I return to The Diary of A Country Priest by French author Georges Bernanos, (Journal d’un curé de campagne, 1936) perennially at Easter time. Like Endo’s Silence, it reveals candidly a priest’s suffering and struggles in the midst of a harsh and unwelcome world. Unlike Silence though, light shines through the cracks more warmly. Power through weakness, life conquering death, the essence of Easter.
A young priest comes to his first parish, the rural town of Ambricourt, filled with humble hopes. All he wants is to serve the people, to give of himself, to bring God’s love. But as soon as he sets foot in the village, he is engulfed by hatred and rejection. There are dark secrets too sinister to be exposed. The young priest is an unwelcome alien. In a town afflicted by hypocrisy, pride, anger and bitterness, he is despised, taunted and ridiculed. His own inexperience is no match even for the children in his catechism class, especially the precocious Seraphitas, a girl ‘with a hardness far beyond her years.’
Ambricourt is a world afflicted by the ‘leprosy of boredom’, a microcosm of the human condition. Bernanos uses diseases to illustrate his point well. The young priest himself is being slowly consumed by terminal illness. The pain in his stomach ultimately defeats his body, cancer. His diet consists mainly of bread dipped in wine which he makes for himself, and some potato soup. Poverty in materials parallels the frailty of his body to take in solid food. None of these though can compare to the sufferings in his spirit. Many a times we see him in the Garden of Gethsemane, pleading for strength in anguish. But he faithfully presses on, using his diary to confide his deepest thoughts, a means to commune with his God.
On the outskirt of Ambricourt is the Château of the powerful M. le Comte. The Count needs no priest to know about his adulterous affairs, this time, with the governess Mlle Louise. His wife Mme la Comtesse is totally absorbed by her long-held bitterness and grief from the loss of her young son. And his daughter Mlle Chantal is a deeply disturbed girl eaten up by anger and jealousy. Soon, she will be sent away to England, a most convenient plan devised by her father.
It is with this deep mess of a family that the young priest finds himself entangled. The most intense scene of the whole book, the climatic moment, comes when the priest goes to the Château to meet with Mme la Comtesse. She lost her beloved son when he was only eighteen months old, a child hated by his jealous older sister Chantal.
On his last day they went out for a walk together. When they came back my boy was dead.
Mme la Comtesse is fully engulfed by hatred for her daughter, grief for her lost son, and bitterness towards God.
Hearing her speak, a tear flows down the face of the young priest. “Hell is not to love any more, madame.” The young priest responds. And with miraculous strength, he delivers the following words.
… But you know that our God came to be among us. Shake your fist at Him, spit in His face, scourge Him, and finally crucify Him: what does it matter? It’s already been done to Him.
Towards the end of some soul piercing exchanges, Mme la Comtesse kneels down, releases her pain, and receives blessings from the young priest. Afterwards, she writes to him in a letter:
… I have lived in the most horrible solitude, alone with the desperate memory of a child. And it seems to me that another child has brought me to life again…
And this young child, a priest, consumed by illness, wreaked by frailty of spirit, can only marvel at the power through weakness:
Oh miracle — thus to be able to give what we ourselves do not possess, sweet miracle of our empty hands!
Not long after this, he succumbs to his illness. A life too short, a mission seems unaccomplished. But his last words faintly uttered on his deathbed are as powerful as the God who sends him:
Does it matter? Grace is everywhere…
And in the film, these three words leave me with one of the most poignant endings of all the films that I’ve seen:
“All is grace.”
~ ~ ~ ~ Ripples
English Edition of The Diary of a Country Priest by Georges Bernanos, translated by Pamela Morris, Perseus Books Group, Philadelphia, PA, 1965, 298 pages.
Journal d’un curé de campagne, 1936, was winner of the Grand prix du roman de l’Académie française.
The Film Review of Robert Bresson’s Diary of a Country Priest (1951).