whole court attending his funeral.

The story of this alchymist, as handed down by tradition, and enshrined in the pages of Lenglet da Fresnoy, is not a little marvellous. He was born at Pontoise, of a poor but respectable family, at the end of the thirteenth, or beginning of the fourteenth century. Having no patrimony, he set out for Paris at an early age, to try his fortune as a public scribe. He had received a good education, was well skilled in the learned languages, and was an excellent penman. He soon procured occupation as a letter-writer and copyist, and used to sit at the corner of the Rue de Marivaux, and practise his calling; but he hardly made profit enough to keep body and soul together. To mend his fortunes he tried poetry; but this was a more wretched occupation still. As a transcriber he had at least gained bread and cheese; but his rhymes were not worth a crust. He then tried painting with as little success; and as a last resource, began to search for the philosopher’s stone and tell fortunes. This was a happier idea; he soon increased in substance, and had wherewithal to live comfortably. He therefore took unto himself his wife Petronella, and began to save money; but continued to all outward appearance as poor and miserable as before. In the course of a few years, he became desperately addicted to the study of alchymy, and thought of nothing but the philosopher’s stone, the elixir of life, and the universal alkahest. In the year 1257, he bought by chance an old book for two florins, which soon became his sole study. It was written with a steel instrument upon the bark of trees, and contained twenty-one, or as he himself always expressed it, three times seven, leaves. The writing was very elegant and in the Latin language. Each seventh leaf contained a picture and no writing. On the first of these was a serpent swallowing rods; on the second, a cross with a serpent crucified; and on the third, the representation of a desert, in the midst of which was a fountain, with serpents crawling from side to side. It purported to be written by no less a personage than “Abraham, patriarch, Jew, prince, philosopher, priest, Levite, and astrologer;” and invoked curses upon any one who should cast eyes upon it, without being “a sacrificer or a scribe.” Nicholas Flamel never thought it extraordinary that Abraham should have known Latin, and was convinced that the characters on his book had been traced by the hands of that great patriarch himself. He was at first afraid to read it, after he became aware of the curse it contained; but he got over that difficulty by recollecting that, although he was not a sacrificer, he had practised as a scribe. As he read he was filled with admiration, and found that it was a perfect treatise upon the transmutation of metals. All the processes were clearly explained; the vessels, the retorts, the mixtures, and the proper times and seasons for experiment. But as ill-luck would have it, the possession of the philosopher’s stone, or prime agent in the work, was presupposed. This was a difficulty which was not to be got over. It was like telling a starving man how to cook a beef-steak, instead of giving him the money to buy one. But Nicholas did not despair, and set about studying the hieroglyphics and allegorical representations with which the book abounded. He soon convinced himself that it had been one of the sacred books of the Jews, and that it was taken from the temple of Jerusalem on its destruction by Titus. The process of reasoning by which he arrived at this conclusion is not stated.

From some expression in the treatise, he learned that the allegorical drawings on the fourth and fifth leaves enshrined the secret of the philosopher’s stone, without which all the fine Latin of the directions was utterly unavailing. He invited all the alchymists and learned men of Paris to come and examine them,