Book 3 - Chapter 13. A Serpent At The Fireside

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_ BOOK III CHAPTER XIII. A SERPENT AT THE FIRESIDE

A little more than a year has passed. It is now the first days of October; and when the morning mist is dissipated, the sky is of so limpid a blue and the air so pure and fresh, that Amedee Violette is almost tempted to make a paper kite and fly it over the fortifications, as he did in his youth. But the age for that has passed; Amedee's real kite is more fragile than if it had been made of sticks and pieces of old paper pasted on one over another; it does not ascend very high yet, and the thread that sails it is not very strong. Amedee's kite is his growing reputation. He must work to sustain it; and always with the secret hope of making little Maria his wife. Amedee works. He is not so poor now, since he earns at the ministry two hundred francs a month, and from time to time publishes a prose story in journals where his copy is paid for. He has also left his garret in the Faubourg St.-Jacques and lives on the Ile St. Louis, in one room only, but large and bright, from whose window he can see, as he leans out, the coming and going of boats on the river and the sun as it sets behind Notre-Dame.

Amedee has been working mostly upon his drama, for the Comedie-Francaise this summer, and it is nearly done; it is a modern drama in verse, entitled L'Atelier. The action is very simple, like that of a tragedy, but he believes it is sympathetic and touching, and it ends in a popular way. Amedee thinks he has used for his dialogue familiar but nevertheless poetic lines, in which he has not feared to put in certain graphic words and energetic speeches from the mouths of working-people.

The grateful poet has destined the principal role for Jocquelet, who has made a successful debut in the 'Fourberies de Scapin', and who, since then, has won success after success. Jocquelet, like all comic actors, aspires to play also in drama. He can do so in reality, but under particular conditions; for in spite of his grotesque nose, he has strong and spirited qualities, and recites verses very well. He is to represent an old mechanic, in his friend's work, a sort of faubourg Nestor, and this type will accommodate itself very well to the not very aristocratic face of Jocquelet, who more and more proves his cleverness at "making-up." However, at first the actor was not satisfied with his part. He fondles the not well defined dream of all actors, he wishes, like all the others, the "leading part." They do not exactly know what they mean by it, but in their dreams is vaguely visible a wonderful Almanzor, who makes his first entrance in an open barouche drawn by four horses harnessed a la Daumont, and descends from it dressed in tight-fitting gray clothes, tasselled boots, and decorations. This personage is as attractive as Don Juan, brave as Murat, a poet like Shakespeare, and as charitable as St. Vincent de Paul. He should have, before the end of the first act, crushed with love by one single glance, the young leading actress; dispersed a dozen assassins with his sword; addressed to the stars--that is to say, the spectators in the upper gallery--a long speech of eighty or a hundred lines, and gathered up two lost children under the folds of his cloak.

A "fine leading part" should also, during the rest of the piece, accomplish a certain number of sublime acts, address the multitude from the top of a staircase, insult a powerful monarch to his face, dash into the midst of a conflagration--always in the long-topped boots. The ideal part would be for him to discover America, like Christopher Columbus; win pitched battles, like Bonaparte, or some other equally senseless thing; but the essential point is, never to leave the stage and to talk all the time--the work, in reality, should be a monologue in five acts.

This role of an old workman, offered to Jocquelet by Amedee, obtained only a grimace of displeasure from the actor. However, it ended by his being reconciled to the part, studying it, and, to use his own expression, "racking his brains over it," until one day he ran to Violette's, all excited, exclaiming:

"I have the right idea of my old man now! I will dress him in a tricot waistcoat with ragged sleeves and dirty blue overalls. He is an apprentice, is he not? A fellow with a beard! Very well! in the great scene where they tell him that his son is a thief and he defies the whole of the workmen, he struggles and his clothes are torn open, showing a hairy chest. I am not hairy, but I will make myself so--does that fill the bill? You will see the effect."

While reserving the right to dissuade Jocquelet from making himself up in this way, Amedee carried his manuscript to the director of the Theatre Francais, who asked a little time to look it over, and also promised the young poet that he would read it aloud to the committee.

Amedee is very anxious, although Maurice Roger, to whom he has read the piece, act by act, predicts an enthusiastic acceptance.

The handsome Maurice has been installed for more than a year in a studio on the Rue d'Assas and leads a jolly, free life there. Does he work? Sometimes; by fits and starts. And although he abandons his sketches at the first attack of idleness, there is a charm about these sketches, suspended upon the wall; and he will some day show his talent. One of his greatest pleasures is to see pass before him all his beautiful models, at ten francs an hour. With palette in hand, he talks with the young women, tells them amusing stories, and makes them relate all their love-affairs. When friends come to see him, they can always see a model just disappearing behind a curtain. Amedee prefers to visit his friend on Sunday afternoons, and thus avoid meeting these models; and then, too, he meets there on that day Arthur Papillon, who paves the way for his political career by pleading lawsuits for the press. Although he is, at heart, only a very moderate Liberalist, this young man, with the very chic side whiskers, defends the most republican of "beards," if it can be called defending; for in spite of his fine oratorical efforts, his clients are regularly favored with the maximum of punishment. But they are all delighted with it, for the title of "political convict" is one very much in demand among the irreconcilables. They are all convinced that the time is near when they will overthrow the Empire, without suspecting, alas! that in order to do that twelve hundred thousand German bayonets will be necessary. The day after the triumph, the month of imprisonment will be taken into account, and St. Pelagie is not the 'carcere duro'. Papillon is cunning and wishes to have a finger in every pie, so he goes to dine once a week with those who owe their sojourn in this easy-going jail to him, and regularly carries them a lobster.

Paul Sillery, who has also made Maurice's acquaintance, loiters in this studio. The amiable Bohemian has not yet paid his bill to Pere Lebuffle, but he has cut his red fleece close to his head, and publishes every Sunday, in the journals, news full of grace and humor. Of course they will never pardon him at the Cafe de Seville; the "long-haired" ones have disowned this traitor who has gone over to the enemy, and is now only a sickening and fetid bourgeois; and if the poetical club were able to enforce its decrees, Paul Sillery, like an apostate Jew in the times of the Inquisition, would have been scourged and burned alive. Paul Sillery does not trouble himself about it, however; and from time to time returns to the "Seville" and treats its members to a bumper all around, which he pays for with the gold of his dishonor. Sometimes Jocquelet appears, with his smooth-shaved face; but only rarely, for he is at present a very busy man and already celebrated. His audacious nose is reproduced in all positions and displayed in photographers' windows, where he has for neighbors the negatives most in demand; for instance, the fatherly and benevolent face of the pope; Pius IX, or the international limbs of Mademoiselle Ketty, the majestic fairy, in tights. The journals, which print Jocquelet's name, treat him sympathetically and conspicuously, and are full of his praises. "He is good to his old aunt," "gives alms," "picked up a lost dog in the street the other evening." An artist such as he, who stamps immortality on all the comic repertory, and takes Moliere under his wing, has no time to go to visit friends, that is understood. However, he still honors Maurice Roger with short visits. He only has time to make all the knickknacks and china on the sideboard tremble with the noise of his terrible voice; only time to tell how, on the night before, in the greenroom, when still clothed in Scapin's striped cloak, he deigned to receive, with the coldest dignity, the compliments of a Royal Highness, or some other person of high rank. A prominent society lady has been dying of love for him the past six months; she occupies stage box Number Six--and then off he goes. Good riddance!

Amedee enjoys himself in his friend's studio, where gay and witty artists come to talk. They laugh and amuse themselves, and this Sunday resting-place is the most agreeable of the hard-working poet's recreations. Amedee prolongs them as long as possible, until at last he is alone with his friend; then the young men stretch themselves out upon the Turkish cushions, and they talk freely of their hopes, ambitions, and dreams for the future.

Amedee, however, keeps one secret to himself; he never has told of his love for Maria Gerard. Upon his return from Italy the traveller inquired several times for the Gerards, sympathized politely with their misfortune, and wished to be remembered to them through Amedee. The latter had been very reserved in his replies, and Maurice no longer broaches the subject in their conversation. Is it through neglect? After all, he hardly knew the ladies; still, Amedee is not sorry to talk of them no longer with his friend, and it is never without a little embarrassment and unacknowledged jealousy that he replies to Maria when she asks for news of Maurice.

She no longer inquires. The pretty Maria is cross and melancholy, for now they talk only of one thing at the Gerards; it is always the same, the vulgar and cruel thought, obtaining the means to live; and within a short time they have descended a few steps lower on the slippery ladder of poverty. It is not possible to earn enough to feed three mouths with a piano method and a box of pastels--or, at least, it does not hold out. Louise has fewer pupils, and Pere Issacar has lessened his orders. Mamma Gerard, who has become almost an old woman, redoubles her efforts; but they can no longer make both ends meet. Amedee sees it, and how it makes him suffer!

The poor women are proud, and complain as little as possible; but the decay inside this house, already so modest, is manifested in many ways. Two beautiful engravings, the last of their father's souvenirs, had been sold in an hour of extreme want; and one could see, by the clean spots upon the wall, where the frames once hung. Madame Gerard's and her daughters' mourning seemed to grow rusty, and at the Sunday dinner Amedee now brings, instead of a cake, a pastry pie, which sometimes constitutes the entire meal. There is only one bottle of old wine in the cellar, and they drink wine by the pot from the grocer's. Each new detail that proves his friends' distress troubles the sensitive Amedee. Once, having earned ten Louis from some literary work, he took the poor mother aside and forced her to accept one hundred francs. The unfortunate woman, trembling with emotion, while two large tears rolled down her cheeks, admitted that the night before, in order to pay the washerwoman, they had pawned the only clock in the house.

What can he do to assist them, to help them to lead a less terrible life? Ah! if Maria would have it so, they could be married at once, without any other expense than the white dress, as other poor people do; and they would all live together. He has his salary of twenty-four hundred francs, besides a thousand francs that he has earned in other ways. With Louise's lessons this little income would be almost sufficient. Then he would exert himself to sell his writings; he would work hard, and they could manage. Of course it would be quite an undertaking on his part to take all this family under his charge. Children might be born to them. Had he not begun to gain a reputation; had he not a future before him? His piece might be played and meet with success. This would be their salvation. Oh! the happy life that the four would lead together! Yes, if Maria could love him a little, if he persisted in hoping, if she had the courage, it was the only step to take.

Becoming enthusiastic upon this subject, Amedee decided to submit the question to the excellent Louise, in whom he had perfect confidence, and considered to be goodness and truth personified. Every Thursday, at six o'clock, she left a boarding-school in the Rue de la Rochechouart, where she gave lessons to young ladies in singing. He would go and wait for her as she came out that very evening. And there he met her. Poor Louise! her dress was lamentable; and what a sad countenance! What a tired, distressed look!

"What, you, Amedee!" said she, with a happy smile, as he met her.

"Yes, my dear Louise. Take my arm and let me accompany you part of the way. We will talk as we walk; I have something very serious to say to you, confidentially--important advice to ask of you."

The poet then began to make his confession. He recalled their childhood days in the Rue Notre-Dame-des-Champs, when they played together; it was as long ago as that that he had first begun to be charmed by little Maria. As soon as he became a young man he felt that he loved the dear child, and had always cherished the hope that he might inspire her with a tender sentiment and marry her some day. If he had not spoken sooner it was because he was too poor, but he had always loved her, he loved her now, and never should love any other woman. He then explained his plan of life in simple and touching terms; he would become Madame Gerard's son and his dear Louise's brother; the union of their two poverties would become almost comfort. Was it not very simple and reasonable? He was very sure that she would approve of it, and she was wisdom itself and the head of the family.

While he was talking Louise lowered her eyes and looked at her feet. He did not feel that she was trembling violently. Blind, blind Amedee! You do not see, you will never see, that she is the one who loves you! Without hope! she knows that very well; she is older than you, she is not pretty, and she will always be in your eyes an adopted elder sister, who once showed you your alphabet letters with the point of her knitting-needle. She has suspected for a long time your love for Maria; she suffers, but she is resigned to it, and she will help you, the brave girl! But this confession that you make, Maria's name that you murmur into her ear in such loving accents, this dream of happiness in which, in your artless egotism, you reserve for her the role of an old maid who will bring up your children, is cruel, oh! how cruel! They have reached the Boulevard Pigalle; the sun has set; the sky is clear and bright as a turquoise, and the sharp autumn wind detaches the last of the dried leaves from the trees. Amedee is silent, but his anxious glance solicits and waits for Louise's reply.

"Dear Amedee," said she, raising her frank, pure eyes to his face, "you have the most generous and best of hearts. I suspected that you loved Maria, and I would be glad to tell you at once that she loves you, so that we might hereafter be but one family--but frankly I can not. Although the dear child is a little frivolous, her woman's instinct must suspect your feeling for her, but she has never spoken of it to mamma or to me. Have confidence; I do not see anything that augurs ill for you in that. She is so young and so innocent that she might love you without suspecting it herself. It is very possible, probable even, that your avowal will enlighten her as to the state of her own heart. She will be touched by your love, I am sure, as well as by your devotion to the whole family. I hope, with all my heart, Amedee, that you will succeed; for, I can say it to you, some pleasure must happen in poor Maria's life soon. She has moments of the deepest sadness and attacks of weeping that have made me uneasy for some time. You must have noticed, too, that she is overwhelmed with ennui. I can see that she suffers more than mamma or I, at the hard life that we lead. It is not strange that she feels as she does, for she is pretty and attractive, and made for happiness; and to see the present and the future so sad! How hard it is! You can understand, my friend, how much I desire this marriage to take place. You are so good and noble, you will make Maria happy; but you have said it, I am the one who represents wisdom in our house. Let me have then a few days in which to observe Maria, to obtain her confidence, to discover perhaps a sentiment in her heart of which she is ignorant; and remember that you have a sure and faithful ally in me."

"Take your own time, dear Louise," replied the poet. "I leave everything to you. Whatever you do will be for the best."

He thanked her and they parted at the foot of the Rue Lepic. It was a bitter pleasure for the slighted one to give the young man her poor, deformed, pianist's hand, and to feel that he pressed it with hope and gratitude.

She desired and must urge this marriage. She said this over and over again to herself, as she walked up the steep street, where crowds of people were swarming at the end of their day's work. No! no! Maria did not care for Amedee. Louise was very sure of it; but at all events it was necessary that she should try to snatch her young sister from the discouragements and bad counsel of poverty. Amedee loved her and would know how to make her love him. In order to assure their happiness these two young people must be united. As to herself, what matter! If they had children she would accept in advance her duties as coddling aunt and old godmother. Provided, of course, that Maria would be guided, or, at least, that she would consent. She was so pretty that she was a trifle vain. She was nourishing, perhaps, nobody knew what fancy or vain hope, based upon her beauty and youth. Louise had grave fears. The poor girl, with her thin, bent shoulders wrapped up in an old black shawl, had already forgotten her own grief and only thought of the happiness of others, as she slowly dragged herself up Montmartre Hill. When she reached the butcher's shop in front of the mayor's office, she remembered a request of her mother's; and as is always the case with the poor, a trivial detail is mixed with the drama of life. Louise, without forgetting her thoughts, while sacrificing her own heart, went into the shop and picked out two breaded cutlets and had them done up in brown paper, for their evening's repast.

The day after his conversation with Louise, Amedee felt that distressing impatience that waiting causes nervous people. The day at the office seemed unending, and in order to escape solitude, at five o'clock he went to Maurice's studio, where he had not been for fifteen days. He found him alone, and the young artist also seemed preoccupied. While Amedee congratulated him upon a study placed upon an easel, Maurice walked up and down the room with his hands in his pocket, and eyes upon the floor, making no reply to his friend's compliments. Suddenly he stopped and looking at Amedee said:

"Have you seen the Gerard ladies during the past few days?"

Maurice had not spoken of these ladies for several months, and the poet was a trifle surprised.

"Yes," he replied. "Not later than yesterday I met Mademoiselle Louise."

"And," replied Maurice, in a hesitating manner, "were all the family well?"

"Yes."

"Ah!" said the artist, in a strange voice, and he resumed his silent promenade.

Amedee always had a slightly unpleasant sensation when Maurice spoke the name of the Gerards, but this time the suspicious look and singular tone of the young painter, as he inquired about them, made the poet feel genuinely uneasy. He was impressed, above all, by Maurice's simple exclamation, "Ah!" which seemed to him to be enigmatical and mysterious. But nonsense! all this was foolish; his friend's questions were perfectly natural.

"Shall we pass the evening together, my dear Maurice?"

"It is impossible this evening," replied Maurice, still continuing his walk. "A duty--I have an engagement."

Amedee had the feeling that he had come at an unfortunate time, and discreetly took his departure. Maurice had seemed indifferent and less cordial than usual.

"What is the matter with him?" said the poet to himself several times, while dining in the little restaurant in the Latin Quarter. He afterward went to the Comedie Francaise, to kill time, as well as to inquire after his drama of Jocquelet, who played that evening in 'Le Legataire Universel'.

The comedian received him in his dressing-room, being already arrayed in Crispin's long boots and black trousers. He was seated in his shirt-sleeves be fore his toilet-table, and had just pasted over his smooth lips the bristling moustache of this traditional personage. Without rising, or even saying "Good-day," he cried out to the poet as he recognized him in the mirror.

"No news as to your piece! The manager has not one moment to himself; we are getting ready for the revival of Camaraderie. But we shall be through with it in two days, and then--"

And immediately, talking to hear himself talk, and to exercise his terrible organ, he belched out, like the noise from an opened dam, a torrent of commonplace things. He praised Scribe's works, which they had put on the stage again; he announced that the famous Guillery, his senior in the comedy line, would be execrable in this performance, and would make a bungle of it. He complained of being worried to death by the pursuit of a great lady--"You know, stage box Number Six," and showed, with a conceited gesture, a letter, tossed in among the jars of paint and pomade, which smelled of musk. Then, ascending to subjects of a more elevated order, he scored the politics of the Tuileries, and scornfully exposed the imperial corruption while recognizing that this "poor Badingue," who, three days before, had paid a little compliment to the actor, was of more account than his surroundings.

The poet went home and retired, bewildered by such gossip. When he awoke, the agony of his thoughts about Maria had become still more painful. When should he see Louise again? Would her reply be favorable? In spite of the fine autumn morning his heart was troubled, and he felt that he had no courage. His administrative work had never seemed more loathsome than on that day. His fellow-clerk, an amateur in hunting, had just had two days' absence, and inflicted upon him, in an unmerciful manner, his stories of slaughtered partridges, and dogs who pointed, so wonderfully well, and of course punctuated all this with numerous Pan-Pans! to imitate the report of a double-barrelled gun.

When he left the office Amedee regained his serenity a little; he returned home by the quays, hunting after old books and enjoying the pleasures of a beautiful evening, watching, in the golden sky, around the spires of Ste.-Chapelle, a large flock of swallows assembling for their approaching departure.

At nightfall, after dining, he resolved to baffle his impatience by working all the evening and retouching one act of his drama with which he was not perfectly content. He went to his room, lighted his lamp, and seated himself before his open manuscript. Now, then! to work! He had been silly ever since the night before. Why should he imagine that misfortune was in the air? Do such things as presentiments exist?

Suddenly, three light, but hasty and sharp knocks were struck upon his door. Amedee arose, took his lamp, and opened it. He jumped back--there stood Louise Gerard in her deep mourning!

"You?--At my rooms?--At this hour?--What has happened?"

She entered and dropped into the poet's armchair. While he put the lamp upon the table he noticed that the young girl was as white as wax. Then she seized his hands and pressing them with all her strength, she said, in a voice unlike her own--a voice hoarse with despair:

"Amedee, I come to you by instinct, as toward our only friend, as to a brother, as to the only man who will be able to help us repair the frightful misfortune which overwhelms us!" She stopped, stifled with emotion.

"A misfortune!" exclaimed the young man. "What misfortune? Maria?"

"Yes! Maria!"

"An accident?--An illness?"

Louise made a rapid gesture with her arm and head which signified: "If it were only that!" With her mouth distorted by a bitter smile and with lowered eyes, talking confusedly, she said:

"Monsieur Maurice Roger--yes--your friend Maurice! A miserable wretch!--he has deceived and ruined the unhappy child! Oh! what infamy!--and now--now--"

Her deathly pale face flushed and became purple to the roots of her hair.

"Now Maria will become a mother!"

At these words the poet gave a cry like some enraged beast; he reeled, and would have fallen had the table not been near. He sat down on the edge of it, supporting himself with his hands, completely frozen as if from a great chill. Louise, overcome with shame, sat in the armchair, hiding her face in her hands while great tears rolled down between the fingers of her ragged gloves. _

Read next: Book 4: Chapter 14. Too Late!

Read previous: Book 3: Chapter 12. Social Triumphs

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