Delphi complete works of.., p.145
Delphi Complete Works of Alphonse Daudet (Illustrated), page 145
Next, the inspection at an end, see them all gathered in the salon on the ground floor, where Mme. Polge has prepared a little luncheon. The cellar of Bethlehem is well stocked. The keen air of the table-land, these climbs up and downstairs have given the old gentleman from the Tuileries an appetite such as he has not known for a long time, so that he chats and laughs as if he were at a picnic, and at the moment of departure, as they are all standing, raises his glass, nodding his head, to drink, “To Be-Be-Bethlehem!” Those present are moved, glasses are touched, then, at a quick trot, the carriage bears the party away down the long avenue of limes, over which a red and cold sun is just setting. Behind them the park resumes its dismal silence. Great dark masses gather in the depths of the copses, surround the house, gain little by little the paths and open spaces. Soon all is lost in gloom save the ironical letters embossed above the entrance-gate, and, away over yonder, at a first-floor window, one red and wavering spot, the light of a candle burning by the pillow of the dead child.
“By a decree dated the 12th March, 1865, issued upon the proposal
of the Minister of the Interior, Monsieur the Doctor Jenkins,
President and Founder of the Bethlehem Society is named a
Chevalier of the Imperial Order of the Legion of Honour. Great
devotion to the cause of humanity.”
As he read these words on the front page of the Official Journal, on the morning of the 16th, the poor Nabob felt dazed.
Was it possible?
Jenkins decorated, and not he!
He read the paragraph twice over, distrusting his own eyes. His ears buzzed. The letters danced double before his eyes with those great red rings round them which they have in strong sunlight. He had been so confident of seeing his name in this place; Jenkins, only the evening before, had repeated to him with so much assurance, “It is already done!” that he still thought his eyes must have deceived him. But no, it was indeed Jenkins. The blow was heavy, deep, prophetic, as it were a first warning from destiny, and one that was felt all the more intensely because for years this man had been unaccustomed to failure. Everything good in him learned mistrust at the same time.
“Well,” said he to de Gery as he came as usual every morning into his room, and found him visibly affected, holding the newspaper in his hand, “have you seen? I am not in the Official.”
He tried to smile, his features puckered like those of a child restraining his tears. Then, suddenly, with that frankness which was such a pleasing quality in him: “It is a great disappointment to me. I was looking forward to it too confidently.”
The door opened upon these words, and Jenkins rushed in, out of breath, stammering, extraordinarily agitated.
“It is an infamy, a frightful infamy! The thing cannot be, it shall not be!”
The words stumbled over each other in disorder on his lips, all trying to get out at once; then he seemed to despair of finding expression for his thoughts and in disgust threw on the table a small box and a large envelope, both bearing the stamp of the chancellor’s office.
“There are my cross and my brevet. They are yours, friend. I could not keep them.”
At bottom the words did not signify much. Jansoulet adorning himself with Jenkins’s ribbon might very well have been guilty of illegality. But a piece of theatrical business is not necessarily logical; this one brought about between the two men an effusion of feeling, embraces, a generous battle, at the end of which Jenkins replaced the objects in his pocket, speaking of protests, letters to the newspapers. The Nabob was again obliged to check him.
“Be very careful you do no such thing. To begin with, it would be to injure my chances for another time — who knows, perhaps on the 15th of August, which will soon be here.”
“Oh, as to that,” said Jenkins, jumping at this idea, and stretching out his arm as in the Oath of David, “I solemnly swear it.”
The matter was dropped at this point. At luncheon the Nabob was as gay as usual. This good humour was maintained all day, and de Gery, for whom the scene had been a revelation of the true Jenkins, the explanation of the ironies and the restrained wrath of Felicia Ruys whenever she spoke of the doctor, asked himself in vain how he could enlighten his dear patron about such hypocrisy. He should have been aware, however, that in southerners, with all their superficiality and effusion, there is no blindness, no enthusiasm, so complete as to remain insensible before the wisdom of reflection. In the evening the Nabob had opened a shabby little letter-case, worn at the corners, in which for ten years he had been accustomed to work out the calculations of his millions, writing down in hieroglyphics understood only by himself his receipts and expenditures. He buried himself in his accounts for a moment, then turning to de Gery:
“Do you know what I am doing, my dear Paul?” he asked.
“No, sir.”
“I am just calculating” — and his mocking glance thoroughly characteristic of his race, rallied the good nature of his smile— “I am just calculating that I have spend four hundred and thirty thousand francs to get a decoration for Jenkins.”
Four hundred and thirty thousand francs! And that was not the end.
BONNE MAMAN
PAUL DE GERY went three times a week in the evening to take his lesson in bookkeeping in the Joyeuses’ dining-room, not far from that little parlour in which he had seen the family the first day, and while with his eyes fixed on his teacher he was being initiated into all the mysteries of “debtor and creditor,” he used to listen, in spite of himself, for the light sounds coming from the industrious group behind the door, with thoughts dwelling regretfully on the vision of all those pretty brows bent in the lamplight. M. Joyeuse never said a word of his daughters; jealous of their charms as a dragon watching over beautiful princesses in a tower, and excited by the fantastic imaginings of his excessive affection for them, he would answer with marked brevity the inquiries of his pupil regarding the health of “the young ladies,” so that at last the young man ceased to mention them.
He was surprised, however, at not once seeing that Bonne Maman whose name was constantly recurring in the conversation of M. Joyeuse, entering into the least details of his existence, hovering over the household like the emblem of its perfect ordering and of its peace.
So great a reserve on the part of a venerable lady who must assuredly have passed the age at which the interest of young men is to be feared, seemed to him exaggerated. The lessons, however, were good ones, given with great clearness, the teacher having an excellent system of demonstration, and only one fault, that of becoming absorbed in silences, broken by sudden starts and exclamations let off like rockets. Apart from this, he was the best of masters, intelligent, patient, and conscientious, and Paul learned to know his way through the complex labyrinth of commercial books and resigned himself to ask nothing beyond.
One evening, towards nine o’clock, as the young man had risen to go, M. Joyeuse asked him if he would do him the honour of taking a cup of tea with his family, a custom dating from the time when Mme. Joyeuse, nee de Saint-Amand, was alive, she having been used to receive her friends on Thursdays. Since her death and the change in the financial position, the friends had become dispersed; but his little weekly function had been kept up.
Paul having accepted, the good old fellow opened the door and called:
“Bonne Maman!”
An alert footstep in the passage, and immediately the face of a girl of twenty, in a halo of abundant brown hair, made its appearance.
De Gery, stupefied, looked at M. Joyeuse.
“Bonne Maman?”
“Yes, it is a name that we gave her when she was a little girl. With her frilled cap, her authority as the eldest child, she had a quaint little air. We thought her like her grandmother. The name has clung to her.”
From the honest fellow’s tone as he spoke thus, one felt that to him this grandparent’s title applied to such an embodiment of attractive youth seemed the most natural thing in the world. Every one else thought as he did on the point; both her sisters, who had hastened to their father’s side, grouping themselves round him somewhat as in the portrait exhibited in the window on the ground floor, and the old servant who placed on the table in the little drawing-room a magnificent tea-service, a relic of the former splendours of the household. Every one called the girl “Bonne Maman” without her ever once having grown tired of it, the influence of that sacred title touching the affection of each one with a deference which flattered her and gave to her ideal authority a singular gentleness of protection.
Whether or not it were by reason of this appellation of grandmother which as a child he had learned to reverence, de Gery felt an inexpressible attraction towards this young girl. It was not like the sudden shock which he had received from that other, that emotional agitation in which were mingled the desire to flee, to escape from a possession and the persistent melancholy of the morrow of a festivity, extinguished candles, the lost refrains of songs, perfumes vanished into the night. In the presence of this young girl as she stood superintending the family table, seeing if anything were wanting, enveloping her children, her grandchildren, with the active tenderness of her eyes, there came to him a longing to know her, to be counted among her old friends, to confide to her things which he confessed only to himself; and when she offered him his cup of tea without any of the mincings of society or drawing-room affectations, he would have liked to say with the rest a “Thank you, Bonne Maman,” in which he would have put all his heart.
Suddenly, a cheerful knock at the door made everybody start.
“Ah, here comes M. Andre. Elise, a cup quickly. Jaia, the little cakes.” At the same time, Mlle. Henriette, the third of M. Joyeuse’s daughters, who had inherited from her mother, nee de Saint-Amand, a certain instinct for society, observing the number of visitors who seemed likely to crowd their rooms that evening, rushed to light the two candles on the piano.
“My fifth act is finished,” cried the newcomer as he entered, then he stopped short. “Ah, pardon,” and his face assumed a rather discomfited expression in the presence of the stranger. M. Joyeuse introduced them to each other: “M. Paul de Gery — M. Andre Maranne,” not without a certain solemnity. He remembered the receptions held formerly by his wife, and the vases on the chimneypiece, the two large lamps, the what-not; the easy chairs grouped in a circle had an air of joining in this illusion, and seemed more brilliant by reason of this unaccustomed throng.
“So your play is finished?”
“Finished, M. Joyeuse, and I hope to read it to you one of these evenings.”
“Oh, yes, M. Andre. Oh, yes,” said all the girls in chorus.
Their neighbour was in the habit of writing for the stage, and no one here doubted of his success. Photography, in any case, promised fewer profits. Clients were very rare, passers-by little disposed to business. To keep his hand in and to save his new apparatus from rusting, M. Andre was accustomed to practise anew on the family of his friends on each succeeding Sunday. They lent themselves to his experiments with unequalled long-suffering; the prosperity of this suburban photographer’s business was for them all an affair of amour propre, and awakened, even in the girls, that touching confraternity of feeling which draws together the destinies of people as insignificant in importance as sparrows on a roof. Andre Maranne, with the inexhaustible resources of his great brow full of illusion, used to explain without bitterness the indifference of the public. Sometimes the season was unfavourable, or, again, people were complaining of the bad state of business generally, and he would always end with the same consoling reflection, “When Revolt is produced!” That was the title of his play.
“It is surprising all the same,” said the fourth of M. Joyeuse’s daughters, twelve years old, with her hair in a pigtail, “it is surprising that with such a good balcony so little business should result.”
“And, if he were established on the Boulevard des Italiens,” remarks M. Joyeuse thoughtfully, and he is launched forth! — riding his chimera till it is brought to the ground suddenly with a gesture and these words uttered sadly: “Closed on account of bankruptcy.” In the space of a moment the terrible visionary has just installed his friend in splendid quarters on the Boulevard, where he gains enormous sums of money, at the same time, however, increasing his expenditure to so disproportionate an extent that a fearful failure in a few months engulfs both photographer and his photography. They laugh heartily when he gives this explanation; but all agree that the Rue Saint-Ferdinand, although less brilliant, is much more to be depended upon than the Boulevard des Italiens. Besides, it happens to be quite near the Bois de Boulogne, and if once the fashionable world got into the way of passing through it — That exalted society which was so much sought by her mother, is Mlle. Henriette’s fixed idea, and she is astonished that the thought of receiving “le high-life” in his little apartment on the fifth floor makes their neighbour laugh. The other week, however, a carriage with livery had called on him. Only just now, too, he had a very “swell” visit.
“Oh, quite a great lady!” interrupts Bonne Maman. “We were at the window on the lookout for father. We saw her alight from her carriage and look at the show-frame; we made sure that her visit was for you.”
“It was for me,” said Andre, a little embarrassed.
“For a moment we were afraid that she was going to pass on like so many others, on account of your five flights of stairs. So all four of us tried to attract her without her knowing it, by the magnetism of our four staring pairs of eyes. We drew her gently by the feathers of her hat and the laces of her cape. ‘Come up then, madame, come up,’ and finally she entered. There is so much magnetism in eyes that are kindly disposed.”
Magnetism she certainly had, the dear creature, not only in her glances, indeterminate of colour, veiled or gay like the sky of her Paris, but in her voice, in the draping of her dress, in everything about her, even to the long curl, falling over the neck erect and delicate as a statue’s.
Tea having been served, while the gentlemen finished their cups and talked — old Joyeuse was always very long over everything he did, by reason of his sudden expeditions to the moon — the girls brought out their work, the table became covered with wicker baskets, embroideries, pretty wools that rejuvenated with their bright tints the faded flowers of the old carpet, and the group of the other evening gathered once more within the bright circle defined by the lamp-shade, to the great satisfaction of Paul de Gery. It was the first evening of the kind that he had spent in Paris; it recalled to him others of a like sort very far away, lulled by the same innocent laughter, the peaceful sound produced by scissors as they are put down on the table, by a needle as it pierces through linen, or the rustle of a page turned over, and dear faces, disappeared for ever, gathered also around the family lamp, alas! so abruptly extinguished.
Having been admitted to this charming intimacy, he remained in it, took his lessons in the presence of the girls and was encouraged to chat with them when the good old man closed his big book. Here everything rested him after the whirl of that life into which he was thrown by the luxurious social existence of the Nabob; he come to renew his strength in this atmosphere of honesty, of simplicity, tried, too, to find healing there for the wounds with which a hand more indifferent than cruel stabbed his heart mercilessly.
“Some women have hated me, other women have loved me. She who has hurt me most never either loved or hated me.” Paul had met that woman of whom Henri Heine speaks. Felicia was full of welcome and cordiality for him. There was no one whom she treated with more favour. She used to reserve for him a special smile wherein one felt the kindliness of an artist’s eye arrested by and dwelling on a pleasing type, and the satisfaction of a jaded mind amused by anything new, however simple in appearance it may be. She liked that reserve, suggestive in a southerner, the honesty of that judgment, independent of every artistic or social formula and enlivened by a touch of provincial accent. These things were a change for her from the zigzag stroke of the thumb illustrating a eulogy with its gesture of the studio, from the compliments of comrades on the way in which she would snub some old fellow, or again from those affected admirations, from the “char-ar-ming, very nice indeed’s” with which young men about town, sucking the knobs of their canes, were accustomed to regale her. This young man at any rate did not say such things as that to her. She had nicknamed him Minerva, on account of his apparent tranquility and the regularity of his profile; and the moment she saw him, however far-off, she would call:
“Ah, here comes Minerva. Hail, beautiful Minerva! Put down your helmet and let us have a chat.”
But this familiar, almost fraternal, tone convinced the young man that he would make no further advance into that feminine comradeship in which tenderness was wanting, and that he lost each day something of his charm — the charm of the unforeseen — in the eyes of that woman born weary, who seemed to have already lived her life and found in all that she heard or saw the insipidity of a repetition. Felicia was bored. Her art alone could distract her, carry her away, transport her into a dazzling fairyland, whence she would fall back worn out, surprised each time by this awakening like a physical fall. She used to draw a comparison between herself and those jelly-fish whose transparent brilliancy, so much alive in the cool movements of the waves, drift to their death on the shore in little gelatinous pools. During those times devoid of inspiration, when the artist’s hand was heavy on his instrument, Felicia, deprived of the one moral support of her intellectual being, became unsociable, unapproachable, a tormenting mocker — the revenge taken of human weakness on the tired brains of genius. After having brought tears to the eyes of every one who cared for her, raking up painful recollections or enervating anxieties, she reached the lowest depths of her fatigue, and as there was always some fun in her, even in her ennui in a kind of caged wild-beast’s howl, which she called “the cry of the jackal in the desert,” and which used to make the good Crenmitz turn pale.
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