"The poor Jewess means to keep the promise she made to the Christian. Will the angel pray for the devil? That must sometimes happen in heaven.—I remain, with the deepest respect, always your humble servant,

"JOSEPHA MIRAH."

The lawyer, Maitre Hulot d'Ervy, hearing no more of the dreadful Madame Nourrisson, seeing his father-in-law married, having brought back his brother-in-law to the family fold, suffering from no importunity on the part of his new stepmother, and seeing his mother's health improve daily, gave himself up to his political and judicial duties, swept along by the tide of Paris life, in which the hours count for days.

One night, towards the end of the session, having occasion to write up a report to the Chamber of Deputies, he was obliged to sit at work till late at night. He had gone into his study at nine o'clock, and, while waiting till the man-servant should bring in the candles with green shades, his thoughts turned to his father. He was blaming himself for leaving the inquiry so much to the singer, and had resolved to see Monsieur Chapuzot himself on the morrow, when he saw in the twilight, outside the window, a handsome old head, bald and yellow, with a fringe of white hair.

"Would you please to give orders, sir, that a poor hermit is to be admitted, just come from the Desert, and who is instructed to beg for contributions towards rebuilding a holy house."

This apparition, which suddenly reminded the lawyer of a prophecy uttered by the terrible Nourrisson, gave him a shock.

"Let in that old man," said he to the servant.

"He will poison the place, sir," replied the man. "He has on a brown gown which he has never changed since he left Syria, and he has no shirt—"

"Show him in," repeated the master.

The old man came in. Victorin's keen eye examined this so-called pilgrim hermit, and he saw a fine specimen of the Neapolitan friars, whose frocks are akin to the rags of the lazzaroni, whose sandals are tatters of leather, as the friars are tatters of humanity. The get-up was so perfect that the lawyer, though still on his guard, was vexed with himself for having believed it to be one of Madame Nourrisson's tricks.

"How much to you want of me?"

"Whatever you feel that you ought to give me."

Victorin took a five-franc piece from a little pile on his table, and handed it to the stranger.

"That is not much on account of fifty thousand francs," said the pilgrim of the desert.

This speech removed all Victorin's doubts.

"And has Heaven kept its word?" he said, with a frown.

"The question is an offence, my son," said the hermit. "If you do not choose to pay till after the funeral, you are in your rights. I will return in a week's time."

"The funeral!" cried the lawyer, starting up.

"The world moves on," said the old man, as he withdrew, "and the dead move quickly in Paris!"

When Hulot, who stood looking down, was about to reply, the stalwart old man had vanished.

"I don't understand one word of all this," said Victorin to himself. "But at the end of the week I will ask him again about my father, if we have not yet found him. Where does Madame Nourrisson—yes, that was her name—pick up such actors?"

On the following day, Doctor Bianchon allowed the Baroness to go down into the garden, after examining Lisbeth, who had been obliged to keep to her room for a month by a slight bronchial attack. The learned doctor, who dared not pronounce a definite opinion on Lisbeth's case till he had seen some decisive symptoms, went into the garden with Adeline to observe the effect of the fresh air on her nervous trembling after two months of seclusion. He was interested and allured by the hope of curing this nervous complaint. On seeing the great physician sitting with them and sparing them a few minutes, the Baroness and her family conversed with him on general subjects.

"You life is a very full and a very sad one," said Madame Hulot. "I know what it is to spend one's days in seeing poverty and physical suffering."

"I know, madame," replied the doctor, "all the scenes of which charity compels you to be a spectator; but you will get used to it in time, as we all do. It is the law of existence. The confessor, the magistrate, the lawyer would find life unendurable if the spirit of the State did not assert itself above the feelings of the individual. Could we live at all but for that? Is not the soldier in time of war brought face to face with spectacles even more dreadful than those we see? And every soldier that has been under fire is kind-hearted. We medical men have the pleasure now and again of a successful cure, as you have that of saving a family from the horrors of hunger, depravity, or misery, and of restoring it to social respectability. But what comfort can the magistrate find, the police agent, or the attorney, who spend their lives in investigating the basest schemes of self-interest, the social monster whose only regret is when it fails, but on whom repentance never dawns?

"One-half of society spends its life in watching the other half. A very old friend of mine is an attorney, now retired, who told me that for fifteen years past notaries and lawyers have distrusted their clients quite as much as their adversaries. Your son is a pleader; has he never found himself compromised by the client for whom he held a brief?"

"Very often," said Victorin, with a smile.

"And what is the cause of this deep-seated evil?" asked the Baroness.

"The decay of religion," said Bianchon, "and the pre-eminence of finance, which is simply solidified selfishness. Money used not to be everything; there were some kinds of superiority that ranked above it —nobility, genius, service done to the State. But nowadays the law takes wealth as the universal standard, and regards it as the measure of public capacity. Certain magistrates are ineligible to the Chamber; Jean-Jacques Rousseau would be ineligible! The perpetual subdivision of estate compels every man to take care of himself from the age of twenty.

"Well, then, between the necessity for making a fortune and the depravity of speculation there is no check or hindrance; for the religious sense is wholly lacking in France, in spite of the laudable endeavors of those who are working for a Catholic revival. And this is the opinion of every man who, like me, studies society at the core."

"And you have few pleasures?" said Hortense.

"The true physician, madame, is in love with his science," replied the doctor. "He is sustained by that passion as much as by the sense of his usefulness to society.

"At this very time you see in me a sort of scientific rapture, and many superficial judges would regard me as a man devoid of feeling. I have to announce a discovery to-morrow to the College of Medicine, for I am studying a disease that had disappeared—a mortal disease for which no cure is known in temperate climates, though it is curable in the West Indies—a malady known here in the Middle Ages. A noble fight is that of the physician against such a disease. For the last ten days I have thought of nothing but these cases—for there are two, a husband and wife.—Are they not connections of yours? For you, madame, are surely Monsieur Crevel's daughter?" said he, addressing Celestine.

"What, is my father your patient?" asked Celestine. "Living in the Rue Barbet-de-Jouy?"

"Precisely so," said Bianchon.

"And the disease is inevitably fatal?" said Victorin in dismay.

"I will go to see him," said Celestine, rising.

"I positively forbid it, madame," Bianchon quietly said. "The disease is contagious."

"But you go there, monsieur," replied the young woman. "Do you think that a daughter's duty is less binding than a doctor's?"

"Madame, a physician knows how to protect himself against infection, and the rashness of your devotion proves to me that you would probably be less prudent than I."

Celestine, however, got up and went to her room, where she dressed to go out.

"Monsieur," said Victorin to Bianchon, "have you any hope of saving Monsieur and Madame Crevel?"

"I hope, but I do not believe that I may," said Bianchon. "The case is to me quite inexplicable. The disease is peculiar to negroes and the American tribes, whose skin is differently constituted to that of the white races. Now I can trace no connection with the copper-colored tribes, with negroes or half-castes, in Monsieur or Madame Crevel.

"And though it is a very interesting disease to us, it is a terrible thing for the sufferers. The poor woman, who is said to have been very pretty, is punished for her sins, for she is now squalidly hideous if she is still anything at all. She is losing her hair and teeth, her skin is like a leper's, she is a horror to herself; her hands are horrible, covered with greenish pustules, her nails are loose, and the flesh is eaten away by the poisoned humors."

"And the cause of such a disease?" asked the lawyer.

"Oh!" said the doctor, "the cause lies in a form of rapid blood-poisoning; it degenerates with terrific rapidity. I hope to act on the blood; I am having it analyzed; and I am now going home to ascertain the result of the labors of my friend Professor Duval, the famous chemist, with a view to trying one of those desperate measures by which we sometimes attempt to defeat death."

"The hand of God is there!" said Adeline, in a voice husky with emotion. "Though that woman has brought sorrows on me which have led me in moments of madness to invoke the vengeance of Heaven, I hope —God knows I hope—you may succeed, doctor."

Victorin felt dizzy. He looked at his mother, his sister, and the physician by turns, quaking lest they should read his thoughts. He felt himself a murderer.

Hortense, for her part, thought God was just.

Celestine came back to beg her husband to accompany her.

"If you insist on going, madame, and you too, monsieur, keep at least a foot between you and the bed of the sufferer, that is the chief precaution. Neither you nor your wife must dream of kissing the dying man. And, indeed, you ought to go with your wife, Monsieur Hulot, to hinder her from disobeying my injunctions."

Adeline and Hortense, when they were left alone, went to sit with Lisbeth. Hortense had such a virulent hatred of Valerie that she could not contain the expression of it.

"Cousin Lisbeth," she exclaimed, "my mother and I are avenged! that venomous snake is herself bitten—she is rotting in her bed!"

"Hortense, at this moment you are not a Christian. You ought to pray to God to vouchsafe repentance to this wretched woman."

"What are you talking about?" said Betty, rising from her couch. "Are you speaking of Valerie?"

"Yes," replied Adeline; "she is past hope—dying of some horrible disease of which the mere description makes one shudder——"

Lisbeth's teeth chattered, a cold sweat broke out all over her; the violence of the shock showed how passionate her attachment to Valerie had been.

"I must go there," said she.

"But the doctor forbids your going out."

"I do not care—I must go!—Poor Crevel! what a state he must be in; for he loves that woman."

"He is dying too," replied Countess Steinbock. "Ah! all our enemies are in the devil's clutches—"

"In God's hands, my child—"

Lisbeth dressed in the famous yellow Indian shawl and her black velvet bonnet, and put on her boots; in spite of her relations' remonstrances, she set out as if driven by some irresistible power.

She arrived in the Rue Barbet a few minutes after Monsieur and Madame Hulot, and found seven physicians there, brought by Bianchon to study this unique case; he had just joined them. The physicians, assembled in the drawing-room, were discussing the disease; now one and now another went into Valerie's room or Crevel's to take a note, and returned with an opinion based on this rapid study.

These princes of science were divided in their opinions. One, who stood alone in his views, considered it a case of poisoning, of private revenge, and denied its identity with the disease known in the Middle Ages. Three others regarded it as a specific deterioration of the blood and the humors. The rest, agreeing with Bianchon, maintained that the blood was poisoned by some hitherto unknown morbid infection. Bianchon produced Professor Duval's analysis of the blood. The remedies to be applied, though absolutely empirical and without hope, depended on the verdict in this medical dilemma.

Lisbeth stood as if petrified three yards away from the bed where Valerie lay dying, as she saw a priest from Saint-Thomas d'Aquin standing by her friend's pillow, and a sister of charity in attendance. Religion could find a soul to save in a mass of rottenness which, of the five senses of man, had now only that of sight. The sister of charity who alone had been found to nurse Valerie stood apart. Thus the Catholic religion, that divine institution, always actuated by the spirit of self-sacrifice, under its twofold aspect of the Spirit and the Flesh, was tending this horrible and atrocious creature, soothing her death-bed by its infinite benevolence and inexhaustible stores of mercy.

The servants, in horror, refused to go into the room of either their master or mistress; they thought only of themselves, and judged their betters as righteously stricken. The smell was so foul that in spite of open windows and strong perfumes, no one could remain long in Valerie's room. Religion alone kept guard there.

How could a woman so clever as Valerie fail to ask herself to what end these two representatives of the Church remained with her? The dying woman had listened to the words of the priest. Repentance had risen on her darkened soul as the devouring malady had consumed her beauty. The fragile Valerie had been less able to resist the inroads of the disease than Crevel; she would be the first to succumb, and, indeed, had been the first attacked.

"If I had not been ill myself, I would have come to nurse you," said Lisbeth at last, after a glance at her friend's sunken eyes. "I have kept my room this fortnight or three weeks; but when I heard of your state from the doctor, I came at once."

"Poor Lisbeth, you at least love me still, I see!" said Valerie. "Listen. I have only a day or two left to think, for I cannot say to live. You see, there is nothing left of me—I am a heap of mud! They will not let me see myself in a glass.—Well, it is no more than I deserve. Oh, if I might only win mercy, I would gladly undo all the mischief I have done."

"Oh!" said Lisbeth, "if you can talk like that, you are indeed a dead woman."

"Do not hinder this woman's repentance, leave her in her Christian mind," said the priest.

"There is nothing left!" said Lisbeth in consternation. "I cannot recognize her eyes or her mouth! Not a feature of her is there! And her wit has deserted her! Oh, it is awful!"

"You don't know," said Valerie, "what death is; what it is to be obliged to think of the morrow of your last day on earth, and of what is to be found in the grave.—Worms for the body—and for the soul, what?—Lisbeth, I know there is another life! And I am given over to terrors which prevent my feeling the pangs of my decomposing body.—I, who could laugh at a saint, and say to Crevel that the vengeance of God took every form of disaster.—Well, I was a true prophet.—Do not trifle with sacred things, Lisbeth; if you love me, repent as I do."

"I!" said Lisbeth. "I see vengeance wherever I turn in nature; insects even die to satisfy the craving for revenge when they are attacked. And do not these gentlemen tell us"—and she looked at the priest —"that God is revenged, and that His vengeance lasts through all eternity?"

The priest looked mildly at Lisbeth and said:

"You, madame, are an atheist!"

"But look what I have come to," said Valerie.

"And where did you get this gangrene?" asked the old maid, unmoved from her peasant incredulity.

"I had a letter from Henri which leaves me in no doubt as to my fate. He has murdered me. And—just when I meant to live honestly—to die an object of disgust!

"Lisbeth, give up all notions of revenge. Be kind to that family to whom I have left by my will everything I can dispose of. Go, child, though you are the only creature who, at this hour, does not avoid me with horror—go, I beseech you, and leave me.—I have only time to make my peace with God!"

"She is wandering in her wits," said Lisbeth to herself, as she left the room.

The strongest affection known, that of a woman for a woman, had not such heroic constancy as the Church. Lisbeth, stifled by the miasma, went away. She found the physicians still in consultation. But Bianchon's opinion carried the day, and the only question now was how to try the remedies.

"At any rate, we shall have a splendid post-mortem," said one of his opponents, "and there will be two cases to enable us to make comparisons."

Lisbeth went in again with Bianchon, who went up to the sick woman without seeming aware of the malodorous atmosphere.

"Madame," said he, "we intend to try a powerful remedy which may save you—"

"And if you save my life," said she, "shall I be as good-looking as ever?"

"Possibly," said the judicious physician.

"I know your possibly," said Valerie. "I shall look like a woman who has fallen into the fire! No, leave me to the Church. I can please no one now but God. I will try to be reconciled to Him, and that will be my last flirtation; yes, I must try to come round God!"

"That is my poor Valerie's last jest; that is all herself!" said Lisbeth in tears.

Lisbeth thought it her duty to go into Crevel's room, where she found Victorin and his wife sitting about a yard away from the stricken man's bed.

"Lisbeth," said he, "they will not tell me what state my wife is in; you have just seen her—how is she?"

"She is better; she says she is saved," replied Lisbeth, allowing herself this play on the word to soothe Crevel's mind.

"That is well," said the Mayor. "I feared lest I had been the cause of her illness. A man is not a traveler in perfumery for nothing; I had blamed myself.—If I should lose her, what would become of me? On my honor, my children, I worship that woman."

He sat up in bed and tried to assume his favorite position.

"Oh, Papa!" cried Celestine, "if only you could be well again, I would make friends with my stepmother—I make a vow!"

"Poor little Celestine!" said Crevel, "come and kiss me."

Victorin held back his wife, who was rushing forward.

"You do not know, perhaps," said the lawyer gently, "that your disease is contagious, monsieur."

"To be sure," replied Crevel. "And the doctors are quite proud of having rediscovered in me some long lost plague of the Middle Ages, which the Faculty has had cried like lost property—it is very funny!"

"Papa," said Celestine, "be brave, and you will get the better of this disease."

"Be quite easy, my children; Death thinks twice of it before carrying off a Mayor of Paris," said he, with monstrous composure. "And if, after all, my district is so unfortunate as to lose a man it has twice honored with its suffrages—you see, what a flow of words I have! —Well, I shall know how to pack up and go. I have been a commercial traveler; I am experienced in such matters. Ah! my children, I am a man of strong mind."

"Papa, promise me to admit the Church—"

"Never," replied Crevel. "What is to be said? I drank the milk of Revolution; I have not Baron Holbach's wit, but I have his strength of mind. I am more Regence than ever, more Musketeer, Abbe Dubois, and Marechal de Richelieu! By the Holy Poker!—My wife, who is wandering in her head, has just sent me a man in a gown—to me! the admirer of Beranger, the friend of Lisette, the son of Voltaire and Rousseau. —The doctor, to feel my pulse, as it were, and see if sickness had subdued me—'You saw Monsieur l'Abbe?' said he.—Well, I imitated the great Montesquieu. Yes, I looked at the doctor—see, like this," and he turned to show three-quarters face, like his portrait, and extended his hand authoritatively—"and I said:

"The slave was here, He showed his order, but he nothing gained.

"His order is a pretty jest, showing that even in death Monsieur le President de Montesquieu preserved his elegant wit, for they had sent him a Jesuit. I admire that passage—I cannot say of his life, but of his death—the passage—another joke!—The passage from life to death —the Passage Montesquieu!"

Victorin gazed sadly at his father-in-law, wondering whether folly and vanity were not forces on a par with true greatness of soul. The causes that act on the springs of the soul seem to be quite independent of the results. Can it be that the fortitude which upholds a great criminal is the same as that which a Champcenetz so proudly walks to the scaffold?

By the end of the week Madame Crevel was buried, after dreadful sufferings; and Crevel followed her within two days. Thus the marriage-contract was annulled. Crevel was heir to Valerie.

On the very day after the funeral, the friar called again on the lawyer, who received him in perfect silence. The monk held out his hand without a word, and without a word Victorin Hulot gave him eighty thousand-franc notes, taken from a sum of money found in Crevel's desk.

Young Madame Hulot inherited the estate of Presles and thirty thousand francs a year.

Madame Crevel had bequeathed a sum of three hundred thousand francs to Baron Hulot. Her scrofulous boy Stanislas was to inherit, at his majority, the Hotel Crevel and eighty thousand francs a year.



Among the many noble associations founded in Paris by Catholic charity, there is one, originated by Madame de la Chanterie, for promoting civil and religious marriages between persons who have formed a voluntary but illicit union. Legislators, who draw large revenues from the registration fees, and the Bourgeois dynasty, which benefits by the notary's profits, affect to overlook the fact that three-fourths of the poorer class cannot afford fifteen francs for the marriage-contract. The pleaders, a sufficiently vilified body, gratuitously defend the cases of the indigent, while the notaries have not as yet agreed to charge nothing for the marriage-contract of the poor. As to the revenue collectors, the whole machinery of Government would have to be dislocated to induce the authorities to relax their demands. The registrar's office is deaf and dumb.

Then the Church, too, receives a duty on marriages. In France the Church depends largely on such revenues; even in the House of God it traffics in chairs and kneeling stools in a way that offends foreigners; though it cannot have forgotten the anger of the Saviour who drove the money-changers out of the Temple. If the Church is so loath to relinquish its dues, it must be supposed that these dues, known as Vestry dues, are one of its sources of maintenance, and then the fault of the Church is the fault of the State.

The co-operation of these conditions, at a time when charity is too greatly concerned with the negroes and the petty offenders discharged from prison to trouble itself about honest folks in difficulties, results in the existence of a number of decent couples who have never been legally married for lack of thirty francs, the lowest figure for which the Notary, the Registrar, the Mayor and the Church will unite two citizens of Paris. Madame de la Chanterie's fund, founded to restore poor households to their religious and legal status, hunts up such couples, and with all the more success because it helps them in their poverty before attacking their unlawful union.

As soon as Madame Hulot had recovered, she returned to her occupations. And then it was that the admirable Madame de la Chanterie came to beg that Adeline would add the legalization of these voluntary unions to the other good works of which she was the instrument.

One of the Baroness' first efforts in this cause was made in the ominous-looking district, formerly known as la Petite Pologne—Little Poland—bounded by the Rue du Rocher, Rue de la Pepiniere, and Rue de Miromenil. There exists there a sort of offshoot of the Faubourg Saint-Marceau. To give an idea of this part of the town, it is enough to say that the landlords of some of the houses tenanted by working men without work, by dangerous characters, and by the very poor employed in unhealthy toil, dare not demand their rents, and can find no bailiffs bold enough to evict insolvent lodgers. At the present time speculating builders, who are fast changing the aspect of this corner of Paris, and covering the waste ground lying between the Rue d'Amsterdam and the Rue Faubourg-du-Roule, will no doubt alter the character of the inhabitants; for the trowel is a more civilizing agent than is generally supposed. By erecting substantial and handsome houses, with porters at the doors, by bordering the streets with footwalks and shops, speculation, while raising the rents, disperses the squalid class, families bereft of furniture, and lodgers that cannot pay. And so these districts are cleared of such objectionable residents, and the dens vanish into which the police never venture but under the sanction of the law.

In June 1844, the purlieus of the Place de Laborde were still far from inviting. The genteel pedestrian, who by chance should turn out of the Rue de la Pepiniere into one of those dreadful side-streets, would have been dismayed to see how vile a bohemia dwelt cheek by jowl with the aristocracy. In such places as these, haunted by ignorant poverty and misery driven to bay, flourish the last public letter-writers who are to be found in Paris. Wherever you see the two words "Ecrivain Public" written in a fine copy hand on a sheet of letter-paper stuck to the window pane of some low entresol or mud-splashed ground-floor room, you may safely conclude that the neighborhood is the lurking place of many unlettered folks, and of much vice and crime, the outcome of misery; for ignorance is the mother of all sorts of crime. A crime is, in the first instance, a defect of reasoning powers.

While the Baroness had been ill, this quarter, to which she was a minor Providence, had seen the advent of a public writer who settled in the Passage du Soleil—Sun Alley—a spot of which the name is one of the antitheses dear to the Parisian, for the passage is especially dark. This writer, supposed to be a German, was named Vyder, and he lived on matrimonial terms with a young creature of whom he was so jealous that he never allowed her to go anywhere excepting to some honest stove and flue-fitters, in the Rue Saint-Lazare, Italians, as such fitters always are, but long since established in Paris. These people had been saved from a bankruptcy, which would have reduced them to misery, by the Baroness, acting in behalf of Madame de la Chanterie. In a few months comfort had taken the place of poverty, and Religion had found a home in hearts which once had cursed Heaven with the energy peculiar to Italian stove-fitters. So one of Madame Hulot's first visits was to this family.

She was pleased at the scene that presented itself to her eyes at the back of the house where these worthy folks lived in the Rue Saint-Lazare, not far from the Rue du Rocher. High above the stores and workshops, now well filled, where toiled a swarm of apprentices and workmen—all Italians from the valley of Domo d'Ossola—the master's family occupied a set of rooms, which hard work had blessed with abundance. The Baroness was hailed like the Virgin Mary in person.

After a quarter of an hour's questioning, Adeline, having to wait for the father to inquire how his business was prospering, pursued her saintly calling as a spy by asking whether they knew of any families needing help.

"Ah, dear lady, you who could save the damned from hell!" said the Italian wife, "there is a girl quite near here to be saved from perdition."

"A girl well known to you?" asked the Baroness.

"She is the granddaughter of a master my husband formerly worked for, who came to France in 1798, after the Revolution, by name Judici. Old Judici, in Napoleon's time, was one of the principal stove-fitters in Paris; he died in 1819, leaving his son a fine fortune. But the younger Judici wasted all his money on bad women; till, at last, he married one who was sharper than the rest, and she had this poor little girl, who is just turned fifteen."

"And what is wrong with her?" asked Adeline, struck by the resemblance between this Judici and her husband.

"Well, madame, this child, named Atala, ran away from her father, and came to live close by here with an old German of eighty at least, named Vyder, who does odd jobs for people who cannot read and write. Now, if this old sinner, who bought the child of her mother, they say for fifteen hundred francs, would but marry her, as he certainly has not long to live, and as he is said to have some few thousand of francs a year—well, the poor thing, who is a sweet little angel, would be out of mischief, and above want, which must be the ruin of her."

"Thank you very much for the information. I may do some good, but I must act with caution.—Who is the old man?"

"Oh! madame, he is a good old fellow; he makes the child very happy, and he has some sense too, for he left the part of town where the Judicis live, as I believe, to snatch the child from her mother's clutches. The mother was jealous of her, and I dare say she thought she could make money out of her beauty and make a mademoiselle of the girl.

"Atala remembered us, and advised her gentleman to settle near us; and as the good man sees how decent we are, he allows her to come here. But get them married, madame, and you will do an action worthy of you. Once married, the child will be independent and free from her mother, who keeps an eye on her, and who, if she could make money by her, would like to see her on the stage, or successful in the wicked life she meant her to lead."

"Why doesn't the old man marry her?"

"There was no necessity for it, you see," said the Italian. "And though old Vyder is not a bad old fellow, I fancy he is sharp enough to wish to remain the master, while if he once got married—why, the poor man is afraid of the stone that hangs round every old man's neck."

"Could you send for the girl to come here?" said Madame Hulot. "I should see her quietly, and find out what could be done—"

The stove-fitter's wife signed to her eldest girl, who ran off. Ten minutes later she returned, leading by the hand a child of fifteen and a half, a beauty of the Italian type. Mademoiselle Judici inherited from her father that ivory skin which, rather yellow by day, is by artificial light of lily-whiteness; eyes of Oriental beauty, form, and brilliancy, close curling lashes like black feathers, hair of ebony hue, and that native dignity of the Lombard race which makes the foreigner, as he walks through Milan on a Sunday, fancy that every porter's daughter is a princess.

Atala, told by the stove-fitter's daughter that she was to meet the great lady of whom she had heard so much, had hastily dressed in a black silk gown, a smart little cape, and neat boots. A cap with a cherry-colored bow added to the brilliant effect of her coloring. The child stood in an attitude of artless curiosity, studying the Baroness out of the corner of her eye, for her palsied trembling puzzled her greatly.

Adeline sighed deeply as she saw this jewel of womanhood in the mire of prostitution, and determined to rescue her to virtue.

"What is your name, my dear?"

"Atala, madame."

"And can you read and write?"

"No, madame; but that does not matter, as monsieur can."

"Did your parents ever take you to church? Have you been to your first Communion? Do you know your Catechism?"

"Madame, papa wanted to make me do something of the kind you speak of, but mamma would not have it—"

"Your mother?" exclaimed the Baroness. "Is she bad to you, then?"

"She was always beating me. I don't know why, but I was always being quarreled over by my father and mother—"

"Did you ever hear of God?" cried the Baroness.

The girl looked up wide-eyed.

"Oh, yes, papa and mamma often said 'Good God,' and 'In God's name,' and 'God's thunder,'" said she, with perfect simplicity.

"Then you never saw a church? Did you never think of going into one?"

"A church?—Notre-Dame, the Pantheon?—I have seen them from a distance, when papa took me into town; but that was not very often. There are no churches like those in the Faubourg."

"Which Faubourg did you live in?"

"In the Faubourg."

"Yes, but which?"

"In the Rue de Charonne, madame."

The inhabitants of the Faubourg Saint-Antoine never call that notorious district other than the Faubourg. To them it is the one and only Faubourg; and manufacturers generally understand the words as meaning the Faubourg Saint-Antoine.

"Did no one ever tell you what was right or wrong?"

"Mamma used to beat me when I did not do what pleased her."

"But did you not know that it was very wicked to run away from your father and mother to go to live with an old man?"

Atala Judici gazed at the Baroness with a haughty stare, but made no reply.

"She is a perfect little savage," murmured Adeline.

"There are a great many like her in the Faubourg, madame," said the stove-fitter's wife.

"But she knows nothing—not even what is wrong. Good Heavens!—Why do you not answer me?" said Madame Hulot, putting out her hand to take Atala's.

Atala indignantly withdrew a step.

"You are an old fool!" said she. "Why, my father and mother had had nothing to eat for a week. My mother wanted me to do much worse than that, I think, for my father thrashed her and called her a thief! However, Monsieur Vyder paid all their debts, and gave them some money —oh, a bagful! And he brought me away, and poor papa was crying. But we had to part!—Was it wicked?" she asked.

"And are you very fond of Monsieur Vyder?"

"Fond of him?" said she. "I should think so! He tells me beautiful stories, madame, every evening; and he has given me nice gowns, and linen, and a shawl. Why, I am figged out like a princess, and I never wear sabots now. And then, I have not known what it is to be hungry these two months past. And I don't live on potatoes now. He brings me bonbons and burnt almonds, and chocolate almonds.—Aren't they good? —I do anything he pleases for a bag of chocolate.—Then my old Daddy is very kind; he takes such care of me, and is so nice; I know now what my mother ought to have been.—He is going to get an old woman to help me, for he doesn't like me to dirty my hands with cooking. For the past month, too, he has been making a little money, and he gives me three francs every evening that I put into a money-box. Only he will never let me out except to come here—and he calls me his little kitten! Mamma never called me anything but bad names—and thief, and vermin!"

"Well, then, my child, why should not Daddy Vyder be your husband?"

"But he is, madame," said the girl, looking at Adeline with calm pride, without a blush, her brow smooth, her eyes steady. "He told me that I was his little wife; but it is a horrid bore to be a man's wife —if it were not for the burnt almonds!"

"Good Heaven!" said the Baroness to herself, "what monster can have had the heart to betray such perfect, such holy innocence? To restore this child to the ways of virtue would surely atone for many sins.—I knew what I was doing." thought she, remembering the scene with Crevel. "But she—she knows nothing."

"Do you know Monsieur Samanon?" asked Atala, with an insinuating look.

"No, my child; but why do you ask?"

"Really and truly?" said the artless girl.

"You have nothing to fear from this lady," said the Italian woman. "She is an angel."

"It is because my good old boy is afraid of being caught by Samanon. He is hiding, and I wish he could be free—"

"Why?"

"On! then he would take me to Bobino, perhaps to the Ambigu."

"What a delightful creature!" said the Baroness, kissing the girl.

"Are you rich?" asked Atala, who was fingering the Baroness' lace ruffles.

"Yes, and No," replied Madame Hulot. "I am rich for dear little girls like you when they are willing to be taught their duties as Christians by a priest, and to walk in the right way."

"What way is that?" said Atala; "I walk on my two feet."

"The way of virtue."

Atala looked at the Baroness with a crafty smile.

"Look at madame," said the Baroness, pointing to the stove-fitter's wife, "she has been quite happy because she was received into the bosom of the Church. You married like the beasts that perish."

"I?" said Atala. "Why, if you will give me as much as Daddy Vyder gives me, I shall be quite happy unmarried again. It is a grind.—Do you know what it is to—?"

"But when once you are united to a man as you are," the Baroness put in, "virtue requires you to remain faithful to him."

"Till he dies," said Atala, with a knowing flash. "I shall not have to wait long. If you only knew how Daddy Vyder coughs and blows.—Poof, poof," and she imitated the old man.

"Virtue and morality require that the Church, representing God, and the Mayor, representing the law, should consecrate your marriage," Madame Hulot went on. "Look at madame; she is legally married—"

"Will it make it more amusing?" asked the girl.

"You will be happier," said the Baroness, "for no one could then blame you. You would satisfy God! Ask her if she was married without the sacrament of marriage!"

Atala looked at the Italian.

"How is she any better than I am?" she asked. "I am prettier than she is."

"Yes, but I am an honest woman," said the wife, "and you may be called by a bad name."

"How can you expect God to protect you if you trample every law, human and divine, under foot?" said the Baroness. "Don't you know that God has Paradise in store for those who obey the injunctions of His Church?"

"What is there in Paradise? Are there playhouses?"

"Paradise!" said Adeline, "is every joy you can conceive of. It is full of angels with white wings. You see God in all His glory, you share His power, you are happy for every minute of eternity!"

Atala listened to the lady as she might have listened to music; but Adeline, seeing that she was incapable of understanding her, thought she had better take another line of action and speak to the old man.

"Go home, then, my child, and I will go to see Monsieur Vyder. Is he a Frenchman?"

"He is an Alsatian, madame. But he will be quite rich soon. If you would pay what he owes to that vile Samanon, he would give you back your money, for in a few months he will be getting six thousand francs a year, he says, and we are to go to live in the country a long way off, in the Vosges."

At the word Vosges the Baroness sat lost in reverie. It called up the vision of her native village. She was roused from her melancholy meditation by the entrance of the stove-fitter, who came to assure her of his prosperity.

"In a year's time, madame, I can repay the money you lent us, for it is God's money, the money of the poor and wretched. If ever I make a fortune, come to me for what you want, and I will render through you the help to others which you first brought us."

"Just now," said Madame Hulot, "I do not need your money, but I ask your assistance in a good work. I have just seen that little Judici, who is living with an old man, and I mean to see them regularly and legally married."

"Ah! old Vyder; he is a very worthy old fellow, with plenty of good sense. The poor old man has already made friends in the neighborhood, though he has been here but two months. He keeps my accounts for me. He is, I believe, a brave Colonel who served the Emperor well. And how he adores Napoleon!—He has some orders, but he never wears them. He is waiting till he is straight again, for he is in debt, poor old boy! In fact, I believe he is hiding, threatened by the law—"

"Tell him that I will pay his debts if he will marry the child."

"Oh, that will soon be settled.—Suppose you were to see him, madame; it is not two steps away, in the Passage du Soleil."

So the lady and the stove-fitter went out.

"This way, madame," said the man, turning down the Rue de la Pepiniere.

The alley runs, in fact, from the bottom of this street through to the Rue du Rocher. Halfway down this passage, recently opened through, where the shops let at a very low rent, the Baroness saw on a window, screened up to a height with a green, gauze curtain, which excluded the prying eyes of the passer-by, the words:

"ECRIVAIN PUBLIC"; and on the door the announcement:

BUSINESS TRANSACTED.

Petitions Drawn Up, Accounts Audited, Etc.

With Secrecy and Dispatch.

The shop was like one of those little offices where travelers by omnibus wait the vehicles to take them on to their destination. A private staircase led up, no doubt, to the living-rooms on the entresol which were let with the shop. Madame Hulot saw a dirty writing-table of some light wood, some letter-boxes, and a wretched second-hand chair. A cap with a peak and a greasy green shade for the eyes suggested either precautions for disguise, or weak eyes, which was not unlikely in an old man.

"He is upstairs," said the stove-fitter. "I will go up and tell him to come down."

Adeline lowered her veil and took a seat. A heavy step made the narrow stairs creak, and Adeline could not restrain a piercing cry when she saw her husband, Baron Hulot, in a gray knitted jersey, old gray flannel trousers, and slippers.

"What is your business, madame?" said Hulot, with a flourish.

She rose, seized Hulot by the arm, and said in a voice hoarse with emotion:

"At last—I have found you!"

"Adeline!" exclaimed the Baron in bewilderment, and he locked the shop door. "Joseph, go out the back way," he added to the stove-fitter.

"My dear!" she said, forgetting everything in her excessive joy, "you can come home to us all; we are rich. Your son draws a hundred and sixty thousand francs a year! Your pension is released; there are fifteen thousand francs of arrears you can get on showing that you are alive. Valerie is dead, and left you three hundred thousand francs.

"Your name is quite forgotten by this time; you may reappear in the world, and you will find a fortune awaiting you at your son's house. Come; our happiness will be complete. For nearly three years I have been seeking you, and I felt so sure of finding you that a room is ready waiting for you. Oh! come away from this, come away from the dreadful state I see you in!"

"I am very willing," said the bewildered Baron, "but can I take the girl?"

"Hector, give her up! Do that much for your Adeline, who has never before asked you to make the smallest sacrifice. I promise you I will give the child a marriage portion; I will see that she marries well, and has some education. Let it be said of one of the women who have given you happiness that she too is happy; and do not relapse into vice, into the mire."

"So it was you," said the Baron, with a smile, "who wanted to see me married?—Wait a few minutes," he added; "I will go upstairs and dress; I have some decent clothes in a trunk."

Adeline, left alone, and looking round the squalid shop, melted into tears.

"He has been living here, and we rolling in wealth!" said she to herself. "Poor man, he has indeed been punished—he who was elegance itself."

The stove-fitter returned to make his bow to his benefactress, and she desired him to fetch a coach. When he came back, she begged him to give little Atala Judici a home, and to take her away at once.

"And tell her that if she will place herself under the guidance of Monsieur the Cure of the Madeleine, on the day when she attends her first Communion I will give her thirty thousand francs and find her a good husband, some worthy young man."

"My eldest son, then madame! He is two-and-twenty, and he worships the child."

The Baron now came down; there were tears in his eyes.

"You are forcing me to desert the only creature who had ever begun to love me at all as you do!" said he in a whisper to his wife. "She is crying bitterly, and I cannot abandon her so—"

"Be quite easy, Hector. She will find a home with honest people, and I will answer for her conduct."

"Well, then, I can go with you," said the Baron, escorting his wife to the cab.

Hector, the Baron d'Ervy once more, had put on a blue coat and trousers, a white waistcoat, a black stock, and gloves. When the Baroness had taken her seat in the vehicle, Atala slipped in like an eel.

"Oh, madame," she said, "let me go with you. I will be so good, so obedient; I will do whatever you wish; but do not part me from my Daddy Vyder, my kind Daddy who gives me such nice things. I shall be beaten—"

"Come, come, Atala," said the Baron, "this lady is my wife—we must part—"

"She! As old as that! and shaking like a leaf!" said the child. "Look at her head!" and she laughingly mimicked the Baroness' palsy.

The stove-fitter, who had run after the girl, came to the carriage door.

"Take her away!" said Adeline. The man put his arms round Atala and fairly carried her off.

"Thanks for such a sacrifice, my dearest," said Adeline, taking the Baron's hand and clutching it with delirious joy. "How much you are altered! you must have suffered so much! What a surprise for Hortense and for your son!"

Adeline talked as lovers talk who meet after a long absence, of a hundred things at once.

In ten minutes the Baron and his wife reached the Rue Louis-le-Grand, and there Adeline found this note awaiting her:—

"MADAME LA BARONNE,—

"Monsieur le Baron Hulot d'Ervy lived for one month in the Rue de Charonne under the name of Thorec, an anagram of Hector. He is now in the Passage du Soleil by the name of Vyder. He says he is an Alsatian, and does writing, and he lives with a girl named Atala Judici. Be very cautious, madame, for search is on foot; the Baron is wanted, on what score I know not.

"The actress has kept her word, and remains, as ever,

"Madame la Baronne, your humble servant, "J. M."

The Baron's return was hailed with such joy as reconciled him to domestic life. He forgot little Atala Judici, for excesses of profligacy had reduced him to the volatility of feeling that is characteristic of childhood. But the happiness of the family was dashed by the change that had come over him. He had been still hale when he had gone away from his home; he had come back almost a hundred, broken, bent, and his expression even debased.

A splendid dinner, improvised by Celestine, reminded the old man of the singer's banquets; he was dazzled by the splendor of his home.

"A feast in honor of the return of the prodigal father?" said he in a murmur to Adeline.

"Hush!" said she, "all is forgotten."

"And Lisbeth?" he asked, not seeing the old maid.

"I am sorry to say that she is in bed," replied Hortense. "She can never get up, and we shall have the grief of losing her ere long. She hopes to see you after dinner."

At daybreak next morning Victorin Hulot was informed by the porter's wife that soldiers of the municipal guard were posted all round the premises; the police demanded Baron Hulot. The bailiff, who had followed the woman, laid a summons in due form before the lawyer, and asked him whether he meant to pay his father's debts. The claim was for ten thousand francs at the suit of an usurer named Samanon, who had probably lent the Baron two or three thousand at most. Victorin desired the bailiff to dismiss his men, and paid.

"But is it the last?" he anxiously wondered.

Lisbeth, miserable already at seeing the family so prosperous, could not survive this happy event. She grew so rapidly worse that Bianchon gave her but a week to live, conquered at last in the long struggle in which she had scored so many victories.

She kept the secret of her hatred even through a painful death from pulmonary consumption. And, indeed, she had the supreme satisfaction of seeing Adeline, Hortense, Hulot, Victorin, Steinbock, Celestine, and their children standing in tears round her bed and mourning for her as the angel of the family.

Baron Hulot, enjoying a course of solid food such as he had not known for nearly three years, recovered flesh and strength, and was almost himself again. This improvement was such a joy to Adeline that her nervous trembling perceptibly diminished.

"She will be happy after all," said Lisbeth to herself on the day before she died, as she saw the veneration with which the Baron regarded his wife, of whose sufferings he had heard from Hortense and Victorin.

And vindictiveness hastened Cousin Betty's end. The family followed her, weeping, to the grave.

The Baron and Baroness, having reached the age which looks for perfect rest, gave up the handsome rooms on the first floor to the Count and Countess Steinbock, and took those above. The Baron by his son's exertions found an official position in the management of a railroad, in 1845, with a salary of six thousand francs, which, added to the six thousand of his pension and the money left to him by Madame Crevel, secured him an income of twenty-four thousand francs. Hortense having enjoyed her independent income during the three years of separation from Wenceslas, Victorin now invested the two hundred thousand francs he had in trust, in his sister's name and he allowed her twelve thousand francs.

Wenceslas, as the husband of a rich woman, was not unfaithful, but he was an idler; he could not make up his mind to begin any work, however trifling. Once more he became the artist in partibus; he was popular in society, and consulted by amateurs; in short, he became a critic, like all the feeble folk who fall below their promise.

Thus each household, though living as one family, had its own fortune. The Baroness, taught by bitter experience, left the management of matters to her son, and the Baron was thus reduced to his salary, in hope that the smallness of his income would prevent his relapsing into mischief. And by some singular good fortune, on which neither the mother nor the son had reckoned, Hulot seemed to have foresworn the fair sex. His subdued behaviour, ascribed to the course of nature, so completely reassured the family, that they enjoyed to the full his recovered amiability and delightful qualities. He was unfailingly attentive to his wife and children, escorted them to the play, reappeared in society, and did the honors to his son's house with exquisite grace. In short, this reclaimed prodigal was the joy of his family.

He was a most agreeable old man, a ruin, but full of wit, having retained no more of his vice than made it an added social grace.

Of course, everybody was quite satisfied and easy. The young people and the Baroness lauded the model father to the skies, forgetting the death of the two uncles. Life cannot go on without much forgetting!

Madame Victorin, who managed this enormous household with great skill, due, no doubt, to Lisbeth's training, had found it necessary to have a man-cook. This again necessitated a kitchen-maid. Kitchen-maids are in these days ambitious creatures, eager to detect the chef's secrets, and to become cooks as soon as they have learnt to stir a sauce. Consequently, the kitchen-maid is liable to frequent change.

At the beginning of 1845 Celestine engaged as kitchen-maid a sturdy Normandy peasant come from Isigny—short-waisted, with strong red arms, a common face, as dull as an "occasional piece" at the play, and hardly to be persuaded out of wearing the classical linen cap peculiar to the women of Lower Normandy. This girl, as buxom as a wet-nurse, looked as if she would burst the blue cotton check in which she clothed her person. Her florid face might have been hewn out of stone, so hard were its tawny outlines.

Of course no attention was paid to the advent in the house of this girl, whose name was Agathe—an ordinary, wide-awake specimen, such as is daily imported from the provinces. Agathe had no attractions for the cook, her tongue was too rough, for she had served in a suburban inn, waiting on carters; and instead of making a conquest of her chief and winning from him the secrets of the high art of the kitchen, she was the object of his great contempt. The chef's attentions were, in fact, devoted to Louise, the Countess Steinbock's maid. The country girl, thinking herself ill-used, complained bitterly that she was always sent out of the way on some pretext when the chef was finishing a dish or putting the crowning touch to a sauce.

"I am out of luck," said she, "and I shall go to another place."

And yet she stayed though she had twice given notice to quit.

One night, Adeline, roused by some unusual noise, did not see Hector in the bed he occupied near hers; for they slept side by side in two beds, as beseemed an old couple. She lay awake an hour, but he did not return. Seized with a panic, fancying some tragic end had overtaken him—an apoplectic attack, perhaps—she went upstairs to the floor occupied by the servants, and then was attracted to the room where Agathe slept, partly by seeing a light below the door, and partly by the murmur of voices. She stood still in dismay on recognizing the voice of her husband, who, a victim to Agathe's charms, to vanquish this strapping wench's not disinterested resistance, went to the length of saying:

"My wife has not long to live, and if you like you may be a Baroness."

Adeline gave a cry, dropped her candlestick, and fled.

Three days later the Baroness, who had received the last sacraments, was dying, surrounded by her weeping family.

Just before she died, she took her husband's hand and pressed it, murmuring in his ear:

"My dear, I had nothing left to give up to you but my life. In a minute or two you will be free, and can make another Baronne Hulot."

And, rare sight, tears oozed from her dead eyes.

This desperateness of vice had vanquished the patience of the angel, who, on the brink of eternity, gave utterance to the only reproach she had ever spoken in her life.

The Baron left Paris three days after his wife's funeral. Eleven months after Victorin heard indirectly of his father's marriage to Mademoiselle Agathe Piquetard, solemnized at Isigny, on the 1st February 1846.

"Parents may hinder their children's marriage, but children cannot interfere with the insane acts of their parents in their second childhood," said Maitre Hulot to Maitre Popinot, the second son of the Minister of Commerce, who was discussing this marriage.



ADDENDUM

The following personages appear in other stories of the Human Comedy.

Beauvisage, Phileas The Member for Arcis

Berthier (Parisian notary) Cousin Pons

Bianchon, Horace Father Goriot The Atheist's Mass Cesar Birotteau The Commission in Lunacy Lost Illusions A Distinguished Provincial at Paris A Bachelor's Establishment The Secrets of a Princess The Government Clerks Pierrette A Study of Woman Scenes from a Courtesan's Life Honorine The Seamy Side of History The Magic Skin A Second Home A Prince of Bohemia Letters of Two Brides The Muse of the Department The Imaginary Mistress The Middle Classes The Country Parson In addition, M. Bianchon narrated the following: Another Study of Woman La Grande Breteche

Bixiou, Jean-Jacques The Purse A Bachelor's Establishment The Government Clerks Modeste Mignon Scenes from a Courtesan's Life The Firm of Nucingen The Muse of the Department The Member for Arcis Beatrix A Man of Business Gaudissart II. The Unconscious Humorists Cousin Pons

Braulard A Distinguished Provincial at Paris Cousin Pons

Bridau, Joseph The Purse A Bachelor's Establishment A Distinguished Provincial at Paris A Start in Life Modeste Mignon Another Study of Woman Pierre Grassou Letters of Two Brides The Member for Arcis

Brisetout, Heloise Cousin Pons The Middle Classes

Cadine, Jenny Beatrix The Unconscious Humorists The Member for Arcis

Chanor Cousin Pons

Chocardelle, Mademoiselle Beatrix A Prince of Bohemia A Man of Business The Member for Arcis

Colleville, Flavie Minoret, Madame The Government Clerks The Middle Classes

Collin, Jacqueline Scenes from a Courtesan's Life The Unconscious Humorists

Crevel, Celestin Cesar Birotteau Cousin Pons

Esgrignon, Victurnien, Comte (then Marquis d') Jealousies of a Country Town Letters of Two Brides A Man of Business The Secrets of a Princess

Falcon, Jean The Chouans The Muse of the Department

Graff, Wolfgang Cousin Pons

Grassou, Pierre Pierre Grassou A Bachelor's Establishment The Middle Classes Cousin Pons

Grindot Cesar Birotteau Lost Illusions A Distinguished Provincial at Paris A Start in Life Scenes from a Courtesan's Life Beatrix The Middle Classes

Hannequin, Leopold Albert Savarus Beatrix Cousin Pons

Herouville, Duc d' The Hated Son Jealousies of a Country Town Modeste Mignon

Hulot (Marshal) The Chouans The Muse of the Department

Hulot, Victorin The Member for Arcis

La Bastie la Briere, Madame Ernest de Modeste Mignon The Member for Arcis

La Baudraye, Madame Polydore Milaud de The Muse of the Department A Prince of Bohemia

La Chanterie, Baronne Henri le Chantre de The Seamy Side of History

Laginski, Comte Adam Mitgislas Another Study of Woman The Imaginary Mistress

La Palferine, Comte de A Prince of Bohemia A Man of Business Beatrix The Imaginary Mistress

La Roche-Hugon, Martial de Domestic Peace The Peasantry A Daughter of Eve The Member for Arcis The Middle Classes

Lebas, Joseph At the Sign of the Cat and Racket Cesar Birotteau

Lebas, Madame Joseph (Virginie) At the Sign of the Cat and Racket Cesar Birotteau

Lebas The Muse of the Department

Lefebvre, Robert The Gondreville Mystery

Lenoncourt-Givry, Duc de Letters of Two Brides The Member for Arcis

Lora, Leon de The Unconscious Humorists A Bachelor's Establishment A Start in Life Pierre Grassou Honorine Beatrix

Lousteau, Etienne A Distinguished Provincial at Paris A Bachelor's Establishment Scenes from a Courtesan's Life A Daughter of Eve Beatrix The Muse of the Department A Prince of Bohemia A Man of Business The Middle Classes The Unconscious Humorists

Massol Scenes from a Courtesan's Life The Magic Skin A Daughter of Eve The Unconscious Humorists

Montauran, Marquis de (younger brother of Alphonse de) The Chouans The Seamy Side of History

Montcornet, Marechal, Comte de Domestic Peace Lost Illusions A Distinguished Provincial at Paris Scenes from a Courtesan's Life The Peasantry A Man of Business

Navarreins, Duc de A Bachelor's Establishment Colonel Chabert The Muse of the Department The Thirteen Jealousies of a Country Town The Peasantry Scenes from a Courtesan's Life The Country Parson The Magic Skin The Gondreville Mystery The Secrets of a Princess

Nourrisson, Madame Scenes from a Courtesan's Life The Unconscious Humorists

Nucingen, Baron Frederic de The Firm of Nucingen Father Goriot Pierrette Cesar Birotteau Lost Illusions A Distinguished Provincial at Paris Scenes from a Courtesan's Life Another Study of Woman The Secrets of a Princess A Man of Business The Muse of the Department The Unconscious Humorists

Paz, Thaddee The Imaginary Mistress

Popinot, Anselme Cesar Birotteau Gaudissart the Great Cousin Pons

Popinot, Madame Anselme Cesar Birotteau A Prince of Bohemia Cousin Pons

Popinot, Vicomte Cousin Pons

Rastignac, Eugene de Father Goriot A Distinguished Provincial at Paris Scenes from a Courtesan's Life The Ball at Sceaux The Commission in Lunacy A Study of Woman Another Study of Woman The Magic Skin The Secrets of a Princess A Daughter of Eve The Gondreville Mystery The Firm of Nucingen The Member for Arcis The Unconscious Humorists

Rivet, Achille Cousin Pons

Rochefide, Marquis Arthur de Beatrix

Ronceret, Madame Fabien du Beatrix The Muse of the Department The Unconscious Humorists

Samanon A Distinguished Provincial at Paris The Government Clerks A Man of Business

Sinet, Seraphine The Unconscious Humorists

Steinbock, Count Wenceslas The Imaginary Mistress

Stidmann Modeste Mignon Beatrix The Member for Arcis Cousin Pons The Unconscious Humorists

Tillet, Ferdinand du Cesar Birotteau The Firm of Nucingen The Middle Classes A Bachelor's Establishment Pierrette Melmoth Reconciled A Distinguished Provincial at Paris The Secrets of a Princess A Daughter of Eve The Member for Arcis The Unconscious Humorists

Trailles, Comte Maxime de Cesar Birotteau Father Goriot Gobseck Ursule Mirouet A Man of Business The Member for Arcis The Secrets of a Princess The Member for Arcis Beatrix The Unconscious Humorists

Turquet, Marguerite The Imaginary Mistress The Muse of the Department A Man of Business

Vauvinet The Unconscious Humorists

Vernisset, Victor de The Seamy Side of History Beatrix

Vernou, Felicien A Bachelor's Establishment Lost Illusions A Distinguished Provincial at Paris Scenes from a Courtesan's Life A Daughter of Eve

Vignon, Claude A Distinguished Provincial at Paris A Daughter of Eve Honorine Beatrix The Unconscious Humorists



II



COUSIN PONS

BY

HONORE DE BALZAC



Translated by

Ellen Marriage



COUSIN PONS



Towards three o'clock in the afternoon of one October day in the year 1844, a man of sixty or thereabouts, whom anybody might have credited with more than his actual age, was walking along the Boulevard des Italiens with his head bent down, as if he were tracking some one. There was a smug expression about the mouth—he looked like a merchant who has just done a good stroke of business, or a bachelor emerging from a boudoir in the best of humors with himself; and in Paris this is the highest degree of self-satisfaction ever registered by a human countenance.

As soon as the elderly person appeared in the distance, a smile broke out over the faces of the frequenters of the boulevard, who daily, from their chairs, watch the passers-by, and indulge in the agreeable pastime of analyzing them. That smile is peculiar to Parisians; it says so many things—ironical, quizzical, pitying; but nothing save the rarest of human curiosities can summon that look of interest to the faces of Parisians, sated as they are with every possible sight.

A saying recorded of Hyacinthe, an actor celebrated for his repartees, will explain the archaeological value of the old gentleman, and the smile repeated like an echo by all eyes. Somebody once asked Hyacinthe where the hats were made that set the house in a roar as soon as he appeared. "I don't have them made," he said; "I keep them!" So also among the million actors who make up the great troupe of Paris, there are unconscious Hyacinthes who "keep" all the absurd freaks of vanished fashions upon their backs; and the apparition of some bygone decade will startle you into laughter as you walk the streets in bitterness of soul over the treason of one who was your friend in the past.

In some respects the passer-by adhered so faithfully to the fashions of the year 1806, that he was not so much a burlesque caricature as a reproduction of the Empire period. To an observer, accuracy of detail in a revival of this sort is extremely valuable, but accuracy of detail, to be properly appreciated, demands the critical attention of an expert flaneur; while the man in the street who raises a laugh as soon as he comes in sight is bound to be one of those outrageous exhibitions which stare you in the face, as the saying goes, and produce the kind of effect which an actor tries to secure for the success of his entry. The elderly person, a thin, spare man, wore a nut-brown spencer over a coat of uncertain green, with white metal buttons. A man in a spencer in the year 1844! it was as if Napoleon himself had vouchsafed to come to life again for a couple of hours.

The spencer, as its name indicates, was the invention of an English lord, vain, doubtless, of his handsome shape. Some time before the Peace of Amiens, this nobleman solved the problem of covering the bust without destroying the outlines of the figure and encumbering the person with the hideous boxcoat, now finishing its career on the backs of aged hackney cabmen; but, elegant figures being in the minority, the success of the spencer was short-lived in France, English though it was.

At the sight of the spencer, men of forty or fifty mentally invested the wearer with top-boots, pistachio-colored kerseymere small clothes adorned with a knot of ribbon; and beheld themselves in the costumes of their youth. Elderly ladies thought of former conquests; but the younger men were asking each other why the aged Alcibiades had cut off the skirts of his overcoat. The rest of the costume was so much in keeping with the spencer, that you would not have hesitated to call the wearer "an Empire man," just as you call a certain kind of furniture "Empire furniture;" yet the newcomer only symbolized the Empire for those who had known that great and magnificent epoch at any rate de visu, for a certain accuracy of memory was needed for the full appreciation of the costume, and even now the Empire is so far away that not every one of us can picture it in its Gallo-Grecian reality.

The stranger's hat, for instance, tipped to the back of his head so as to leave almost the whole forehead bare, recalled a certain jaunty air, with which civilians and officials attempted to swagger it with military men; but the hat itself was a shocking specimen of the fifteen-franc variety. Constant friction with a pair of enormous ears had left their marks which no brush could efface from the underside of the brim; the silk tissue (as usual) fitted badly over the cardboard foundation, and hung in wrinkles here and there; and some skin-disease (apparently) had attacked the nap in spite of the hand which rubbed it down of a morning.

Beneath the hat, which seemed ready to drop off at any moment, lay an expanse of countenance grotesque and droll, as the faces which the Chinese alone of all people can imagine for their quaint curiosities. The broad visage was as full of holes as a colander, honeycombed with the shadows of the dints, hollowed out like a Roman mask. It set all the laws of anatomy at defiance. Close inspection failed to detect the substructure. Where you expected to find a bone, you discovered a layer of cartilaginous tissue, and the hollows of an ordinary human face were here filled out with flabby bosses. A pair of gray eyes, red-rimmed and lashless, looked forlornly out of a countenance which was flattened something after the fashion of a pumpkin, and surmounted by a Don Quixote nose that rose out of it like a monolith above a plain. It was the kind of nose, as Cervantes must surely have explained somewhere, which denotes an inborn enthusiasm for all things great, a tendency which is apt to degenerate into credulity.

And yet, though the man's ugliness was something almost ludicrous, it aroused not the slightest inclination to laugh. The exceeding melancholy which found an outlet in the poor man's faded eyes reached the mocker himself and froze the gibes on his lips; for all at once the thought arose that this was a human creature to whom Nature had forbidden any expression of love or tenderness, since such expression could only be painful or ridiculous to the woman he loved. In the presence of such misfortune a Frenchman is silent; to him it seems the most cruel of all afflictions—to be unable to please!

The man so ill-favored was dressed after the fashion of shabby gentility, a fashion which the rich not seldom try to copy. He wore low shoes beneath gaiters of the pattern worn by the Imperial Guard, doubtless for the sake of economy, because they kept the socks clean. The rusty tinge of his black breeches, like the cut and the white or shiny line of the creases, assigned the date of the purchase some three years back. The roomy garments failed to disguise the lean proportions of the wearer, due apparently rather to constitution than to a Pythagorean regimen, for the worthy man was endowed with thick lips and a sensual mouth; and when he smiled, displayed a set of white teeth which would have done credit to a shark.

A shawl-waistcoat, likewise of black cloth, was supplemented by a white under-waistcoat, and yet again beneath this gleamed the edge of a red knitted under-jacket, to put you in mind of Garat's five waistcoats. A huge white muslin stock with a conspicuous bow, invented by some exquisite to charm "the charming sex" in 1809, projected so far above the wearer's chin that the lower part of his face was lost, as it were, in a muslin abyss. A silk watch-guard, plaited to resemble the keepsakes made of hair, meandered down the shirt front and secured his watch from the improbable theft. The greenish coat, though older by some three years than the breeches, was remarkably neat; the black velvet collar and shining metal buttons, recently renewed, told of carefulness which descended even to trifles.

The particular manner of fixing the hat on the occiput, the triple waistcoat, the vast cravat engulfing the chin, the gaiters, the metal buttons on the greenish coat,—all these reminiscences of Imperial fashions were blended with a sort of afterwaft and lingering perfume of the coquetry of the Incroyable—with an indescribable finical something in the folds of the garments, a certain air of stiffness and correctness in the demeanor that smacked of the school of David, that recalled Jacob's spindle-legged furniture.

At first sight, moreover, you set him down either for the gentleman by birth fallen a victim to some degrading habit, or for the man of small independent means whose expenses are calculated to such a nicety that the breakage of a windowpane, a rent in a coat, or a visit from the philanthropic pest who asks you for subscriptions to a charity, absorbs the whole of a month's little surplus of pocket-money. If you had seen him that afternoon, you would have wondered how that grotesque face came to be lighted up with a smile; usually, surely, it must have worn the dispirited, passive look of the obscure toiler condemned to labor without ceasing for the barest necessaries of life. Yet when you noticed that the odd-looking old man was carrying some object (evidently precious) in his right hand with a mother's care; concealing it under the skirts of his coat to keep it from collisions in the crowd, and still more, when you remarked that important air always assumed by an idler when intrusted with a commission, you would have suspected him of recovering some piece of lost property, some modern equivalent of the marquise's poodle; you would have recognized the assiduous gallantry of the "man of the Empire" returning in triumph from his mission to some charming woman of sixty, reluctant as yet to dispense with the daily visit of her elderly attentif.

In Paris only among great cities will you see such spectacles as this; for of her boulevards Paris makes a stage where a never-ending drama is played gratuitously by the French nation in the interests of Art.

In spite of the rashly assumed spencer, you would scarcely have thought, after a glance at the contours of the man's bony frame, that this was an artist—that conventional type which is privileged, in something of the same way as a Paris gamin, to represent riotous living to the bourgeois and philistine mind, the most mirific joviality, in short (to use the old Rabelaisian word newly taken into use). Yet this elderly person had once taken the medal and the traveling scholarship; he had composed the first cantata crowned by the Institut at the time of the re-establishment of the Academie de Rome; he was M. Sylvain Pons, in fact—M. Sylvain Pons, whose name appears on the covers of well-known sentimental songs trilled by our mothers, to say nothing of a couple of operas, played in 1815 and 1816, and divers unpublished scores. The worthy soul was now ending his days as the conductor of an orchestra in a boulevard theatre, and a music master in several young ladies' boarding-schools, a post for which his face particularly recommended him. He was entirely dependent upon his earnings. Running about to give private lessons at his age! —Think of it. How many a mystery lies in that unromantic situation!

But the last man to wear the spencer carried something about him besides his Empire Associations; a warning and a lesson was written large over that triple waistcoat. Wherever he went, he exhibited, without fee or charge, one of the many victims of the fatal system of competition which still prevails in France in spite of a century of trial without result; for Poisson de Marigny, brother of the Pompadour and Director of Fine Arts, somewhere about 1746 invented this method of applying pressure to the brain. That was a hundred years ago. Try if you can count upon your fingers the men of genius among the prizemen of those hundred years.

In the first place, no deliberate effort of schoolmaster or administrator can replace the miracles of chance which produce great men: of all the mysteries of generation, this most defies the ambitious modern scientific investigator. In the second—the ancient Egyptians (we are told) invented incubator-stoves for hatching eggs; what would be thought of Egyptians who should neglect to fill the beaks of the callow fledglings? Yet this is precisely what France is doing. She does her utmost to produce artists by the artificial heat of competitive examination; but, the sculptor, painter, engraver, or musician once turned out by this mechanical process, she no more troubles herself about them and their fate than the dandy cares for yesterday's flower in his buttonhole. And so it happens that the really great man is a Greuze, a Watteau, a Felicien David, a Pagnesi, a Gericault, a Decamps, an Auber, a David d'Angers, an Eugene Delacroix, or a Meissonier—artists who take but little heed of grande prix, and spring up in the open field under the rays of that invisible sun called Vocation.

To resume. The Government sent Sylvain Pons to Rome to make a great musician of himself; and in Rome Sylvain Pons acquired a taste for the antique and works of art. He became an admirable judge of those masterpieces of the brain and hand which are summed up by the useful neologism "bric-a-brac;" and when the child of Euterpe returned to Paris somewhere about the year 1810, it was in the character of a rabid collector, loaded with pictures, statuettes, frames, wood-carving, ivories, enamels, porcelains, and the like. He had sunk the greater part of his patrimony, not so much in the purchases themselves as on the expenses of transit; and every penny inherited from his mother had been spent in the course of a three-years' travel in Italy after the residence in Rome came to an end. He had seen Venice, Milan, Florence, Bologna, and Naples leisurely, as he wished to see them, as a dreamer of dreams, and a philosopher; careless of the future, for an artist looks to his talent for support as the fille de joie counts upon her beauty.

All through those splendid years of travel Pons was as happy as was possible to a man with a great soul, a sensitive nature, and a face so ugly that any "success with the fair" (to use the stereotyped formula of 1809) was out of the question; the realities of life always fell short of the ideals which Pons created for himself; the world without was not in tune with the soul within, but Pons had made up his mind to the dissonance. Doubtless the sense of beauty that he had kept pure and living in his inmost soul was the spring from which the delicate, graceful, and ingenious music flowed and won him reputation between 1810 and 1814.

Every reputation founded upon the fashion or the fancy of the hour, or upon the short-lived follies of Paris, produces its Pons. No place in the world is so inexorable in great things; no city of the globe so disdainfully indulgent in small. Pons' notes were drowned before long in floods of German harmony and the music of Rossini; and if in 1824 he was known as an agreeable musician, a composer of various drawing-room melodies, judge if he was likely to be famous in 183l! In 1844, the year in which the single drama of this obscure life began, Sylvain Pons was of no more value than an antediluvian semiquaver; dealers in music had never heard of his name, though he was still composing, on scanty pay, for his own orchestra or for neighboring theatres.

And yet, the worthy man did justice to the great masters of our day; a masterpiece finely rendered brought tears to his eyes; but his religion never bordered on mania, as in the case of Hoffmann's Kreislers; he kept his enthusiasm to himself; his delight, like the paradise reached by opium or hashish, lay within his own soul.

The gift of admiration, of comprehension, the single faculty by which the ordinary man becomes the brother of the poet, is rare in the city of Paris, that inn whither all ideas, like travelers, come to stay for awhile; so rare is it, that Pons surely deserves our respectful esteem. His personal failure may seem anomalous, but he frankly admitted that he was weak in harmony. He had neglected the study of counterpoint; there was a time when he might have begun his studies afresh and held his own among modern composers, when he might have been, not certainly a Rossini, but a Herold. But he was alarmed by the intricacies of modern orchestration; and at length, in the pleasures of collecting, he found such ever-renewed compensation for his failure, that if he had been made to choose between his curiosities and the fame of Rossini—will it be believed?—Pons would have pronounced for his beloved collection.

Pons was of the opinion of Chenavard, the print-collector, who laid it down as an axiom—that you only fully enjoy the pleasure of looking at your Ruysdael, Hobbema, Holbein, Raphael, Murillo, Greuze, Sebastian del Piombo, Giorgione, Albrecht Durer, or what not, when you have paid less than sixty francs for your picture. Pons never gave more than a hundred francs for any purchase. If he laid out as much as fifty francs, he was careful to assure himself beforehand that the object was worth three thousand. The most beautiful thing in the world, if it cost three hundred francs, did not exist for Pons. Rare had been his bargains; but he possessed the three qualifications for success—a stag's legs, an idler's disregard of time, and the patience of a Jew.

This system, carried out for forty years, in Rome or Paris alike, had borne its fruits. Since Pons returned from Italy, he had regularly spent about two thousand francs a year upon a collection of masterpieces of every sort and description, a collection hidden away from all eyes but his own; and now his catalogue had reached the incredible number of 1907. Wandering about Paris between 1811 and 1816, he had picked up many a treasure for ten francs, which would fetch a thousand or twelve hundred to-day. Some forty-five thousand canvases change hands annually in Paris picture sales, and these Pons had sifted through year by year. Pons had Sevres porcelain, pate tendre, bought of Auvergnats, those satellites of the Black Band who sacked chateaux and carried off the marvels of Pompadour France in their tumbril carts; he had, in fact, collected the drifted wreck of the seventeenth and eighteenth centuries; he recognized the genius of the French school, and discerned the merit of the Lepautres and Lavallee-Poussins and the rest of the great obscure creators of the Genre Louis Quinze and the Genre Louis Seize. Our modern craftsmen now draw without acknowledgment from them, pore incessantly over the treasures of the Cabinet des Estampes, borrow adroitly, and give out their pastiches for new inventions. Pons had obtained many a piece by exchange, and therein lies the ineffable joy of the collector. The joy of buying bric-a-brac is a secondary delight; in the give-and-take of barter lies the joy of joys. Pons had begun by collecting snuff-boxes and miniatures; his name was unknown in bric-a-bracology, for he seldom showed himself in salesrooms or in the shops of well-known dealers; Pons was not aware that his treasures had any commercial value.

The late lamented Dusommerard tried his best to gain Pons' confidence, but the prince of bric-a-brac died before he could gain an entrance to the Pons museum, the one private collection which could compare with the famous Sauvageot museum. Pons and M. Sauvageot indeed resembled each other in more ways than one. M. Sauvageot, like Pons, was a musician; he was likewise a comparatively poor man, and he had collected his bric-a-brac in much the same way, with the same love of art, the same hatred of rich capitalists with well-known names who collect for the sake of running up prices as cleverly as possible. There was yet another point of resemblance between the pair; Pons, like his rival competitor and antagonist, felt in his heart an insatiable craving after specimens of the craftsman's skill and miracles of workmanship; he loved them as a man might love a fair mistress; an auction in the salerooms in the Rue des Jeuneurs, with its accompaniments of hammer strokes and brokers' men, was a crime of lese-bric-a-brac in Pons' eyes. Pons' museum was for his own delight at every hour; for the soul created to know and feel all the beauty of a masterpiece has this in common with the lover—to-day's joy is as great as the joy of yesterday; possession never palls; and a masterpiece, happily, never grows old. So the object that he held in his hand with such fatherly care could only be a "find," carried off with what affection amateurs alone know!

After the first outlines of this biographical sketch, every one will cry at once, "Why! this is the happiest man on earth, in spite of his ugliness!" And, in truth, no spleen, no dullness can resist the counter-irritant supplied by a "craze," the intellectual moxa of a hobby. You who can no longer drink of "the cup of pleasure," as it has been called through all ages, try to collect something, no matter what (people have been known to collect placards), so shall you receive the small change for the gold ingot of happiness. Have you a hobby? You have transferred pleasure to the plane of ideas. And yet, you need not envy the worthy Pons; such envy, like all kindred sentiments, would be founded upon a misapprehension.

With a nature so sensitive, with a soul that lived by tireless admiration of the magnificent achievements of art, of the high rivalry between human toil and the work of Nature—Pons was a slave to that one of the Seven Deadly Sins with which God surely will deal least hardly; Pons was a glutton. A narrow income, combined with a passion for bric-a-brac, condemned him to a regimen so abhorrent to a discriminating palate, that, bachelor as he was, he had cut the knot of the problem by dining out every day.

Now, in the time of the Empire, celebrities were more sought after than at present, perhaps because there were so few of them, perhaps because they made little or no political pretension. In those days, besides, you could set up for a poet, a musician, or a painter, with so little expense. Pons, being regarded as the probable rival of Nicolo, Paer, and Berton, used to receive so many invitations, that he was forced to keep a list of engagements, much as barristers note down the cases for which they are retained. And Pons behaved like an artist. He presented his amphitryons with copies of his songs, he "obliged" at the pianoforte, he brought them orders for boxes at the Feydeau, his own theatre, he organized concerts, he was not above taking the fiddle himself sometimes in a relation's house, and getting up a little impromptu dance. In those days, all the handsome men in France were away at the wars exchanging sabre-cuts with the handsome men of the Coalition. Pons was said to be, not ugly, but "peculiar-looking," after the grand rule laid down by Moliere in Eliante's famous couplets; but if he sometimes heard himself described as a "charming man" (after he had done some fair lady a service), his good fortune went no further than words.

It was between the years 1810 and 1816 that Pons contracted the unlucky habit of dining out; he grew accustomed to see his hosts taking pains over the dinner, procuring the first and best of everything, bringing out their choicest vintages, seeing carefully to the dessert, the coffee, the liqueurs, giving him of their best, in short; the best, moreover, of those times of the Empire when Paris was glutted with kings and queens and princes, and many a private house emulated royal splendours.

People used to play at Royalty then as they play nowadays at parliament, creating a whole host of societies with presidents, vice-presidents, secretaries and what not—agricultural societies, industrial societies, societies for the promotion of sericulture, viticulture, the growth of flax, and so forth. Some have even gone so far as to look about them for social evils in order to start a society to cure them.

But to return to Pons. A stomach thus educated is sure to react upon the owner's moral fibre; the demoralization of the man varies directly with his progress in culinary sapience. Voluptuousness, lurking in every secret recess of the heart, lays down the law therein. Honor and resolution are battered in breach. The tyranny of the palate has never been described; as a necessity of life it escapes the criticism of literature; yet no one imagines how many have been ruined by the table. The luxury of the table is indeed, in this sense, the courtesan's one competitor in Paris, besides representing in a manner the credit side in another account, where she figures as the expenditure.

With Pons' decline and fall as an artist came his simultaneous transformation from invited guest to parasite and hanger-on; he could not bring himself to quit dinners so excellently served for the Spartan broth of a two-franc ordinary. Alas! alas! a shudder ran through him at the mere thought of the great sacrifices which independence required him to make. He felt that he was capable of sinking to even lower depths for the sake of good living, if there were no other way of enjoying the first and best of everything, of guzzling (vulgar but expressive word) nice little dishes carefully prepared. Pons lived like a bird, pilfering his meal, flying away when he had taken his fill, singing a few notes by way of return; he took a certain pleasure in the thought that he lived at the expense of society, which asked of him—what but the trifling toll of grimaces? Like all confirmed bachelors, who hold their lodgings in horror, and live as much as possible in other people's houses, Pons was accustomed to the formulas and facial contortions which do duty for feeling in the world; he used compliments as small change; and as far as others were concerned, he was satisfied with the labels they bore, and never plunged a too-curious hand into the sack.

This not intolerable phase lasted for another ten years. Such years! Pons' life was closing with a rainy autumn. All through those years he contrived to dine without expense by making himself necessary in the houses which he frequented. He took the first step in the downward path by undertaking a host of small commissions; many and many a time Pons ran on errands instead of the porter or the servant; many a purchase he made for his entertainers. He became a kind of harmless, well-meaning spy, sent by one family into another; but he gained no credit with those for whom he trudged about, and so often sacrificed self-respect.