A Daughter of Eve by Honore de Balzac

Produced by John Bickers; and Dagny A DAUGHTER OF EVE BY HONORE DE BALZAC Translated By Katharine Prescott Wormeley DEDICATION To Madame la Comtesse Bolognini, nee Vimercati. If you remember, madame, the pleasure your conversation gave to a traveller by recalling Paris to his memory in Milan, you will not be surprised to find him
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Produced by John Bickers; and Dagny

A DAUGHTER OF EVE

BY

HONORE DE BALZAC

Translated By

Katharine Prescott Wormeley

DEDICATION

To Madame la Comtesse Bolognini, nee Vimercati.

If you remember, madame, the pleasure your conversation gave to a traveller by recalling Paris to his memory in Milan, you will not be surprised to find him testifying his gratitude for many pleasant evenings passed beside you by laying one of his works at your feet, and begging you to protect it with your name, as in former days that name protected the tales of an ancient writer dear to the Milanese.

You have an Eugenie, already beautiful, whose intelligent smile gives promise that she has inherited from you the most precious gifts of womanhood, and who will certainly enjoy during her childhood and youth all those happinesses which a rigid mother denied to the Eugenie of these pages. Though Frenchmen are taxed with inconstancy, you will find me Italian in faithfulness and memory. While writing the name of “Eugenie,” my thoughts have often led me back to that cool stuccoed salon and little garden in the Vicolo dei Cappucini, which echoed to the laughter of that dear child, to our sportive quarrels and our chatter. But you have left the Corso for the Tre Monasteri, and I know not how you are placed there; consequently, I am forced to think of you, not among the charming things with which no doubt you have surrounded yourself, but like one of those fine figures due to Raffaelle, Titian, Correggio, Allori, which seem abstractions, so distant are they from our daily lives.

If this book should wing its way across the Alps, it will prove to you the lively gratitude and respectful friendship of

Your devoted servant,
De Balzac.

A DAUGHTER OF EVE

CHAPTER I

THE TWO MARIES

In one of the finest houses of the rue Neuve-des-Mathurins, at half-past eleven at night, two young women were sitting before the fireplace of a boudoir hung with blue velvet of that tender shade, with shimmering reflections, which French industry has lately learned to fabricate. Over the doors and windows were draped soft folds of blue cashmere, the tint of the hangings, the work of one of those upholsterers who have just missed being artists. A silver lamp studded with turquoise, and suspended by chains of beautiful workmanship, hung from the centre of the ceiling. The same system of decoration was followed in the smallest details, and even to the ceiling of fluted blue silk, with long bands of white cashmere falling at equal distances on the hangings, where they were caught back by ropes of pearl. A warm Belgian carpet, thick as turf, of a gray ground with blue posies, covered the floor. The furniture, of carved ebony, after a fine model of the old school, gave substance and richness to the rather too decorative quality, as a painter might call it, of the rest of the room. On either side of a large window, two etageres displayed a hundred precious trifles, flowers of mechanical art brought into bloom by the fire of thought. On a chimney-piece of slate-blue marble were figures in old Dresden, shepherds in bridal garb, with delicate bouquets in their hands, German fantasticalities surrounding a platinum clock, inlaid with arabesques. Above it sparkled the brilliant facets of a Venice mirror framed in ebony, with figures carved in relief, evidently obtained from some former royal residence. Two jardinieres were filled with the exotic product of a hot-house, pale, but divine flowers, the treasures of botany.

In this cold, orderly boudoir, where all things were in place as if for sale, no sign existed of the gay and capricious disorder of a happy home. At the present moment, the two young women were weeping. Pain seemed to predominate. The name of the owner, Ferdinand du Tillet, one of the richest bankers in Paris, is enough to explain the luxury of the whole house, of which this boudoir is but a sample.

Though without either rank or station, having pushed himself forward, heaven knows how, du Tillet had married, in 1831, the daughter of the Comte de Granville, one of the greatest names in the French magistracy,–a man who became peer of France after the revolution of July. This marriage of ambition on du Tillet’s part was brought about by his agreeing to sign an acknowledgment in the marriage contract of a dowry not received, equal to that of her elder sister, who was married to Comte Felix de Vandenesse. On the other hand, the Granvilles obtained the alliance with de Vandenesse by the largeness of the “dot.” Thus the bank repaired the breach made in the pocket of the magistracy by rank. Could the Comte de Vandenesse have seen himself, three years later, the brother-in-law of a Sieur Ferdinand DU Tillet, so-called, he might not have married his wife; but what man of rank in 1828 foresaw the strange upheavals which the year 1830 was destined to produce in the political condition, the fortunes, and the customs of France? Had any one predicted to Comte Felix de Vandenesse that his head would lose the coronet of a peer, and that of his father-in-law acquire one, he would have thought his informant a lunatic.

Bending forward on one of those low chairs then called “chaffeuses,” in the attitude of a listener, Madame du Tillet was pressing to her bosom with maternal tenderness, and occasionally kissing, the hand of her sister, Madame Felix de Vandenesse. Society added the baptismal name to the surname, in order to distinguish the countess from her sister-in-law, the Marquise Charles de Vandenesse, wife of the former ambassador, who had married the widow of the Comte de Kergarouet, Mademoiselle Emilie de Fontaine.

Half lying on a sofa, her handkerchief in the other hand, her breathing choked by repressed sobs, and with tearful eyes, the countess had been making confidences such as are made only from sister to sister when two sisters love each other; and these two sisters did love each other tenderly. We live in days when sisters married into such antagonist spheres can very well not love each other, and therefore the historian is bound to relate the reasons of this tender affection, preserved without spot or jar in spite of their husbands’ contempt for each other and their own social disunion. A rapid glance at their childhood will explain the situation.

Brought up in a gloomy house in the Marais, by a woman of narrow mind, a “devote” who, being sustained by a sense of duty (sacred phrase!), had fulfilled her tasks as a mother religiously, Marie-Angelique and Marie Eugenie de Granville reached the period of their marriage–the first at eighteen, the second at twenty years of age–without ever leaving the domestic zone where the rigid maternal eye controlled them. Up to that time they had never been to a play; the churches of Paris were their theatre. Their education in their mother’s house had been as rigorous as it would have been in a convent. From infancy they had slept in a room adjoining that of the Comtesse de Granville, the door of which stood always open. The time not occupied by the care of their persons, their religious duties and the studies considered necessary for well-bred young ladies, was spent in needlework done for the poor, or in walks like those an Englishwoman allows herself on Sunday, saying, apparently, “Not so fast, or we shall seem to be amusing ourselves.”

Their education did not go beyond the limits imposed by confessors, who were chosen by their mother from the strictest and least tolerant of the Jansenist priests. Never were girls delivered over to their husbands more absolutely pure and virgin than they; their mother seemed to consider that point, essential as indeed it is, the accomplishment of all her duties toward earth and heaven. These two poor creatures had never, before their marriage, read a tale, or heard of a romance; their very drawings were of figures whose anatomy would have been masterpieces of the impossible to Cuvier, designed to feminize the Farnese Hercules himself. An old maid taught them drawing. A worthy priest instructed them in grammar, the French language, history, geography, and the very little arithmetic it was thought necessary in their rank for women to know. Their reading, selected from authorized books, such as the “Lettres Edifiantes,” and Noel’s “Lecons de Litterature,” was done aloud in the evening; but always in presence of their mother’s confessor, for even in those books there did sometimes occur passages which, without wise comments, might have roused their imagination. Fenelon’s “Telemaque” was thought dangerous.

The Comtesse de Granville loved her daughters sufficiently to wish to make them angels after the pattern of Marie Alacoque, but the poor girls themselves would have preferred a less virtuous and more amiable mother. This education bore its natural fruits. Religion, imposed as a yoke and presented under its sternest aspect, wearied with formal practice these innocent young hearts, treated as sinful. It repressed their feelings, and was never precious to them, although it struck its roots deep down into their natures. Under such training the two Maries would either have become mere imbeciles, or they must necessarily have longed for independence. Thus it came to pass that they looked to marriage as soon as they saw anything of life and were able to compare a few ideas. Of their own tender graces and their personal value they were absolutely ignorant. They were ignorant, too, of their own innocence; how, then, could they know life? Without weapons to meet misfortune, without experience to appreciate happiness, they found no comfort in the maternal jail, all their joys were in each other. Their tender confidences at night in whispers, or a few short sentences exchanged if their mother left them for a moment, contained more ideas than the words themselves expressed. Often a glance, concealed from other eyes, by which they conveyed to each other their emotions, was like a poem of bitter melancholy. The sight of a cloudless sky, the fragrance of flowers, a turn in the garden, arm in arm,–these were their joys. The finishing of a piece of embroidery was to them a source of enjoyment.

Their mother’s social circle, far from opening resources to their hearts or stimulating their minds, only darkened their ideas and depressed them; it was made up of rigid old women, withered and graceless, whose conversation turned on the differences which distinguished various preachers and confessors, on their own petty indispositions, on religious events insignificant even to the “Quotidienne” or “l’Ami de la Religion.” As for the men who appeared in the Comtesse de Granville’s salon, they extinguished any possible torch of love, so cold and sadly resigned were their faces. They were all of an age when mankind is sulky and fretful, and natural sensibilities are chiefly exercised at table and on the things relating to personal comfort. Religious egotism had long dried up those hearts devoted to narrow duties and entrenched behind pious practices. Silent games of cards occupied the whole evening, and the two young girls under the ban of that Sanhedrim enforced by maternal severity, came to hate the dispiriting personages about them with their hollow eyes and scowling faces.

On the gloom of this life one sole figure of a man, that of a music-master, stood vigorously forth. The confessors had decided that music was a Christian art, born of the Catholic Church and developed within her. The two Maries were therefore permitted to study music. A spinster in spectacles, who taught singing and the piano in a neighboring convent, wearied them with exercises; but when the eldest girl was ten years old, the Comte de Granville insisted on the importance of giving her a master. Madame de Granville gave all the value of conjugal obedience to this needed concession,–it is part of a devote’s character to make a merit of doing her duty.

The master was a Catholic German; one of those men born old, who seem all their lives fifty years of age, even at eighty. And yet, his brown, sunken, wrinkled face still kept something infantile and artless in its dark creases. The blue of innocence was in his eyes, and a gay smile of springtide abode upon his lips. His iron-gray hair, falling naturally like that of the Christ in art, added to his ecstatic air a certain solemnity which was absolutely deceptive as to his real nature; for he was capable of committing any silliness with the most exemplary gravity. His clothes were a necessary envelope, to which he paid not the slightest attention, for his eyes looked too high among the clouds to concern themselves with such materialities. This great unknown artist belonged to the kindly class of the self-forgetting, who give their time and their soul to others, just as they leave their gloves on every table and their umbrella at all doors. His hands were of the kind that are dirty as soon as washed. In short, his old body, badly poised on its knotted old legs, proving to what degree a man can make it the mere accessory of his soul, belonged to those strange creations which have been properly depicted only by a German,–by Hoffman, the poet of that which seems not to exist but yet has life.

Such was Schmucke, formerly chapel-master to the Margrave of Anspach; a musical genius, who was now examined by a council of devotes, and asked if he kept the fasts. The master was much inclined to answer, “Look at me!” but how could he venture to joke with pious dowagers and Jansenist confessors? This apocryphal old fellow held such a place in the lives of the two Maries, they felt such friendship for the grand and simple-minded artist, who was happy and contented in the mere comprehension of his art, that after their marriage, they each gave him an annuity of three hundred francs a year,–a sum which sufficed to pay for his lodging, beer, pipes, and clothes. Six hundred francs a year and his lessons put him in Eden. Schmucke had never found courage to confide his poverty and his aspirations to any but these two adorable young girls, whose hearts were blooming beneath the snow of maternal rigor and the ice of devotion. This fact explains Schmucke and the girlhood of the two Maries.

No one knew then, or later, what abbe or pious spinster had discovered the old German then vaguely wandering about Paris, but as soon as mothers of families learned that the Comtesse de Granville had found a music-master for her daughters, they all inquired for his name and address. Before long, Schmucke had thirty pupils in the Marais. This tardy success was manifested by steel buckles to his shoes, which were lined with horse-hair soles, and by a more frequent change of linen. His artless gaiety, long suppressed by noble and decent poverty, reappeared. He gave vent to witty little remarks and flowery speeches in his German-Gallic patois, very observing and very quaint and said with an air which disarmed ridicule. But he was so pleased to bring a laugh to the lips of his two pupils, whose dismal life his sympathy had penetrated, that he would gladly have made himself wilfully ridiculous had he failed in being so by nature.

According to one of the nobler ideas of religious education, the young girls always accompanied their master respectfully to the door. There they would make him a few kind speeches, glad to do anything to give him pleasure. Poor things! all they could do was to show him their womanhood. Until their marriage, music was to them another life within their lives, just as, they say, a Russian peasant takes his dreams for reality and his actual life for a troubled sleep. With the instinct of protecting their souls against the pettiness that threatened to overwhelm them, against the all-pervading asceticism of their home, they flung themselves into the difficulties of the musical art, and spent themselves upon it. Melody, harmony, and composition, three daughters of heaven, whose choir was led by an old Catholic faun drunk with music, were to these poor girls the compensation of their trials; they made them, as it were, a rampart against their daily lives. Mozart, Beethoven, Gluck, Paesiello, Cimarosa, Haydn, and certain secondary geniuses, developed in their souls a passionate emotion which never passed beyond the chaste enclosure of their breasts, though it permeated that other creation through which, in spirit, they winged their flight. When they had executed some great work in a manner that their master declared was almost faultless, they embraced each other in ecstasy and the old man called them his Saint Cecilias.

The two Maries were not taken to a ball until they were sixteen years of age, and then only four times a year in special houses. They were not allowed to leave their mother’s side without instructions as to their behavior with their partners; and so severe were those instructions that they dared say only yes or no during a dance. The eye of the countess never left them, and she seemed to know from the mere movement of their lips the words they uttered. Even the ball-dresses of these poor little things were piously irreproachable; their muslin gowns came up to their chins with an endless number of thick ruches, and the sleeves came down to their wrists. Swathing in this way their natural charms, this costume gave them a vague resemblance to Egyptian hermae; though from these blocks of muslin rose enchanting little heads of tender melancholy. They felt themselves the objects of pity, and inwardly resented it. What woman, however innocent, does not desire to excite envy?

No dangerous idea, unhealthy or even equivocal, soiled the pure pulp of their brain; their hearts were innocent, their hands were horribly red, and they glowed with health. Eve did not issue more innocent from the hands of God than these two girls from their mother’s home when they went to the mayor’s office and the church to be married, after receiving the simple but terrible injunction to obey in all things two men with whom they were henceforth to live and sleep by day and by night. To their minds, nothing could be worse in the strange houses where they were to go than the maternal convent.

Why did the father of these poor girls, the Comte de Granville, a wise and upright magistrate (though sometimes led away by politics), refrain from protecting the helpless little creatures from such crushing despotism? Alas! by mutual understanding, about ten years after marriage, he and his wife were separated while living under one roof. The father had taken upon himself the education of his sons, leaving that of the daughters to his wife. He saw less danger for women than for men in the application of his wife’s oppressive system. The two Maries, destined as women to endure tyranny, either of love or marriage, would be, he thought, less injured than boys, whose minds ought to have freer play, and whose manly qualities would deteriorate under the powerful compression of religious ideas pushed to their utmost consequences. Of four victims the count saved two.

The countess regarded her sons as too ill-trained to admit of the slightest intimacy with their sisters. All communication between the poor children was therefore strictly watched. When the boys came home from school, the count was careful not to keep them in the house. The boys always breakfasted with their mother and sisters, but after that the count took them off to museums, theatres, restaurants, or, during the summer season, into the country. Except on the solemn days of some family festival, such as the countess’s birthday or New Year’s day, or the day of the distribution of prizes, when the boys remained in their father’s house and slept there, the sisters saw so little of their brothers that there was absolutely no tie between them. On those days the countess never left them for an instant alone together. Calls of “Where is Angelique?”–“What is Eugenie about?”–“Where are my daughters?” resounded all day. As for the mother’s sentiments towards her sons, the countess raised to heaven her cold and macerated eyes, as if to ask pardon of God for not having snatched them from iniquity.

Her exclamations, and also her reticences on the subject of her sons, were equal to the most lamenting verses in Jeremiah, and completely deceived the sisters, who supposed their sinful brothers to be doomed to perdition.

When the boys were eighteen years of age, the count gave them rooms in his own part of the house, and sent them to study law under the supervision of a solicitor, his former secretary. The two Maries knew nothing therefore of fraternity, except by theory. At the time of the marriage of the sisters, both brothers were practising in provincial courts, and both were detained by important cases. Domestic life in many families which might be expected to be intimate, united, and homogeneous, is really spent in this way. Brothers are sent to a distance, busy with their own careers, their own advancement, occupied, perhaps, about the good of the country; the sisters are engrossed in a round of other interests. All the members of such a family live disunited, forgetting one another, bound together only by some feeble tie of memory, until, perhaps, a sentiment of pride or self-interest either joins them or separates them in heart as they already are in fact. Modern laws, by multiplying the family by the family, has created a great evil,–namely, individualism.

In the depths of this solitude where their girlhood was spent, Angelique and Eugenie seldom saw their father, and when he did enter the grand apartment of his wife on the first floor, he brought with him a saddened face. In his own home he always wore the grave and solemn look of a magistrate on the bench. When the little girls had passed the age of dolls and toys, when they began, about twelve, to use their minds (an epoch at which they ceased to laugh at Schmucke) they divined the secret of the cares that lined their father’s forehead, and they recognized beneath that mask of sternness the relics of a kind heart and a fine character. They vaguely perceived how he had yielded to the forces of religion in his household, disappointed as he was in his hopes of a husband, and wounded in the tenderest fibres of paternity,–the love of a father for his daughters. Such griefs were singularly moving to the hearts of the two young girls, who were themselves deprived of all tenderness. Sometimes, when pacing the garden between his daughters, with an arm round each little waist, and stepping with their own short steps, the father would stop short behind a clump of trees, out of sight of the house, and kiss them on their foreheads; his eyes, his lips, his whole countenance expressing the deepest commiseration.

“You are not very happy, my dear little girls,” he said one day; “but I shall marry you early. It will comfort me to have you leave home.”

“Papa,” said Eugenie, “we have decided to take the first man who offers.”

“Ah!” he cried, “that is the bitter fruit of such a system. They want to make saints, and they make–” he stopped without ending his sentence.

Often the two girls felt an infinite tenderness in their father’s “Adieu,” or in his eyes, when, by chance, he dined at home. They pitied that father so seldom seen, and love follows often upon pity.

This stern and rigid education was the cause of the marriages of the two sisters welded together by misfortune, as Rita-Christina by the hand of Nature. Many men, driven to marriage, prefer a girl taken from a convent, and saturated with piety, to a girl brought up to worldly ideas. There seems to be no middle course. A man must marry either an educated girl, who reads the newspapers and comments upon them, who waltzes with a dozen young men, goes to the theatre, devours novels, cares nothing for religion, and makes her own ethics, or an ignorant and innocent young girl, like either of the two Maries. Perhaps there may be as much danger with the one kind as with the other. Yet the vast majority of men who are not so old as Arnolphe, prefer a religious Agnes to a budding Celimene.

The two Maries, who were small and slender, had the same figure, the same foot, the same hand. Eugenie, the younger, was fair-haired, like her mother, Angelique was dark-haired, like the father. But they both had the same complexion,–a skin of the pearly whiteness which shows the richness and purity of the blood, where the color rises through a tissue like that of the jasmine, soft, smooth, and tender to the touch. Eugenie’s blue eyes and the brown eyes of Angelique had an expression of artless indifference, of ingenuous surprise, which was rendered by the vague manner with which the pupils floated on the fluid whiteness of the eyeball. They were both well-made; the rather thin shoulders would develop later. Their throats, long veiled, delighted the eye when their husbands requested them to wear low dresses to a ball, on which occasion they both felt a pleasing shame, which made them first blush behind closed doors, and afterwards, through a whole evening in company.

On the occasion when this scene opens, and the eldest, Angelique, was weeping, while the younger, Eugenie, was consoling her, their hands and arms were white as milk. Each had nursed a child,–one a boy, the other a daughter. Eugenie, as a girl, was thought very giddy by her mother, who had therefore treated her with especial watchfulness and severity. In the eyes of that much-feared mother, Angelique, noble and proud, appeared to have a soul so lofty that it would guard itself, whereas, the more lively Eugenie needed restraint. There are many charming beings misused by fate,–beings who ought by rights to prosper in this life, but who live and die unhappy, tortured by some evil genius, the victims of unfortunate circumstances. The innocent and naturally light-hearted Eugenie had fallen into the hands and beneath the malicious despotism of a self-made man on leaving the maternal prison. Angelique, whose nature inclined her to deeper sentiments, was thrown into the upper spheres of Parisian social life, with the bridle lying loose upon her neck.

CHAPTER II

A CONFIDENCE BETWEEN SISTERS

Madame de Vandenesse, Marie-Angelique, who seemed to have broken down under a weight of troubles too heavy for her soul to bear, was lying back on the sofa with bent limbs, and her head tossing restlessly. She had rushed to her sister’s house after a brief appearance at the Opera. Flowers were still in her hair, but others were scattered upon the carpet, together with her gloves, her silk pelisse, and muff and hood. Tears were mingling with the pearls on her bosom; her swollen eyes appeared to make strange confidences. In the midst of so much luxury her distress was horrible, and she seemed unable to summon courage to speak.

“Poor darling!” said Madame du Tillet; “what a mistaken idea you have of my marriage if you think that I can help you!”

Hearing this revelation, dragged from her sister’s heart by the violence of the storm she herself had raised there, the countess looked with stupefied eyes at the banker’s wife; her tears stopped, and her eyes grew fixed.

“Are you in misery as well, my dearest?” she said, in a low voice.

“My griefs will not ease yours.”

“But tell them to me, darling; I am not yet too selfish to listen. Are we to suffer together once more, as we did in girlhood?”

“But alas! we suffer apart,” said the banker’s wife. “You and I live in two worlds at enmity with each other. I go to the Tuileries when you are not there. Our husbands belong to opposite parties. I am the wife of an ambitious banker,–a bad man, my darling; while you have a noble, kind, and generous husband.”

“Oh! don’t reproach me!” cried the countess. “To understand my position, a woman must have borne the weariness of a vapid and barren life, and have entered suddenly into a paradise of light and love; she must know the happiness of feeling her whole life in that of another; of espousing, as it were, the infinite emotions of a poet’s soul; of living a double existence,–going, coming with him in his courses through space, through the world of ambition; suffering with his griefs, rising on the wings of his high pleasures, developing her faculties on some vast stage; and all this while living calm, serene, and cold before an observing world. Ah! dearest, what happiness in having at all hours an enormous interest, which multiplies the fibres of the heart and varies them indefinitely! to feel no longer cold indifference! to find one’s very life depending on a thousand trifles! –on a walk where an eye will beam to us from a crowd, on a glance which pales the sun! Ah! what intoxication, dear, to live! to _live_ when other women are praying on their knees for emotions that never come to them! Remember, darling, that for this poem of delight there is but a single moment,–youth! In a few years winter comes, and cold. Ah! if you possessed these living riches of the heart, and were threatened with the loss of them–“

Madame du Tillet, terrified, had covered her face with her hands during the passionate utterance of this anthem.

“I did not even think of reproaching you, my beloved,” she said at last, seeing her sister’s face bathed in hot tears. “You have cast into my soul, in one moment, more brands than I have tears to quench. Yes, the life I live would justify to my heart a love like that you picture. Let me believe that if we could have seen each other oftener, we should not now be where we are. If you had seen my sufferings, you must have valued your own happiness the more, and you might have strengthened me to resist my tyrant, and so have won a sort of peace. Your misery is an incident which chance may change, but mine is daily and perpetual. To my husband I am a peg on which to hang his luxury, the sign-post of his ambition, a satisfaction to his vanity. He has no real affection for me, and no confidence. Ferdinand is hard and polished as that piece of marble,” she continued, striking the chimney-piece. “He distrusts me. Whatever I may want for myself is refused before I ask it; but as for what flatters his vanity and proclaims his wealth, I have no occasion to express a wish. He decorates my apartments; he spends enormous sums upon my entertainments; my servants, my opera-box, all external matters are maintained with the utmost splendor. His vanity spares no expense; he would trim his children’s swaddling-clothes with lace if he could, but he would never hear their cries, or guess their needs. Do you understand me? I am covered with diamonds when I go to court; I wear the richest jewels in society, but I have not one farthing I can use. Madame du Tillet, who, they say, is envied, who appears to float in gold, has not a hundred francs she can call her own. If the father cares little for his child, he cares less for its mother. Ah! he has cruelly made me feel that he bought me, and that in marrying me without a ‘dot’ he was wronged. I might perhaps have won him to love me, but there’s an outside influence against it,–that of a woman, who is over fifty years of age, the widow of a notary, who rules him. I shall never be free, I know that, so long as he lives. My life is regulated like that of a queen; my meals are served with the utmost formality; at a given hour I must drive to the Bois; I am always accompanied by two footmen in full dress; I am obliged to return at a certain hour. Instead of giving orders, I receive them. At a ball, at the theatre, a servant comes to me and says: ‘Madame’s carriage is ready,’ and I am obliged to go, in the midst, perhaps, of something I enjoy. Ferdinand would be furious if I did not obey the etiquette he prescribes for his wife; he frightens me. In the midst of this hateful opulence, I find myself regretting the past, and thinking that our mother was kind; she left us the nights when we could talk together; at any rate, I was living with a dear being who loved me and suffered with me; whereas here, in this sumptuous house, I live in a desert.”

At this terrible confession the countess caught her sister’s hand and kissed it, weeping.

“How, then, can I help you,” said Eugenie, in a low voice. “He would be suspicious at once if he surprised us here, and would insist on knowing all that you have been saying to me. I should be forced to tell a lie, which is difficult indeed with so sly and treacherous a man; he would lay traps for me. But enough of my own miseries; let us think of yours. The forty thousand francs you want would be, of course, a mere nothing to Ferdinand, who handles millions with that fat banker, Baron de Nucingen. Sometimes, at dinner, in my presence, they say things to each other which make me shudder. Du Tillet knows my discretion, and they often talk freely before me, being sure of my silence. Well, robbery and murder on the high-road seem to me merciful compared to some of their financial schemes. Nucingen and he no more mind destroying a man than if he were an animal. Often I am told to receive poor dupes whose fate I have heard them talk of the night before,–men who rush into some business where they are certain to lose their all. I am tempted, like Leonardo in the brigand’s cave, to cry out, ‘Beware!’ But if I did, what would become of me? So I keep silence. This splendid house is a cut-throat’s den! But Ferdinand and Nucingen will lavish millions for their own caprices. Ferdinand is now buying from the other du Tillet family the site of their old castle; he intends to rebuild it and add a forest with large domains to the estate, and make his son a count; he declares that by the third generation the family will be noble. Nucingen, who is tired of his house in the rue Saint-Lazare, is building a palace. His wife is a friend of mine–Ah!” she cried, interrupting herself, “she might help us; she is very bold with her husband; her fortune is in her own right. Yes, she could save you.”

“Dear heart, I have but a few hours left; let us go to her this evening, now, instantly,” said Madame de Vandenesse, throwing herself into Madame du Tillet’s arms with a burst of tears.

“I can’t go out at eleven o’clock at night,” replied her sister.

“My carriage is here.”

“What are you two plotting together?” said du Tillet, pushing open the door of the boudoir.

He came in showing a torpid face lighted now by a speciously amiable expression. The carpets had dulled his steps and the preoccupation of the two sisters had kept them from noticing the noise of his carriage-wheels on entering the court-yard. The countess, in whom the habits of social life and the freedom in which her husband had left her had developed both wit and shrewdness,–qualities repressed in her sister by marital despotism, which simply continued that of their mother,–saw that Eugenie’s terror was on the point of betraying them, and she evaded that danger by a frank answer.

“I thought my sister richer than she is,” she replied, looking straight at her brother-in-law. “Women are sometimes embarrassed for money, and do not wish to tell their husbands, like Josephine with Napoleon. I came here to ask Eugenie to do me a service.”

“She can easily do that, madame. Eugenie is very rich,” replied du Tillet, with concealed sarcasm.

“Is she?” replied the countess, smiling bitterly.

“How much do you want?” asked du Tillet, who was not sorry to get his sister-in-law into his meshes.

“Ah, monsieur! but I have told you already we do not wish to let our husbands into this affair,” said Madame de Vandenesse, cautiously, –aware that if she took his money, she would put herself at the mercy of the man whose portrait Eugenie had fortunately drawn for her not ten minutes earlier. “I will come to-morrow and talk with Eugenie.”

“To-morrow?” said the banker. “No; Madame du Tillet dines to-morrow with a future peer of France, the Baron de Nucingen, who is to leave me his place in the Chamber of Deputies.”

“Then permit her to join me in my box at the Opera,” said the countess, without even glancing at her sister, so much did she fear that Eugenie’s candor would betray them.

“She has her own box, madame,” said du Tillet, nettled.

“Very good; then I will go to hers,” replied the countess.

“It will be the first time you have done us that honor,” said du Tillet.

The countess felt the sting of that reproach, and began to laugh.

“Well, never mind; you shall not be made to pay anything this time. Adieu, my darling.”

“She is an insolent woman,” said du Tillet, picking up the flowers that had fallen on the carpet. “You ought,” he said to his wife, “to study Madame de Vandenesse. I’d like to see you before the world as insolent and overbearing as your sister has just been here. You have a silly, bourgeois air which I detest.”

Eugenie raised her eyes to heaven as her only answer.

“Ah ca, madame! what have you both been talking of?” said the banker, after a pause, pointing to the flowers. “What has happened to make your sister so anxious all of a sudden to go to your opera-box?”

The poor helot endeavored to escape questioning on the score of sleepiness, and turned to go into her dressing-room to prepare for the night; but du Tillet took her by the arm and brought her back under the full light of the wax-candles which were burning in two silver-gilt sconces between fragrant nosegays. He plunged his light eyes into hers and said, coldly:–

“Your sister came here to borrow forty thousand francs for a man in whom she takes an interest, who’ll be locked up within three days in a debtor’s prison.”

The poor woman was seized with a nervous trembling, which she endeavored to repress.

“You alarm me,” she said. “But my sister is far too well brought up, and she loves her husband too much to be interested in any man to that extent.”

“Quite the contrary,” he said, dryly. “Girls brought up as you two were, in the constraints and practice of piety, have a thirst for liberty; they desire happiness, and the happiness they get in marriage is never as fine as that they dreamt of. Such girls make bad wives.”

“Speak for me,” said poor Eugenie, in a tone of bitter feeling, “but respect my sister. The Comtesse de Vandenesse is happy; her husband gives her too much freedom not to make her truly attached to him. Besides, if your supposition were true, she would never have told me of such a matter.”

“It is true,” he said, “and I forbid you to have anything to do with the affair. My interests demand that the man shall go to prison. Remember my orders.”

Madame du Tillet left the room.

“She will disobey me, of course, and I shall find out all the facts by watching her,” thought du Tillet, when alone in the boudoir. “These poor fools always think they can do battle against us.”

He shrugged his shoulders and rejoined his wife, or to speak the truth, his slave.

The confidence made to Madame du Tillet by Madame Felix de Vandenesse is connected with so many points of the latter’s history for the last six years, that it would be unintelligible without a succinct account of the principal events of her life.

CHAPTER III

THE HISTORY OF A FORTUNATE WOMAN

Among the remarkable men who owed their destiny to the Restoration, but whom, unfortunately, the restored monarchy kept, with Martignac, aloof from the concerns of government, was Felix de Vandenesse, removed, with several others, to the Chamber of peers during the last days of Charles X. This misfortune, though, as he supposed, temporary, made him think of marriage, towards which he was also led, as so many men are, by a sort of disgust for the emotions of gallantry, those fairy flowers of the soul. There comes a vital moment to most of us when social life appears in all its soberness.

Felix de Vandenesse had been in turn happy and unhappy, oftener unhappy than happy, like men who, at their start in life, have met with Love in its most perfect form. Such privileged beings can never subsequently be satisfied; but, after fully experiencing life, and comparing characters, they attain to a certain contentment, taking refuge in a spirit of general indulgence. No one deceives them, for they delude themselves no longer; but their resignation, their disillusionment is always graceful; they expect what comes, and therefor they suffer less. Felix might still rank among the handsomest and most agreeable men in Paris. He was originally commended to many women by one of the noblest creatures of our epoch, Madame de Mortsauf, who had died, it was said, out of love and grief for him; but he was specially trained for social life by the handsome and well-known Lady Dudley.

In the eyes of many Parisian women, Felix, a sort of hero of romance, owed much of his success to the evil that was said of him. Madame de Manerville had closed the list of his amorous adventures; and perhaps her dismissal had something to do with his frame of mind. At any rate, without being in any way a Don Juan, he had gathered in the world of love as many disenchantments as he had met with in the world of politics. That ideal of womanhood and of passion, the type of which –perhaps to his sorrow–had lighted and governed his dawn of life, he despaired of ever finding again.

At thirty years of age, Comte Felix determined to put an end to the burden of his various felicities by marriage. On that point his ideas were extremely fixed; he wanted a young girl brought up in the strictest tenets of Catholicism. It was enough for him to know how the Comtesse de Granville had trained her daughters to make him, after he had once resolved on marriage, request the hand of the eldest. He himself had suffered under the despotism of a mother; he still remembered his unhappy childhood too well not to recognize, beneath the reserves of feminine shyness, the state to which such a yoke must have brought the heart of a young girl, whether that heart was soured, embittered, or rebellious, or whether it was still peaceful, lovable, and ready to unclose to noble sentiments. Tyranny produces two opposite effects, the symbols of which exist in two grand figures of ancient slavery, Epictetus and Spartacus,–hatred and evil feelings on the one hand, resignation and tenderness, on the other.

The Comte de Vandenesse recognized himself in Marie-Angelique de Granville. In choosing for his wife an artless, innocent, and pure young girl, this young old man determined to mingle a paternal feeling with the conjugal feeling. He knew his own heart was withered by the world and by politics, and he felt that he was giving in exchange for a dawning life the remains of a worn-out existence. Beside those springtide flowers he was putting the ice of winter; hoary experience with young and innocent ignorance. After soberly judging the position, he took up his conjugal career with ample precaution; indulgence and perfect confidence were the two anchors to which he moored it. Mothers of families ought to seek such men for their daughters. A good mind protects like a divinity; disenchantment is as keen-sighted as a surgeon; experience as foreseeing as a mother. Those three qualities are the cardinal virtues of a safe marriage. All that his past career had taught to Felix de Vandenesse, the observations of a life that was busy, literary, and thoughtful by turns, all his forces, in fact, were now employed in making his wife happy; to that end he applied his mind.

When Marie-Angelique left the maternal purgatory, she rose at once into the conjugal paradise prepared for her by Felix, rue du Rocher, in a house where all things were redolent of aristocracy, but where the varnish of society did not impede the ease and “laisser-aller” which young and loving hearts desire so much. From the start, Marie-Angelique tasted all the sweets of material life to the very utmost. For two years her husband made himself, as it were, her purveyor. He explained to her, by degrees, and with great art, the things of life; he initiated her slowly into the mysteries of the highest society; he taught her the genealogies of noble families; he showed her the world; he guided her taste in dress; he trained her to converse; he took her from theatre to theatre, and made her study literature and current history. This education he accomplished with all the care of a lover, father, master, and husband; but he did it soberly and discreetly; he managed both enjoyments and instructions in such a manner as not to destroy the value of her religious ideas. In short, he carried out his enterprise with the wisdom of a great master. At the end of four years, he had the happiness of having formed in the Comtesse de Vandenesse one of the most lovable and remarkable young women of our day.

Marie-Angelique felt for Felix precisely the feelings with which Felix desired to inspire her,–true friendship, sincere gratitude, and a fraternal love, in which was mingled, at certain times, a noble and dignified tenderness, such as tenderness between husband and wife ought to be. She was a mother, and a good mother. Felix had therefore attached himself to his young wife by every bond without any appearance of garroting her,–relying for his happiness on the charms of habit.

None but men trained in the school of life–men who have gone round the circle of disillusionment, political and amorous–are capable of following out a course like this. Felix, however, found in his work the same pleasure that painters, writers, architects take in their creations. He doubly enjoyed both the work and its fruition as he admired his wife, so artless, yet so well-informed, witty, but natural, lovable and chaste, a girl, and yet a mother, perfectly free, though bound by the chains of righteousness. The history of all good homes is that of prosperous peoples; it can be written in two lines, and has in it nothing for literature. So, as happiness is only explicable to and by itself, these four years furnish nothing to relate which was not as tender as the soft outlines of eternal cherubs, as insipid, alas! as manna, and about as amusing as the tale of “Astrea.”

In 1833, this edifice of happiness, so carefully erected by Felix de Vandenesse, began to crumble, weakened at its base without his knowledge. The heart of a woman of twenty-five is no longer that of a girl of eighteen, any more than the heart of a woman of forty is that of a woman of thirty. There are four ages in the life of woman; each age creates a new woman. Vandenesse knew, no doubt, the law of these transformations (created by our modern manners and morals), but he forgot them in his own case,–just as the best grammarian will forget a rule of grammar in writing a book, or the greatest general in the field under fire, surprised by some unlooked-for change of base, forgets his military tactics. The man who can perpetually bring his thought to bear upon his facts is a man of genius; but the man of the highest genius does not display genius at all times; if he did, he would be like to God.

After four years of this life, with never a shock to the soul, nor a word that produced the slightest discord in this sweet concert of sentiment, the countess, feeling herself developed like a beautiful plant in a fertile soil, caressed by the sun of a cloudless sky, awoke to a sense of a new self. This crisis of her life, the subject of this Scene, would be incomprehensible without certain explanations, which may extenuate in the eyes of women the wrong-doing of this young countess, a happy wife, a happy mother, who seems, at first sight, inexcusable.

Life results from the action of two opposing principles; when one of them is lacking the being suffers. Vandenesse, by satisfying every need, had suppressed desire, that king of creation, which fills an enormous place in the moral forces. Extreme heat, extreme sorrow, complete happiness, are all despotic principles that reign over spaces devoid of production; they insist on being solitary; they stifle all that is not themselves. Vandenesse was not a woman, and none but women know the art of varying happiness; hence their coquetry, refusals, fears, quarrels, and the all-wise clever foolery with which they put in doubt the things that seemed to be without a cloud the night before. Men may weary by their constancy, but women never. Vandenesse was too thoroughly kind by nature to worry deliberately the woman he loved; on the contrary, he kept her in the bluest and least cloudy heaven of love. The problem of eternal beatitude is one of those whose solution is known only to God. Here, below, the sublimest poets have simply harassed their readers when attempting to picture paradise. Dante’s reef was that of Vandenesse; all honor to such courage!

Felix’s wife began to find monotony in an Eden so well arranged; the perfect happiness which the first woman found in her terrestrial paradise gave her at length a sort of nausea of sweet things, and made the countess wish, like Rivarol reading Florian, for a wolf in the fold. Such, judging by the history of ages, appears to be the meaning of that emblematic serpent to which Eve listened, in all probability, out of ennui. This deduction may seem a little venturesome to Protestants, who take the book of Genesis more seriously than the Jews themselves.

The situation of Madame de Vandenesse can, however, be explained without recourse to Biblical images. She felt in her soul an enormous power that was unemployed. Her happiness gave her no suffering; it rolled along without care or uneasiness; she was not afraid of losing it; each morning it shone upon her, with the same blue sky, the same smile, the same sweet words. That clear, still lake was unruffled by any breeze, even a zephyr; she would fain have seen a ripple on its glassy surface. Her desire had something so infantine about it that it ought to be excused; but society is not more indulgent than the God of Genesis. Madame de Vandenesse, having now become intelligently clever, was aware that such sentiments were not permissible, and she refrained from confiding them to her “dear little husband.” Her genuine simplicity had not invented any other name for him; for one can’t call up in cold blood that delightfully exaggerated language which love imparts to its victims in the midst of flames.

Vandenesse, glad of this adorable reserve, kept his wife, by deliberate calculations, in the temperate regions of conjugal affection. He never condescended to seek a reward or even an acknowledgment of the infinite pains which he gave himself; his wife thought his luxury and good taste her natural right, and she felt no gratitude for the fact that her pride and self-love had never suffered. It was thus in everything. Kindness has its mishaps; often it is attributed to temperament; people are seldom willing to recognize it as the secret effort of a noble soul.

About this period of her life, Madame Felix de Vandenesse had attained to a degree of worldly knowledge which enabled her to quit the insignificant role of a timid, listening, and observing supernumerary, –a part played, they say, for some time, by Giulia Grisi in the chorus at La Scala. The young countess now felt herself capable of attempting the part of prima-donna, and she did so on several occasions. To the great satisfaction of her husband, she began to mingle in conversations. Intelligent ideas and delicate observations put into her mind by her intercourse with her husband, made her remarked upon, and success emboldened her. Vandenesse, to whom the world admitted that his wife was beautiful, was delighted when the same assurance was given that she was clever and witty. On their return from a ball, concert, or rout where Marie had shone brilliantly, she would turn to her husband, as she took off her ornaments, and say, with a joyous, self-assured air,–

“Were you pleased with me this evening?”

The countess excited jealousies; among others that of her husband’s sister, Madame de Listomere, who until now had patronized her, thinking that she protected a foil to her own merits. A countess, beautiful, witty and virtuous!–what a prey for the tongues of the world! Felix had broken with too many women, and too many women had broken with him, to leave them indifferent to his marriage. When these women beheld in Madame de Vandenesse a small woman with red hands, and rather awkward manner, saying little, and apparently not thinking much, they thought themselves sufficiently avenged. The disasters of July, 1830, supervened; society was dissolved for two years; the rich evaded the turmoil and left Paris either for foreign travel or for their estates in the country, and none of the salons reopened until 1833. When that time came, the faubourg Saint-Germain still sulked, but it held intercourse with a few houses, regarding them as neutral ground,–among others that of the Austrian ambassador, where the legitimist society and the new social world met together in the persons of their best representatives.

Attached by many ties of the heart and by gratitude to the exiled family, and strong in his personal convictions, Vandenesse did not consider himself obliged to imitate the silly behavior of his party. In times of danger, he had done his duty at the risk of his life; his fidelity had never been compromised, and he determined to take his wife into general society without fear of its becoming so. His former mistresses could scarcely recognize the bride they had thought so childish in the elegant, witty, and gentle countess, who now appeared in society with the exquisite manners of the highest female aristocracy. Mesdames d’Espard, de Manerville, and Lady Dudley, with others less known, felt the serpent waking up in the depths of their hearts; they heard the low hissings of angry pride; they were jealous of Felix’s happiness, and would gladly have given their prettiest jewel to do him some harm; but instead of being hostile to the countess, these kind, ill-natured women surrounded her, showed her the utmost friendship, and praised her to me. Sufficiently aware of their intentions, Felix watched their relations with Marie, and warned her to distrust them. They all suspected the uneasiness of the count at their intimacy with his wife, and they redoubled their attentions and flatteries, so that they gave her an enormous vogue in society, to the great displeasure of her sister-in-law, the Marquise de Listomere, who could not understand it. The Comtesse Felix de Vandenesse was cited as the most charming and the cleverest woman in Paris. Marie’s other sister-in-law, the Marquise Charles de Vandenesse, was consumed with vexation at the confusion of names and the comparisons it sometimes brought about. Though the marquise was a handsome and clever woman, her rivals took delight in comparing her with her sister-in-law, with all the more point because the countess was a dozen years younger. These women knew very well what bitterness Marie’s social vogue would bring into her intercourse with both of her sisters-in-law, who, in fact, became cold and disobliging in proportion to her triumph in society. She was thus surrounded by dangerous relations and intimate enemies.

Every one knows that French literature at that particular period was endeavoring to defend itself against an apathetic indifference (the result of the political drama) by producing works more or less Byronian, in which the only topics really discussed were conjugal delinquencies. Infringements of the marriage tie formed the staple of reviews, books, and dramas. This eternal subject grew more and more the fashion. The lover, that nightmare of husbands, was everywhere, except perhaps in homes, where, in point of fact, under the bourgeois regime, he was less seen than formerly. It is not when every one rushes to their window and cries “Thief!” and lights the streets, that robbers abound. It is true that during those years so fruitful of turmoil–urban, political, and moral–a few matrimonial catastrophes took place; but these were exceptional, and less observed than they would have been under the Restoration. Nevertheless, women talked a great deal together about books and the stage, then the two chief forms of poesy. The lover thus became one of their leading topics,–a being rare in point of act and much desired. The few affairs which were known gave rise to discussions, and these discussions were, as usually happens, carried on by immaculate women.

A fact worthy of remark is the aversion shown to such conversations by women who are enjoying some illicit happiness; they maintain before the eyes of the world a reserved, prudish, and even timid countenance; they seem to ask silence on the subject, or some condonation of their pleasure from society. When, on the contrary, a woman talks freely of such catastrophes, and seems to take pleasure in doing so, allowing herself to explain the emotions that justify the guilty parties, we may be sure that she herself is at the crossways of indecision, and does not know what road she might take.

During this winter, the Comtesse de Vandenesse heard the great voice of the social world roaring in her ears, and the wind of its stormy gusts blew round her. Her pretended friends, who maintained their reputations at the height of their rank and their positions, often produced in her presence the seductive idea of the lover; they cast into her soul certain ardent talk of love, the “mot d’enigme” which life propounds to woman, the grand passion, as Madame de Stael called it,–preaching by example. When the countess asked naively, in a small and select circle of these friends, what difference there was between a lover and a husband, all those who wished evil to Felix took care to reply in a way to pique her curiosity, or fire her imagination, or touch her heart, or interest her mind.

“Oh! my dear, we vegetate with a husband, but we live with a lover,” said her sister-in-law, the marquise.

“Marriage, my dear, is our purgatory; love is paradise,” said Lady Dudley.

“Don’t believe her,” cried Mademoiselle des Touches; “it is hell.”

“But a hell we like,” remarked Madame de Rochefide. “There is often more pleasure in suffering than in happiness; look at the martyrs!”

“With a husband, my dear innocent, we live, as it were, in our own life; but to love, is to live in the life of another,” said the Marquise d’Espard.

“A lover is forbidden fruit, and that to me, says all!” cried the pretty Moina de Saint-Heren, laughing.

When she was not at some diplomatic rout, or at a ball given by rich foreigners, like Lady Dudley or the Princesse Galathionne, the Comtesse de Vandenesse might be seen, after the Opera, at the houses of Madame d’Espard, the Marquise de Listomere, Mademoiselle des Touches, the Comtesse de Montcornet, or the Vicomtesse de Grandlieu, the only aristocratic houses then open; and never did she leave any one of them without some evil seed of the world being sown in her heart. She heard talk of completing her life,–a saying much in fashion in those days; of being comprehended,–another word to which women gave strange meanings. She often returned home uneasy, excited, curious, and thoughtful. She began to find something less, she hardly knew what, in her life; but she did not yet go so far as to think it lonely.

CHAPTER IV

A CELEBRATED MAN

The most amusing society, but also the most mixed, which Madame Felix de Vandenesse frequented, was that of the Comtesse de Montcornet, a charming little woman, who received illustrious artists, leading financial personages, distinguished writers; but only after subjecting them to so rigid an examination that the most exclusive aristocrat had nothing to fear in coming in contact with this second-class society. The loftiest pretensions were there respected.

During the winter of 1833, when society rallied after the revolution of July, some salons, notably those of Mesdames d’Espard and de Listomere, Mademoiselle des Touches, and the Duchesse de Grandlieu, had selected certain of the celebrities in art, science, literature, and politics, and received them. Society can lose nothing of its rights, and it must be amused. At a concert given by Madame de Montcornet toward the close of the winter of 1833, a man of rising fame in literature and politics appeared in her salon, brought there by one of the wittiest, but also one of the laziest writers of that epoch, Emile Blondet, celebrated behind closed doors, highly praised by journalists, but unknown beyond the barriers. Blondet himself was well aware of this; he indulged in no illusions, and, among his other witty and contemptuous sayings, he was wont to remark that fame is a poison good to take in little doses.

From the moment when the man we speak of, Raoul Nathan, after a long struggle, forced his way to the public gaze, he had put to profit the sudden infatuation for form manifested by those elegant descendants of the middle ages, jestingly called Young France. He assumed the singularities of a man of genius and enrolled himself among those adorers of art, whose intentions, let us say, were excellent; for surely nothing could be more ridiculous than the costume of Frenchmen in the nineteenth century, and nothing more courageous than an attempt to reform it. Raoul, let us do him this justice, presents in his person something fine, fantastic, and extraordinary, which needs a frame. His enemies, or his friends, they are about the same thing, agree that nothing could harmonize better with his mind than his outward form.

Raoul Nathan would, perhaps, be more singular if left to his natural self than he is with his various accompaniments. His worn and haggard face gives him an appearance of having fought with angels or devils; it bears some resemblance to that the German painters give to the dead Christ; countless signs of a constant struggle between failing human nature and the powers on high appear in it. But the lines in his hollow cheeks, the projections of his crooked, furrowed skull, the caverns around his eyes and behind his temples, show nothing weakly in his constitution. His hard membranes, his visible bones are the signs of remarkable solidity; and though his skin, discolored by excesses, clings to those bones as if dried there by inward fires, it nevertheless covers a most powerful structure. He is thin and tall. His long hair, always in disorder, is worn so for effect. This ill-combed, ill-made Byron has heron legs and stiffened knee-joints, an exaggerated stoop, hands with knotty muscles, firm as a crab’s claws, and long, thin, wiry fingers. Raoul’s eyes are Napoleonic, blue eyes, which pierce to the soul; his nose is crooked and very shrewd; his mouth charming, embellished with the whitest teeth that any woman could desire. There is fire and movement in the head, and genius on that brow. Raoul belongs to the small number of men who strike your mind as you pass them, and who, in a salon, make a luminous spot to which all eyes are attracted.

He makes himself remarked also by his “neglige,” if we may borrow from Moliere the word which Eliante uses to express the want of personal neatness. His clothes always seem to have been twisted, frayed, and crumpled intentionally, in order to harmonize with his physiognomy. He keeps one of his hands habitually in the bosom of his waistcoat in the pose which Girodet’s portrait of Monsieur de Chateaubriand has rendered famous; but less to imitate that great man (for he does not wish to resemble any one) than to rumple the over-smooth front of his shirt. His cravat is no sooner put on than it is twisted by the convulsive motions of his head, which are quick and abrupt, like those of a thoroughbred horse impatient of harness, and constantly tossing up its head to rid itself of bit and bridle. His long and pointed beard is neither combed, nor perfumed, nor brushed, nor trimmed, like those of the elegant young men of society; he lets it alone, to grow as it will. His hair, getting between the collar of his coat and his cravat, lies luxuriantly on his shoulders, and greases whatever spot it touches. His wiry, bony hands ignore a nailbrush and the luxury of lemon. Some of his cofeuilletonists declare that purifying waters seldom touch their calcined skin.

In short, the terrible Raoul is grotesque. His movements are jerky, as if produced by imperfect machinery; his gait rejects all idea of order, and proceeds by spasmodic zig-zags and sudden stoppages, which knock him violently against peaceable citizens on the streets and boulevards of Paris. His conversation, full of caustic humor, of bitter satire, follows the gait of his body; suddenly it abandons its tone of vengeance and turns sweet, poetic, consoling, gentle, without apparent reason; he falls into inexplicable silences, or turns somersets of wit, which at times are somewhat wearying. In society, he is boldly awkward, and exhibits a contempt for conventions and a critical air about things respected which makes him unpleasant to narrow minds, and also to those who strive to preserve the doctrines of old-fashioned, gentlemanly politeness; but for all that there is a sort of lawless originality about him which women do not dislike. Besides, to them, he is often most amiably courteous; he seems to take pleasure in making them forget his personal singularities, and thus obtains a victory over antipathies which flatters either his vanity, his self-love, or his pride.

“Why do you present yourself like that?” said the Marquise de Vandenesse one day.

“Pearls live in oyster-shells,” he answered, conceitedly.

To another who asked him somewhat the same question, he replied,–

“If I were charming to all the world, how could I seem better still to the one woman I wish to please?”

Raoul Nathan imports this same natural disorder (which he uses as a banner) into his intellectual life; and the attribute is not misleading. His talent is very much that of the poor girls who go about in bourgeois families to work by the day. He was first a critic, and a great critic; but he felt himself cheated in that vocation. His articles were equal to books, he said. The profits of theatrical work then allured him; but, incapable of the slow and steady application required for stage arrangement, he was forced to associate with himself a vaudevillist, du Bruel, who took his ideas, worked them over, and reduced them into those productive little pieces, full of wit, which are written expressly for actors and actresses. Between them, they had invented Florine, an actress now in vogue.

Humiliated by this association, which was that of the Siamese twins, Nathan had produced alone, at the Theatre-Francais, a serious drama, which fell with all the honors of war amid salvos of thundering articles. In his youth he had once before appeared at the great and noble Theatre-Francais in a splendid romantic play of the style of “Pinto,”–a period when the classic reigned supreme. The Odeon was so violently agitated for three nights that the play was forbidden by the censor. This second piece was considered by many a masterpiece, and won him more real reputation than all his productive little pieces done with collaborators,–but only among a class to whom little attention is paid, that of connoisseurs and persons of true taste.

“Make another failure like that,” said Emile Blondet, “and you’ll be immortal.”

But instead of continuing in that difficult path, Nathan had fallen, out of sheer necessity, into the powder and patches of eighteenth-century vaudeville, costume plays, and the reproduction, scenically, of successful novels.

Nevertheless, he passed for a great mind which had not said its last word. He had, moreover, attempted permanent literature, having published three novels, not to speak of several others which he kept in press like fish in a tank. One of these three books, the first (like that of many writers who can only make one real trip into literature), had obtained a very brilliant success. This work, imprudently placed in the front rank, this really artistic work he was never weary of calling the finest book of the period, the novel of the century.

Raoul complained bitterly of the exigencies of art. He was one of those who contributed most to bring all created work, pictures, statues, books, building under the single standard of Art. He had begun his career by committing a volume of verse, which won him a place in the pleiades of living poets; among these verses was a nebulous poem that was greatly admired. Forced by want of means to keep on producing, he went from the theatre to the press, and from the press to the theatre, dissipating and scattering his talent, but believing always in his vein. His fame was therefore not unpublished like that of so many great minds in extremity, who sustain themselves only by the thought of work to be done.

Nathan resembled a man of genius; and had he marched to the scaffold, as he sometimes wished he could have done, he might have struck his brow with the famous action of Andre Chenier. Seized with political ambition on seeing the rise to power of a dozen authors, professors, metaphysicians, and historians, who encrusted themselves, so to speak, upon the machine during the turmoils of 1830 and 1833, he regretted that he had not spent his time on political instead of literary articles. He thought himself superior to all those parvenus, whose success inspired him with consuming jealousy. He belonged to the class of minds ambitious of everything, capable of all things, from whom success is, as it were, stolen; who go their way dashing at a hundred luminous points, and settling upon none, exhausting at last the good-will of others.

At this particular time he was going from Saint-Simonism into republicanism, to return, very likely, to ministerialism. He looked for a bone to gnaw in all corners, searching for a safe place where he could bark secure from kicks and make himself feared. But he had the mortification of finding he was held to be of no account by de Marsay, then at the head of the government, who had no consideration whatever for authors, among whom he did not find what Richelieu called a consecutive mind, or more correctly, continuity of ideas; he counted as any minister would have done on the constant embarrassment of Raoul’s business affairs. Sooner or later, necessity would bring him to accept conditions instead of imposing them.

The real, but carefully concealed character of Raoul Nathan is of a piece with his public career. He is a comedian in good faith, selfish as if the State were himself, and a very clever orator. No one knows better how to play off sentiments, glory in false grandeurs, deck himself with moral beauty, do honor to his nature in language, and pose like Alceste while behaving like Philinte. His egotism trots along protected by this cardboard armor, and often almost reaches the end he seeks. Lazy to a superlative degree, he does nothing, however, until he is prodded by the bayonets of need. He is incapable of continued labor applied to the creation of a work; but, in a paroxysm of rage caused by wounded vanity, or in a crisis brought on by creditors, he leaps the Eurotas and attains to some great triumph of his intellect. After which, weary, and surprised at having created anything, he drops back into the marasmus of Parisian dissipation; wants become formidable; he has no strength to face them; and then he comes down from his pedestal and compromises.

Influenced by a false idea of his grandeur and of his future,–the measure of which he reckons on the noble success of one of his former comrades, one of the few great talents brought to light by the revolution of July,–he allows himself, in order to get out of his embarrassments, certain laxities of principle with persons who are friendly to him,–laxities which never come to the surface, but are buried in private life, where no one ever mentions or complains of them. The shallowness of his heart, the impurity of his hand, which clasps that of all vices, all evils, all treacheries, all opinions, have made him as inviolable as a constitutional king. Venial sins, which excite a hue and cry against a man of high character, are thought nothing of in him; the world hastens to excuse them. Men who might otherwise be inclined to despise him shake hands with him, fearing that the day may come when they will need him. He has, in fact, so many friends that he wishes for enemies.

Judged from a literary point of view, Nathan lacks style and cultivation. Like most young men, ambitious of literary fame, he disgorges to-day what he acquired yesterday. He has neither the time nor the patience to write carefully; he does not observe, but he listens. Incapable of constructing a vigorously framed plot, he sometimes makes up for it by the impetuous ardor of his drawing. He “does passion,” to use a term of the literary argot; but instead of awaking ideas, his heroes are simply enlarged individualities, who excite only fugitive sympathies; they are not connected with any of the great interests of life, and consequently they represent nothing. Nevertheless, Nathan maintains his ground by the quickness of his mind, by those lucky hits which billiard-players call a “good stroke.” He is the cleverest shot at ideas on the fly in all Paris. His fecundity is not his own, but that of his epoch; he lives on chance events, and to control them he distorts their meaning. In short, he is not _true_; his presentation is false; in him, as Comte Felix said, is the born juggler. Moreover, his pen gets its ink in the boudoir of an actress.

Raoul Nathan is a fair type of the Parisian literary youth of the day, with its false grandeurs and its real misery. He represents that youth by his incomplete beauties and his headlong falls, by the turbulent torrent of his existence, with its sudden reverses and its unhoped-for triumphs. He is truly the child of a century consumed with envy,–a century with a thousand rivalries lurking under many a system, which nourish to their own profit that hydra of anarchy which wants wealth without toil, fame without talent, success without effort, but whose vices force it, after much rebellion and many skirmishes, to accept the budget under the powers that be. When so many young ambitions, starting on foot, give one another rendezvous at the same point, there is always contention of wills, extreme wretchedness, bitter struggles. In this dreadful battle, selfishness, the most overbearing or the most adroit selfishness, gains the victory; and it is envied and applauded in spite, as Moliere said, of outcries, and we all know it.

When, in his capacity as enemy to the new dynasty, Raoul was introduced in the salon of Madame de Montcornet, his apparent grandeurs were flourishing. He was accepted as the political critic of the de Marsays, the Rastignacs, and the Roche-Hugons, who had stepped into power. Emile Blondet, the victim of incurable hesitation and of his innate repugnance to any action that concerned only himself, continued his trade of scoffer, took sides with no one, and kept well with all. He was friendly with Raoul, friendly with Rastignac, friendly with Montcornet.

“You are a political triangle,” said de Marsay, laughing, when they met at the Opera. “That geometric form, my dear fellow, belongs only to the Deity, who has nothing to do; ambitious men ought to follow curved lines, the shortest road in politics.”

Seen from a distance, Raoul Nathan was a very fine meteor. Fashion accepted his ways and his appearance. His borrowed republicanism gave him, for the time being, that Jansenist harshness assumed by the defenders of the popular cause, while they inwardly scoff at it,–a quality not without charm in the eyes of women. Women like to perform prodigies, break rocks, and soften natures which seem of iron.

Raoul’s moral costume was therefore in keeping with his clothes. He was fitted to be what he became to the Eve who was bored in her paradise in the rue du Rocher,–the fascinating serpent, the fine talker with magnetic eyes and harmonious motions who tempted the first woman. No sooner had the Comtesse Marie laid eyes on Raoul than she felt an inward emotion, the violence of which caused her a species of terror. The glance of that fraudulent great man exercised a physical influence upon her, which quivered in her very heart, and troubled it. But the trouble was pleasure. The purple mantle which celebrity had draped for a moment round Nathan’s shoulders dazzled the ingenuous young woman. When tea was served, she rose from her seat among a knot of talking women, where she had been striving to see and hear that extraordinary being. Her silence and absorption were noticed by her false friends.

The countess approached the divan in the centre of the room, where Raoul was perorating. She stood there with her arm in that of Madame Octave de Camp, an excellent woman, who kept the secret of the involuntary trembling by which these violent emotions betrayed themselves. Though the eyes of a captivated woman are apt to shed wonderful sweetness, Raoul was too occupied at that moment in letting off fireworks, too absorbed in his epigrams going up like rockets (in the midst of which were flaming portraits drawn in lines of fire) to notice the naive admiration of one little Eve concealed in a group of women. Marie’s curiosity–like that which would undoubtedly precipitate all Paris into the Jardin des Plantes to see a unicorn, if such an animal could be found in those mountains of the moon, still virgin of the tread of Europeans–intoxicates a secondary mind as much as it saddens great ones; but Raoul was enchanted by it; although he was then too anxious to secure all women to care very much for one alone.

“Take care, my dear,” said Marie’s kind and gracious companion in her ear, “and go home.”

The countess looked at her husband to ask for his arm with one of those glances which husbands do not always understand. Felix did so, and took her home.

“My dear friend,” said Madame d’Espard in Raoul’s ear, “you are a lucky fellow. You have made more than one conquest to-night, and among them that of the charming woman who has just left us so abruptly.”

“Do you know what the Marquise d’Espard meant by that?” said Raoul to Rastignac, when they happened to be comparatively alone between one and two o’clock in the morning.

“I am told that the Comtesse de Vandenesse has taken a violent fancy to you. You are not to be pitied!” said Rastignac.

“I did not see her,” said Raoul.

“Oh! but you will see her, you scamp!” cried Emile Blondet, who was standing by. “Lady Dudley is going to ask you to her grand ball, that you may meet the pretty countess.”

Raoul and Blondet went off with Rastignac, who offered them his carriage. All three laughed at the combination of an eclectic under-secretary of State, a ferocious republican, and a political atheist.

“Suppose we sup at the expense of the present order of things?” said Blondet, who would fain recall suppers to fashion.

Rastignac took them to Very’s, sent away his carriage, and all three sat down to table to analyze society with Rabelaisian laughs. During the supper, Rastignac and Blondet advised their provisional enemy not to neglect such a capital chance of advancement as the one now offered to him. The two “roues” gave him, in fine satirical style, the history of Madame Felix de Vandenesse; they drove the scalpel of epigram and the sharp points of much good wit into that innocent girlhood and happy marriage. Blondet congratulated Raoul on encountering a woman guilty of nothing worse so far than horrible drawings in red chalk, attenuated water-colors, slippers embroidered for a husband, sonatas executed with the best intentions,–a girl tied to her mother’s apron-strings till she was eighteen, trussed for religious practices, seasoned by Vandenesse, and cooked to a point by marriage. At the third bottle of champagne, Raoul unbosomed himself as he had never done before in his life.

“My friends,” he said, “you know my relations with Florine; you also know my life, and you will not be surprised to hear me say that I am absolutely ignorant of what a countess’s love may be like. I have often felt mortified that I, a poet, could not give myself a Beatrice, a Laura, except in poetry. A pure and noble woman is like an unstained conscience,–she represents us to ourselves under a noble form. Elsewhere we may soil ourselves, but with her we are always proud, lofty, and immaculate. Elsewhere we lead ill-regulated lives; with her we breathe the calm, the freshness, the verdure of an oasis–“

“Go on, go on, my dear fellow!” cried Rastignac; “twang that fourth string with the prayer in ‘Moses’ like Paganini.”

Raoul remained silent, with fixed eyes, apparently musing.

“This wretched ministerial apprentice does not understand me,” he said, after a moment’s silence.

So, while the poor Eve in the rue du Rocher went to bed in the sheets of shame, frightened at the pleasure with which she had listened to that sham great poet, these three bold minds were trampling with jests over the tender flowers of her dawning love. Ah! if women only knew the cynical tone that such men, so humble, so fawning in their presence, take behind their backs! how they sneer at what they say they adore! Fresh, pure, gracious being, how the scoffing jester disrobes and analyzes her! but, even so, the more she loses veils, the more her beauty shines.

Marie was at this moment comparing Raoul and Felix, without imagining the danger there might be for her in such comparisons. Nothing could present a greater contrast than the disorderly, vigorous Raoul to Felix de Vandenesse, who cared for his person like a dainty woman, wore well-fitting clothes, had a charming “desinvoltura,” and was a votary of English nicety, to which, in earlier days, Lady Dudley had trained him. Marie, as a good and pious woman, soon forbade herself even to think of Raoul, and considered that she was a monster of ingratitude for making the comparison.

“What do you think of Raoul Nathan?” she asked her husband the next day at breakfast.

“He is something of a charlatan,” replied Felix; “one of those volcanoes who are easily calmed down with a little gold-dust. Madame de Montcornet makes a mistake in admitting him.”

This answer annoyed Marie, all the more because Felix supported his opinion with certain facts, relating what he knew of Raoul Nathan’s life,–a precarious existence mixed up with a popular actress.

“If the man has genius,” he said in conclusion, “he certainly has neither the constancy nor the patience which sanctifies it, and makes it a thing divine. He endeavors to impose on the world by placing himself on a level which he does nothing to maintain. True talent, pains-taking and honorable talent does not act thus. Men who possess such talent follow their path courageously; they accept its pains and penalties, and don’t cover them with tinsel.”

A woman’s thought is endowed with incredible elasticity. When she receives a knockdown blow, she bends, seems crushed, and then renews her natural shape in a given time.

“Felix is no doubt right,” thought she.

But three days later she was once more thinking of the serpent, recalled to him by that singular emotion, painful and yet sweet, which the first sight of Raoul had given her. The count and countess went to Lady Dudley’s grand ball, where, by the bye, de Marsay appeared in society for the last time. He died about two months later, leaving the reputation of a great statesman, because, as Blondet remarked, he was incomprehensible.

Vandenesse and his wife again met Raoul Nathan at this ball, which was remarkable for the meeting of several personages of the political drama, who were not a little astonished to find themselves together. It was one of the first solemnities of the great world. The salons presented a magnificent spectacle to the eye,–flowers, diamonds, and brilliant head-dresses; all jewel-boxes emptied; all resources of the toilet put under contribution. The ball-room might be compared to one of those choice conservatories where rich horticulturists collect the most superb rarities,–same brilliancy, same delicacy of texture. On all sides white or tinted gauzes like the wings of the airiest dragon-fly, crepes, laces, blondes, and tulles, varied as the fantasies of entomological nature; dentelled, waved, and scalloped; spider’s webs of gold and silver; mists of silk embroidered by fairy fingers; plumes colored by the fire of the tropics drooping from haughty heads; pearls twined in braided hair; shot or ribbed or brocaded silks, as though the genius of arabesque had presided over French manufactures,–all this luxury was in harmony with the beauties collected there as if to realize a “Keepsake.” The eye received there an impression of the whitest shoulders, some amber-tinted, others so polished as to seem colandered, some dewy, some plump and satiny, as though Rubens had prepared their flesh; in short, all shades known to man in white. Here were eyes sparkling like onyx or turquoise fringed with dark lashes; faces of varied outline presenting the most graceful types of many lands; foreheads noble and majestic, or softly rounded, as if thought ruled, or flat, as if resistant will reigned there unconquered; beautiful bosoms swelling, as George IV. admired them, or widely parted after the fashion of the eighteenth century, or pressed together, as Louis XV. required; some shown boldly, without veils, others covered by those charming pleated chemisettes which Raffaelle painted. The prettiest feet pointed for the dance, the slimmest waists encircled in the waltz, stimulated the gaze of the most indifferent person present. The murmur of sweet voices, the rustle of gowns, the cadence of the dance, the whir of the waltz harmoniously accompanied the music. A fairy’s wand seemed to have commanded this dazzling revelry, this melody of perfumes, these iridescent lights glittering from crystal chandeliers or sparkling in candelabra. This assemblage of the prettiest women in their prettiest dresses stood out upon a gloomy background of men in black coats, among whom the eye remarked the elegant, delicate, and correctly drawn profile of nobles, the ruddy beards and grave faces of Englishmen, and the more gracious faces of the French aristocracy. All the orders of Europe glittered on the breasts or hung from the necks of these men.

Examining this society carefully, it was seen to present not only the brilliant tones and colors and outward adornment, but to have a soul, –it lived, it felt, it thought. Hidden passions gave it a physiognomy; mischievous or malignant looks were exchanged; fair and giddy girls betrayed desires; jealous women told each other scandals behind their fans, or paid exaggerated compliments. Society, anointed, curled, and perfumed, gave itself up to social gaiety which went to the brain like a heady liquor. It seemed as if from all foreheads, as well as from all hearts, ideas and sentiments were exhaling, which presently condensed and reacted in a volume on the coldest persons present, and excited them. At the most animated moment of this intoxicating party, in a corner of a gilded salon where certain bankers, ambassadors, and the immoral old English earl, Lord Dudley, were playing cards, Madame Felix de Vandenesse was irresistibly drawn to converse with Raoul Nathan. Possibly she yielded to that ball-intoxication which sometimes wrings avowals from the most discreet.

At sight of such a fete, and the splendors of a world in which he had never before appeared, Nathan was stirred to the soul by fresh ambition. Seeing Rastignac, whose younger brother had just been made bishop at twenty-seven years of age, and whose brother-in-law, Martial de la Roche-Hugon, was a minister, and who himself was under-secretary of State, and about to marry, rumor said, the only daughter of the Baron de Nucingen,–a girl with an illimitable “dot”; seeing, moreover, in the diplomatic body an obscure writer whom he had formerly known translating articles in foreign journals for a newspaper turned dynastic since 1830, also professors now made peers of France,–he felt with anguish that he was left behind on a bad road by advocating the overthrow of this new aristocracy of lucky talent, of cleverness crowned by success, and of real merit. Even Blondet, so unfortunate, so used by others in journalism, but so welcomed here, who could, if he liked, enter a career of public service through the influence of Madame de Montcornet, seemed to Nathan’s eyes a striking example of the power of social relations. Secretly, in his heart, he resolved to play the game of political opinions, like de Marsay, Rastignac, Blondet, Talleyrand, the leader of this set of men; to rely on facts only, turn them to his own profit, regard his system as a weapon, and not interfere with a society so well constituted, so shrewd, so natural.

“My influence,” he thought, “will depend on the influence of some woman belonging to this class of society.”

With this thought in his mind, conceived by the flame of this frenzied desire, he fell upon the Comtesse de Vandenesse like a hawk on its prey. That charming young woman in her head-dress of marabouts, which produced the delightful “flou” of the paintings of Lawrence and harmonized well with her gentle nature, was penetrated through and through by the foaming vigor of this poet wild with ambition. Lady Dudley, whom nothing escaped, aided this tete-a-tete by throwing the Comte de Vandenesse with Madame de Manerville. Strong in her former ascendancy over him, Natalie de Manerville amused herself by leading Felix into the mazes of a quarrel of witty teasing, blushing half-confidences, regrets coyly flung like flowers at his feet, recriminations in which she excused herself for the sole purpose of being put in the wrong.

These former lovers were speaking to each other for the first time since their rupture; and while her husband’s former love was stirring the embers to see if a spark were yet alive, Madame Felix de Vandenesse was undergoing those violent palpitations which a woman feels at the certainty of doing wrong, and stepping on forbidden ground,–emotions that are not without charm, and which awaken various dormant faculties. Women are fond of using Bluebeard’s bloody key, that fine mythological idea for which we are indebted to Perrault.

The dramatist–who knew his Shakespeare–displayed his wretchedness, related his struggle with men and things, made his hearer aware of his baseless grandeur, his unrecognized political genius, his life without noble affections. Without saying a single definite word, he contrived to suggest to this charming woman that she should play the noble part of Rebecca in Ivanhoe, and love and protect him. It was all, of course, in the ethereal regions of sentiment. Forget-me-nots are not more blue, lilies not more white than the images, thoughts, and radiantly illumined brow of this accomplished artist, who was likely to send his conversation to a publisher. He played his part of reptile to this poor Eve so cleverly, he made the fatal bloom of the apple so dazzling to her eyes, that Marie left the ball-room filled with that species of remorse which resembles hope, flattered in all her vanities, stirred to every corner of her heart, caught by her own virtues, allured by her native pity for misfortune.

Perhaps Madame de Manerville had taken Vandenesse into the salon where his wife was talking with Nathan; perhaps he had come there himself to fetch Marie, and take her home; perhaps his conversation with his former flame had awakened slumbering griefs; certain it is that when his wife took his arm to leave the ball-room, she saw that his face was sad and his look serious. The countess wondered if he was displeased with her. No sooner were they seated in the carriage than she turned to Felix and said, with a mischievous smile,–

“Did not I see you talking half the evening with Madame de Manerville?”

Felix was not out of the tangled paths into which his wife had led him by this charming little quarrel, when the carriage turned into their court-yard. This was Marie’s first artifice dictated by her new emotion; and she even took pleasure in triumphing over a man who, until then, had seemed to her so superior.

CHAPTER V

FLORINE

Between the rue Basse-du-Rempart and the rue Neuve-des-Mathurins, Raoul had, on the third floor of an ugly and narrow house, in the Passage Sandrie, a poor enough lodging, cold and bare, where he lived ostensibly for the general public, for literary neophytes, and for his creditors, duns, and other annoying persons whom he kept on the threshold of private life. His real home, his fine existence, his presentation of himself before his friends, was in the house of Mademoiselle Florine, a second-class comedy actress, where, for ten years, the said friends, journalists, certain authors, and writers in general disported themselves in the society of equally illustrious actresses. For ten years Raoul had attached himself so closely to this woman that he passed more than half his life with her; he took all his meals at her house unless he had some friend to invite, or an invitation to dinner elsewhere.

To consummate corruption, Florine added a lively wit, which intercourse with artists had developed and practice sharpened day by day. Wit is thought to be a quality rare in comedians. It is so natural to suppose that persons who spend their lives in showing things on the outside have nothing within. But if we reflect on the small number of actors and actresses who live in each century, and also on how many dramatic authors and fascinating women this population has supplied relatively to its numbers, it is allowable to refute that opinion, which rests, and apparently will rest forever, on a criticism made against dramatic artists,–namely, that their personal sentiments are destroyed by the plastic presentation of passions; whereas, in fact, they put into their art only their gifts of mind, memory, and imagination. Great artists are beings who, to quote Napoleon, can cut off at will the connection which Nature has put between the senses and thought. Moliere and Talma, in their old age, were more in love than ordinary men in all their lives.

Accustomed to listen to journalists, who guess at most things, putting two and two together, to writers, who foresee and tell all that they see; accustomed also to the ways of certain political personages, who watched one another in her house, and profited by all admissions, Florine presented in her own person a mixture of devil and angel, which made her peculiarly fitted to receive these roues. They delighted in her cool self-possession; her anomalies of mind and heart entertained them prodigiously. Her house, enriched by gallant tributes, displayed the exaggerated magnificence of women who, caring little about the cost of things, care only for the things themselves, and give them the value of their own caprices,–women who will break a fan or a smelling-bottle fit for queens in a moment of passion, and scream with rage if a servant breaks a ten-franc saucer from which their poodle drinks.

Florine’s dining-room, filled with her most distinguished offerings, will give a fair idea of this pell-mell of regal and fantastic luxury. Throughout, even on the ceilings, it was panelled in oak, picked out, here and there, by dead-gold lines. These panels were framed in relief with figures of children playing with fantastic animals, among which the light danced and floated, touching here a sketch by Bixiou, that maker of caricatures, there the cast of an angel holding a vessel of holy water (presented by Francois Souchet), farther on a coquettish painting of Joseph Bridau, a gloomy picture of a Spanish alchemist by Hippolyte Schinner, an autograph of Lord Byron to Lady Caroline Lamb, framed in carved ebony, while, hanging opposite as a species of pendant, was a letter from Napoleon to Josephine. All these things were placed about without the slightest symmetry, but with almost imperceptible art. On the chimney-piece, of exquisitely carved oak, there was nothing except a strange, evidently Florentine, ivory statuette attributed to Michael Angelo, representing Pan discovering a woman under the skin of a young shepherd, the original of which is in the royal palace of Vienna. On either side were candelabra of Renaissance design. A clock, by Boule, on a tortoise-shell stand, inlaid with brass, sparkled in the centre of one panel between two statuettes, undoubtedly obtained from the demolition of some abbey. In the corners of the room, on pedestals, were lamps of royal magnificence, as to which a manufacturer had made strong remonstrance against adapting his lamps to Japanese vases. On a marvellous sideboard was displayed a service of silver plate, the gift of an English lord, also porcelains in high relief; in short, the luxury of an actress who has no other property than her furniture.

The bedroom, all in violet, was a dream that Florine had indulged from her debut, the chief features of which were curtains of violet velvet lined with white silk, and looped over tulle; a ceiling of white cashmere with violet satin rays, an ermine carpet beside the bed; in the bed, the curtains of which resembled a lily turned upside down was a lantern by which to read the newspaper plaudits or criticisms before they appeared in the morning. A yellow salon, its effect heightened by trimmings of the color of Florentine bronze, was in harmony with the rest of these magnificences, a further description of which would make our pages resemble the posters of an auction sale. To find comparisons for all these fine things, it would be necessary to go to a certain house that was almost next door, belonging to a Rothschild.

Sophie Grignault, surnamed Florine by a form of baptism common in theatres, had made her first appearances, in spite of her beauty, on very inferior boards. Her success and her money she owed to Raoul Nathan. This association of their two fates, usual enough in the dramatic and literary world, did no harm to Raoul, who kept up the outward conventions of a man of the world. Moreover, Florine’s actual means were precarious; her revenues came from her salary and her leaves of absence, and barely sufficed for her dress and her household expenses. Nathan gave her certain perquisites which he managed to levy as critic on several of the new enterprises of industrial art. But although he was always gallant and protecting towards her, that protection had nothing regular or solid about it.

This uncertainty, and this life on a bough, as it were, did not alarm Florine; she believed in her talent, and she believed in her beauty. Her robust faith was somewhat comical to those who heard her staking her future upon it, when remonstrances were made to her.

“I can have income enough when I please,” she was wont to say; “I have invested fifty francs on the Grand-livre.”

No one could ever understand how it happened that Florine, handsome as she was, had remained in obscurity for seven years; but the fact is, Florine was enrolled as a supernumerary at thirteen years of age, and made her debut two years later at an obscure boulevard theatre. At fifteen, neither beauty nor talent exist; a woman is simply all promise.

She was now twenty-eight,–the age at which the beauties of a French woman are in their glory. Painters particularly admired the lustre of her white shoulders, tinted with olive tones about the nape of the neck, and wonderfully firm and polished, so that the light shimmered over them as it does on watered silk. When she turned her head, superb folds formed about her neck, the admiration of sculptors. She carried on this triumphant neck the small head of a Roman empress, the delicate, round, and self-willed head of Pompeia, with features of elegant correctness, and the smooth forehead of a woman who drives all care away and all reflection, who yields easily, but is capable of balking like a mule, and incapable at such times of listening to reason. That forehead, turned, as it were, with one cut of the chisel, brought out the beauty of the golden hair, which was raised in front, after the Roman fashion, in two equal masses, and twisted up behind the head to prolong the line of the neck, and enhance that whiteness by its beautiful color. Black and delicate eyebrows, drawn by a Chinese brush, encircled the soft eyelids, which were threaded with rosy fibres. The pupils of the eyes, extremely bright, though striped with brown rays, gave to her glance the cruel fixity of a beast of prey, and betrayed the cold maliciousness of the courtesan. The eyes were gray, fringed with black lashes,–a charming contrast, which made their expression of calm and contemplative voluptuousness the more observable; the circle round the eyes showed marks of fatigue, but the artistic manner in which she could turn her eyeballs, right and left, or up and down, to observe, or seem to mediate, the way in which she could hold them fixed, casting out their vivid fire without moving her head, without taking from her face its absolute immovability (a manoeuvre learned upon the stage), and the vivacity of their glance, as she looked about a theatre in search of a friend, made her eyes the most terrible, also the softest, in short, the most extraordinary eyes in the world. Rouge had destroyed by this time the diaphanous tints of her cheeks, the flesh of which was still delicate; but although she could no longer blush or turn pale, she had a thin nose with rosy, passionate nostrils, made to express irony,–the mocking irony of Moliere’s women-servants. Her sensual mouth, expressive of sarcasm and love of dissipation, was adorned with a deep furrow that united the upper lip with the nose. Her chin, white and rather fat, betrayed the violence of passion. Her hands and arms were worthy of a sovereign.

But she had one ineradicable sign of low birth,–her foot was short and fat. No inherited quality ever caused greater distress. Florine had tried everything, short of amputation, to get rid of it. The feet were obstinate, like the Breton race from which she came; they resisted all treatment. Florine now wore long boots stuffed with cotton, to give length, and the semblance of an instep. Her figure was of medium height, threatened with corpulence, but still well-balanced, and well-made.

Morally, she was an adept in all the attitudinizing, quarrelling, alluring, and cajoling of her business; and she gave to those actions a savor of their own by playing childlike innocence, and slipping in among her artless speeches philosophical malignities. Apparently ignorant and giddy, she was very strong on money-matters and commercial law,–for the reason that she had gone through so much misery before attaining to her present precarious success. She had come down, story by story, from the garret to the first floor, through so many vicissitudes! She knew life, from that which begins in Brie cheese and ends at pineapples; from that which cooks and washes in the corner of a garret on an earthenware stove, to that which convokes the tribes of pot-bellied chefs and saucemakers. She had lived on credit and not killed it; she was ignorant of nothing that honest women ignore; she spoke all languages: she was one of the populace by experience; she was noble by beauty and physical distinction. Suspicious as a spy, or a judge, or an old statesman, she was difficult to impose upon, and therefore the more able to see clearly into most matters. She knew the ways of managing tradespeople, and how to evade their snares, and she was quite as well versed in the prices of things as a public appraiser. To see her lying on her sofa, like a young bride, fresh and white, holding her part in her hand and learning it, you would have thought her a child of sixteen, ingenuous, ignorant, and weak, with no other artifice about her but her innocence. Let a creditor contrive to enter, and she was up like a startled fawn, and swearing a good round oath.

“Hey! my good fellow; your insolence is too dear an interest on the money I owe you,” she would say. “I am sick of seeing you. Send the sheriff here; I’d prefer him to your silly face.”

Florine gave charming dinners, concerts, and well-attended soirees, where play ran high. Her female friends were all handsome; no old woman had ever appeared within her precincts. She was not jealous; in fact, she would have thought jealousy an admission of inferiority. She had known Coralie and La Torpille in their lifetimes, and now knew Tullia, Euphrasie, Aquilina, Madame du Val-Noble, Mariette,–those women who pass through Paris like gossamer through the atmosphere, without our knowing where they go nor whence they came; to-day queens, to-morrow slaves. She also knew the actresses, her rivals, and all the prima-donnas; in short, that whole exceptional feminine society, so kindly, so graceful in its easy “sans-souci,” which absorbs into its own Bohemian life all who allow themselves to be caught in the frantic whirl of its gay spirits, its eager abandonment, and its contemptuous indifference to the future.

Though this Bohemian life displayed itself in her house in tumultuous disorder, amid the laughter of artists of every description, the queen of the revels had ten fingers on which she knew better how to count than any of her guests. In that house secret saturnalias of literature and art, politics and finance were carried on; there, desire reigned a sovereign; there, caprice and fancy were as sacred as honor and virtue to a bourgeoise; thither came Blondet, Finot, Etienne Lousteau, Vernou the feuilletonist, Couture, Bixiou, Rastignac in his earlier days, Claude Vignon the critic, Nucingen the banker, du Tillet, Conti the composer,–in short, that whole devil-may-care legion of selfish materialists of all kinds; friends of Florine and of the singers, actresses and “danseuses” collected about her. They all hated or liked one another according to circumstances.

This Bohemian resort, to which celebrity was the only ticket of admission, was a Hades of the mind, the galleys of the intellect. No one could enter there without having legally conquered fortune, done ten years of misery, strangled two or three passions, acquired some celebrity, either by books or waistcoats, by dramas or fine equipages; plots were hatched there, means of making fortune scrutinized, all things were discussed and weighed. But every man, on leaving it, resumed the livery of his own opinions; there he could, without compromising himself, criticise his own party, admit the knowledge and good play of his adversaries, formulate thoughts that no one admits thinking,–in short, say all, as if ready to do all. Paris is the only place in the world where such eclectic houses exist; where all tastes, all vices, all opinions are received under decent guise. Therefore it is not yet certain that Florine will remain to the end of her career a second-class actress.

Florine’s life was by no means an idle one, or a life to be envied. Many persons, misled by the magnificent pedestal that the stage gives to a woman, suppose her in the midst of a perpetual carnival. In the dark recesses of a porter’s lodge, beneath the tiles of an attic roof, many a poor girl dreams, on returning from the theatre, of pearls and diamonds, gold-embroidered gowns and sumptuous girdles; she fancies herself adored, applauded, courted; but little she knows of that treadmill life, in which the actress is forced to rehearsals under pain of fines, to the reading of new pieces, to the constant study of new roles. At each representation Florine changes her dress at least two or three times; often she comes home exhausted and half-dead; but before she can rest, she must wash off with various cosmetics the white and the red she has applied, and clean all the powder from her hair, if she has played a part from the eighteenth century. She scarcely has time for food. When she plays, an actress can live no life of her own; she can neither dress, nor eat, nor talk. Florine often has no time to sup. On returning from a play, which lasts, in these days, till after midnight, she does not get to bed before two in the morning; but she must rise early to study her part, order her dresses, try them on, breakfast, read her love-letters, answer them, discuss with the leader of the “claque” the place for the plaudits, pay for the triumphs of the last month in solid cash, and bespeak those of the month ahead. In the days of Saint-Genest, the canonized comedian who fulfilled his duties in a pious manner and wore a hair shirt, we must suppose that an actor’s life did not demand this incessant activity. Sometimes Florine, seized with a bourgeois desire to get out into the country and gather flowers, pretends to the manager that she is ill.

But even these mechanical operations are nothing in comparison with the intrigues to be carried on, the pains of wounded vanity to be endured,–preferences shown by authors, parts taken away or given to others, exactions of the male actors, spite of rivals, naggings of the stage manager, struggles with journalists; all of which require another twelve hours to the day. But even so far, nothing has been said of the art of acting, the expression of passion, the practice of positions and gesture, the minute care and watchfulness required on the stage, where a thousand opera-glasses are ready to detect a flaw, –labors which consumed the life and thought of Talma, Lekain, Baron, Contat, Clairon, Champmesle. In these infernal “coulisses” self-love has no sex; the artist who triumphs, be it man or woman, has all the other men and women against him or her. Then, as to money, however many engagements Florine may have, her salary does not cover the costs of her stage toilet, which, in addition to its costumes, requires an immense variety of long gloves, shoes, and frippery; and all this exclusive of her personal clothing. The first third of such a life is spent in struggling and imploring; the next third, in getting a foothold; the last third, in defending it. If happiness is frantically grasped, it is because it is so rare, so long desired, and found at last only amid the odious fictitious pleasures and smiles of such a life.

As for Florine, Raoul’s power in the press was like a protecting sceptre; he spared her many cares and anxieties; she clung to him less as a lover than a prop; she took care of him like a father, she deceived him like a husband; but she would readily have sacrificed all she had to him. Raoul could, and did do everything for her vanity as an actress, for the peace of her self-love, and for her future on the stage. Without the intervention of a successful author, there is no successful actress; Champmesle was due to Racine, like Mars to Monvel and Andrieux. Florine could do nothing in return for Raoul, though she would gladly have been useful and necessary to him. She reckoned on the charms of habit to keep him by her; she was always ready to open her salons and display the luxury of her dinners and suppers for his friends, and to further his projects. She desired to be for him what Madame de Pompadour was to Louis XV. All actresses envied Florine’s position, and some journalists envied that of Raoul.

Those to whom the inclination of the human mind towards chance, opposition, and contrasts is known, will readily understand that after ten years of this lawless Bohemian life, full of ups and downs, of fetes and sheriffs, of orgies and forced sobrieties, Raoul was attracted to the idea of another love,–to the gentle, harmonious house and presence of a great lady, just as the Comtesse Felix instinctively desired to introduce the torture of great emotions into a life made monotonous by happiness. This law of life is the law of all arts, which exist only by contrasts. A work done without this incentive is the loftiest expression of genius, just as the cloister is the highest expression of the Christian life.

On returning to his lodging from Lady Dudley’s ball, Raoul found a note from Florine, brought by her maid, which an invincible sleepiness prevented him from reading at that moment. He fell asleep, dreaming of a gentle love that his life had so far lacked. Some hours later he opened the note, and found in it important news, which neither Rastignac nor de Marsay had allowed to transpire. The indiscretion of a member of the government had revealed to the actress the coming dissolution of the Chamber after the present session. Raoul instantly went to Florine’s house and sent for Blondet. In the actress’s boudoir, with their feet on the fender, Emile and Raoul analyzed the political situation of France in 1834. On which side lay the best chance of fortune? They reviewed all parties and all shades of party, –pure republicans, presiding republicans, republicans without a republic, constitutionals without a dynasty, ministerial conservatives, ministerial absolutists; also the Right, the aristocratic Right, the legitimist, henriquinquist Right, and the carlest Right. Between the party of resistance and that of action there was no discussion; they might as well have hesitated between life and death.

At this period a flock of newspapers, created to represent all shades of opinion, produced a fearful pell-mell of political principles. Blondet, the most judicious mind of the day,–judicious for others, never for himself, like some great lawyers unable to manage their own affairs,–was magnificent in such a discussion. The upshot was that he