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A Mummer's Tale, a fiction by Anatole France |
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Chapter 14 |
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_ CHAPTER XIV He went to see her the following day, in the little flat in the Boulevard Saint-Michel. He was not in the habit of going thither. He did not particularly care to meet Madame Nanteuil; she bored him and embarrassed him, although she was extremely polite to him, even to obsequiousness. It was she who received him in the little drawing-room. She thanked him for his interest in Felicie's health, and informed him that she had been restless and unwell the night before, but was now feeling better. "She is in her bedroom, working at her part. I will tell her that you are here. She will be very glad to see you, Monsieur de Ligny. She knows that you are very fond of her. And true friends are rare, especially in the theatrical world." Robert observed Madame Nanteuil with an attention which he had not hitherto bestowed upon her. He was trying to see in her face the face that would be her daughter's in years to come. When walking in the street he was fond of reading, in the faces of the mothers, the love-affairs of the daughters. And on this occasion he assiduously deciphered the features and the figure of this woman as an interesting prophecy. He discovered nothing either of bad or good augury. Madame Nanteuil, plump, fresh-complexioned, cool-skinned, was not unattractive with the sensuous fullness of her contours. But her daughter did not in the least resemble her. Seeing her so collected and serene, he said to her: "You yourself are not of a nervous temperament?" "I have never been nervous. My daughter does not take after me. She is the living image of her father. He was delicate, although his health was not bad. He died of a fall from his horse. You'll take a cup of tea, won't you, Monsieur de Ligny?" Felicie entered the room. Her hair was outspread upon her shoulders; she was wrapped in a white woollen dressing-gown, held very loosely at the waist by a heavy embroidered girdle, and she shuffled along in red slippers; she looked a mere child. The friend of the house, Tony Meyer, the picture dealer, was wont when he saw her in this garment, which was a trifle monkish in appearance, to call her Brother Ange de Charolais, because he had discovered in her a resemblance to a portrait by Nattier which represented Mademoiselle de Charolais in the Franciscan habit. Before this little girl, Robert was surprised and silent. "It's kind of you," she said, "to have come to inquire after me. I am better, thank you." "She works very hard; she works too hard," said Madame Nanteuil. "Her part in _La Grille_ is tiring her." "Oh no, mother." They spoke of the theatre, and the conversation languished. During a moment's silence, Madame Nanteuil asked Monsieur de Ligny if he were still collecting old fashion-prints. Felicie and Robert looked at her without understanding. They had told her not long before some fiction about engraved fashion-plates, to explain the meetings which they had not been able to conceal. But they had quite forgotten the fact. Since then, a piece of the moon, as an old author has said, had fallen into their love; Madame Nanteuil alone, in her profound respect for fiction, remembered it. "My daughter told me you had a great number of those old engravings and that she used to find ideas for her costumes in them." "Quite so, madame, quite so." "Come here, Monsieur de Ligny," said Felicie. "I want to show you a design for a costume for the part of Cecile de Rochemaure." And she carried him off to her room. It was a small room hung with flowered paper; the furniture consisted of a wardrobe with a mirror, a couple of chairs upholstered in horsehairs and an iron bedstead; with a white counterpane; above it was a bowl for holy water, and a sprig of boxwood. She gave him a long kiss on the mouth. "I do love you, do you know!" "Quite sure?" "Oh yes! And you?" "I too, I love you. I wouldn't have believed that I could love you so!" "Then it came afterwards." "It always comes afterwards." "That's true, what you've just said, Robert. Before--one doesn't know." She shook her head. "I was very ill yesterday." "Have you seen Trublet? What did he say?" "He told me that I needed rest, and quiet. My darling, we must be sensible for another fortnight. Do you mind?" "I do." "So do I. But what would you have?" He strolled round the room two or three times, looking into every corner. She watched him with some little uneasiness, dreading lest he should ask her questions about her poor jewels and her cheap trinkets, which were modest enough as presents, but she could not in every case explain how she came to receive them. One may say anything one pleases, of course, but one may contradict oneself, and get into trouble, and that assuredly is not worth while. She diverted his attention. "Robert, open my glove-box." "What have you got in your glove-box?" "The violets you gave me the first time. Darling, don't leave me! Don't go away. When I think that from one day to the next you may go to some foreign country, to London, to Constantinople, I feel crazy." He comforted her, telling her that there had been some thought of sending him to The Hague. But he was determined not to go; he would get himself attached to the Minister's staff. "You promise?" He gave the promise in all sincerity. And she became quite cheerful. Pointing to the little wardrobe with its looking-glass, she said: "Look, darling, it's there that I study my part. When you came, I was working over my scene in the fourth. I take advantage of being alone to try for the exact tone. I seek a broad, mellow effect. If I were to listen to Romilly I should mince my words, and the result would be wretched. I have to say. 'I do not fear you.' It's the great moment of the part. Do you know how Romilly would have me say: 'I do not fear you'? I'll show you, I am to raise my hand to my nose, open my fingers and speak one word to each finger separately, in a particular tone, with a special expression 'I, do, not, fear, you,' as if I were exhibiting marionettes! It's a wonder he does not ask me to put a little paper hat on every finger. Subtle, intellectual, isn't it?" Then, lifting her hair and uncovering her animated features, she said: "I'll show you how I do it." Suddenly transfigured, seeming of greater stature, she spoke the words with an air of ingenuous dignity and serene innocence: "No, sir, I do not fear you. Why should I fear you? You thought to ensnare me, and you have placed yourself at my mercy. You are a man of honour. Now that I am under the shelter of your roof, you shall tell me what you told Chevalier d'Amberre, your enemy, when he entered that gate. You shall tell me: 'You are in your own house; I am yours to command.'" She had the mysterious gift of changing her soul and her very face. Ligny was under the spell of this beautiful illusion. "You are marvellous!" "Listen, pussy-cat. I shall wear a big lawn bonnet with lappets, one above the other, on either side of my face. You see, in the play I am a young girl of the Revolution. And it is imperative that I should make people feel it. I must have the Revolution _in_ me, do you understand?" "Are you well up in the Revolution?" "Of course I am! I don't know the dates, to be sure. But I have the feeling of the period. For me, the Revolution means a bosom swelling with pride under a crossed neckerchief, knees enjoying full freedom in a striped petticoat, and a tiny blaze of colour on the cheek-bones. There you have it!" He asked her questions about the play, and he realized that she knew nothing about it. She, did not need to know anything about it. She divined, she found by instinct all that she needed from it. "At rehearsals, I never give them a hint as to any of my effects, I keep them all for the public. It will make Romilly tear his hair. How stupid they'll all look! Fagette, my dear, will make herself ill over it." She sat down on a little rickety chair. Her forehead, but a moment before as white as marble, was rosy; she had once more assumed her cheeky flapper's expression. He drew near to her, gazed into the fascinating grey of her eyes, and, as on the evening before, when he sat in front of his coke-fire, he reflected that she was untruthful and cowardly, and ill-natured toward her friends; but now the thought was tempered with indulgence. He reflected that she had love-affairs with actors of the lowest type, or that she at least made shift with them; but the thought was tempered with a gentle pity. He recalled all the evil that he knew of her, but without bitterness. He felt that he loved her, less because she was pretty than because she was pretty in her own fashion; in a word, that he loved her because she was a gem endowed with life, and an incomparable thing of art and voluptuousness. He looked into the fascinating grey of her eyes, into their pupils, where tiny astrological symbols seemed to float in a luminous tide. He gazed at her with a gaze so searching that she felt it pierce right through her. And, assured that he had seen right into her, she said to him, with her eyes on his, clasping his head between her two hands: "Oh yes! I'm a rotten little actress; but I love you, and I don't care a rap for money. And there aren't many as good as me. And you know it well enough." _ |
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