The Black Tulip by Alexandre Dumas (read the beginning after the end novel TXT) 📖

From that moment Boxtel’s interest in tulips was no longer a stimulus to his exertions, but a deadening anxiety. Henceforth all his thoughts ran only upon the injury which his neighbour would cause him, and thus his favourite occupation was changed into a constant source of misery to him.

Van Baerle, as may easily be imagined, had no sooner begun to apply his natural ingenuity to his new fancy, than he succeeded in growing the finest tulips. Indeed, he knew better than any one else at Haarlem or Leyden—the two towns which boast the best soil and the most congenial climate—how to vary the colours, to modify the shape, and to produce new species.

He belonged to that natural, humorous school who took for their motto in the seventeenth century the aphorism uttered by one of their number in 1653,—“To despise flowers is to offend God.”

From that premise the school of tulip-fanciers, the most exclusive of all schools, worked out the following syllogism in the same year:—

“To despise flowers is to offend God.

“The more beautiful the flower is, the more does one offend God in despising it.

“The tulip is the most beautiful of all flowers.

“Therefore, he who despises the tulip offends God beyond measure.”

By reasoning of this kind, it can be seen that the four or five thousand tulip-growers of Holland, France, and Portugal, leaving out those of Ceylon and China and the Indies, might, if so disposed, put the whole world under the ban, and condemn as schismatics and heretics and deserving of death the several hundred millions of mankind whose hopes of salvation were not centred upon the tulip.

We cannot doubt that in such a cause Boxtel, though he was Van Baerle’s deadly foe, would have marched under the same banner with him.

Mynheer van Baerle and his tulips, therefore, were in the mouth of everybody; so much so, that Boxtel’s name disappeared for ever from the list of the notable tulip-growers in Holland, and those of Dort were now represented by Cornelius van Baerle, the modest and inoffensive savant.

Engaging, heart and soul, in his pursuits of sowing, planting, and gathering, Van Baerle, caressed by the whole fraternity of tulip-growers in Europe, entertained nor the least suspicion that there was at his very door a pretender whose throne he had usurped.

He went on in his career, and consequently in his triumphs; and in the course of two years he covered his borders with such marvellous productions as no mortal man, following in the tracks of the Creator, except perhaps Shakespeare and Rubens, have equalled in point of numbers.

And also, if Dante had wished for a new type to be added to his characters of the Inferno, he might have chosen Boxtel during the period of Van Baerle’s successes. Whilst Cornelius was weeding, manuring, watering his beds, whilst, kneeling on the turf border, he analysed every vein of the flowering tulips, and meditated on the modifications which might be effected by crosses of colour or otherwise, Boxtel, concealed behind a small sycamore which he had trained at the top of the partition wall in the shape of a fan, watched, with his eyes starting from their sockets and with foaming mouth, every step and every gesture of his neighbour; and whenever he thought he saw him look happy, or descried a smile on his lips, or a flash of contentment glistening in his eyes, he poured out towards him such a volley of maledictions and furious threats as to make it indeed a matter of wonder that this venomous breath of envy and hatred did not carry a blight on the innocent flowers which had excited it.

When the evil spirit has once taken hold of the heart of man, it urges him on, without letting him stop. Thus Boxtel soon was no longer content with seeing Van Baerle. He wanted to see his flowers, too; he had the feelings of an artist, the master-piece of a rival engrossed his interest.

He therefore bought a telescope, which enabled him to watch as accurately as did the owner himself every progressive development of the flower, from the moment when, in the first year, its pale seed-leaf begins to peep from the ground, to that glorious one, when, after five years, its petals at last reveal the hidden treasures of its chalice. How often had the miserable, jealous man to observe in Van Baerle’s beds tulips which dazzled him by their beauty, and almost choked him by their perfection!

And then, after the first blush of the admiration which he could not help feeling, he began to be tortured by the pangs of envy, by that slow fever which creeps over the heart and changes it into a nest of vipers, each devouring the other and ever born anew. How often did Boxtel, in the midst of tortures which no pen is able fully to describe,—how often did he feel an inclination to jump down into the garden during the night, to destroy the plants, to tear the bulbs with his teeth, and to sacrifice to his wrath the owner himself, if he should venture to stand up for the defence of his tulips!

But to kill a tulip was a horrible crime in the eyes of a genuine tulip-fancier; as to killing a man, it would not have mattered so very much.

Yet Van Baerle made such progress in the noble science of growing tulips, which he seemed to master with the true instinct of genius, that Boxtel at last was maddened to such a degree as to think of throwing stones and sticks into the flower-stands of his neighbour. But, remembering that he would be sure to be found out, and that he would not only be punished by law, but also dishonoured for ever in the face of all the tulip-growers of Europe, he had recourse to stratagem, and, to gratify his hatred, tried to devise a plan by means of which he might gain his ends without being compromised himself.

He considered a long time, and at last his meditations were crowned with success.

One evening he tied two cats together by their hind legs with a string about six feet in length, and threw them from the wall into the midst of that noble, that princely, that royal bed, which contained not only the “Cornelius de Witt,” but also the “Beauty of Brabant,” milk-white, edged with purple and pink, the “Marble of Rotterdam,” colour of flax, blossoms feathered red and flesh colour, the “Wonder of Haarlem,” the “Colombin obscur,” and the “Columbin clair terni.”

The frightened cats, having alighted on the ground, first tried to fly each in a different direction, until the string by which they were