She was lady patroness to numerous and very well known infant asylums, never failed to attend mass at one o'clock on Sundays, gave alms for herself directly, and for the world by means of an abbe, the vicar of her parish.
She had often prayed, from a sense of duty, as a soldier mounts guard at a general's door. Sometimes she had prayed because her heart was sad, especially when she suspected Olivier of infidelity to her. At such times, without confiding to Heaven the cause for her appeal, treating God with the same naive hypocrisy that is shown to a husband, she asked Him to succor her. When her father died, long before, and again quite recently, at her mother's death, she had had violent crises of religious fervor, and had passionately implored Him who watches over us and consoles us.
And, now behold! to-day, in that church where she had entered by chance, she suddenly felt a profound need to pray, not for some one nor for some thing, but for herself, for herself alone, as she had already prayed the other day at her mother's grave. She must have help from some source, and she called on God now as she had summoned the physician that very morning.
She remained a long time on her knees, in the deep silence of the church, broken only by the sound of footsteps. Then suddenly, as if a clock had struck in her heart, she awoke from her memories, drew out her watch and started to see that it was already four o'clock. She hastened away to take her daughter to the studio, where Olivier must already be expecting them.
They found the artist in his studio, studying upon the canvas the pose of his Reverie. He wished to reproduce exactly what he had seen in the Parc Monceau while walking with Annette: a young girl, dreaming, with an open book upon her knees. He had hesitated as to whether he should make her plain or pretty. If she were ugly she would have more character, would arouse more thought and emotion, would contain more philosophy. If pretty, she would be more seductive, would diffuse more charm, and would please better.
The desire to make a study after his little friend decided him. The Reveuse should be pretty, and therefore might realize her poetic vision one day or other; whereas if ugly she would remain condemned to a dream without hope and without end.
As soon as the two ladies entered Olivier said, rubbing his hands:
"Well, Mademoiselle Nane, we are going to work together, it seems!"
The Countess seemed anxious. She sat in an armchair, and watched Olivier as he placed an iron garden-chair in the right light. He opened his bookcase to get a book, then asked, hesitating:
"What does your daughter read?"
"Dear me! anything you like! Give her a volume of Victor Hugo."
"'La Legende des Siecles?'"
"That will do."
"Little one, sit down here," he continued, "and take this volume of verse. Look for page—page 336, where you will find a poem entitled 'Les Pauvres Gens.' Absorb it, as one drinks the best wines, slowly, word by word, and let it intoxicate you and move you. Then close the book, raise your eyes, think and dream. Now I will go and prepare my brushes."
He went into a corner to put the colors on his palette, but while emptying on the thin board the leaden tubes whence issued slender, twisting snakes of color, he turned from time to time to look at the young girl absorbed in her reading.
His heart was oppressed, his fingers trembled; he no longer knew what he was doing, and he mingled the tones as he mixed the little piles of paste, so strongly did he feel once more before this apparition, before that resurrection, in that same place, after twelve years, an irresistible flood of emotion overwhelming his heart.
Now Annette had finished her reading and was looking straight before her. Approaching her, Olivier saw in her eyes two bright drops which, breaking forth, ran down her cheeks. He was startled by one of those shocks that make a man forget himself, and turning toward the Countess he murmured:
"God! how beautiful she is!"
But he remained stupefied before the livid and convulsed face of Madame de Guilleroy. Her large eyes, full of a sort of terror, gazed at her daughter and the painter. He approached her, suddenly touched with anxiety.
"What is the matter?" he asked.
"I wish to speak to you."
Rising, she said quickly to Annette; "Wait a moment, my child; I have a word to say to Monsieur Bertin."
She passed swiftly into the little drawing-room near by, where he often made his visitors wait. He followed her, his head confused, understanding nothing. As soon as they were alone, she seized his hands and stammered:
"Olivier! Olivier, I beg you not to make her pose for you!"
"But why?" he murmured, disturbed.
"Why? Why?" she said precipitately. "He asks it! You do not feel it, then yourself? Why? Oh, I should have guessed it sooner myself, but I only discovered it this moment. I cannot tell you anything now. Go and find my daughter. Tell her that I am ill; fetch a cab, and come to see me in an hour. I will receive you alone."
"But, really, what is the matter with you?"
She seemed on the verge of hysterics.
"Leave me! I cannot speak here. Get my daughter and call a cab."
He had to obey and reentered the studio. Annette, unsuspicious, had resumed her reading, her heart overflowing with sadness by the poetic and lamentable story.
"Your mother is indisposed," said Olivier. "She became very ill when she went into the other room. I will take some ether to her."
He went out, ran to get a flask from his room and returned.
He found them weeping in each other's arms. Annette, moved by "Les Pauvres Gens," allowed her feelings full sway, and the Countess was somewhat solaced by blending her grief with that sweet sorrow, in mingling her tears with those of her daughter.
He waited for some time, not daring to speak; he looked at them, his own heart oppressed with an incomprehensible melancholy.
"Well," said he at last. "Are you better?"
"Yes, a little," the Countess replied. "It was nothing. Have you ordered a carriage?"
"Yes, it will come directly."
"Thank you, my friend—it is nothing. I have had too much grief for a long time."
"The carriage is here," a servant announced.
And Bertin, full of secret anguish, escorted his friend, pale and almost swooning, to the door, feeling her heart throb against his arm.
When he was alone he asked himself what was the matter with her, and why had she made this scene. And he began to seek a reason, wandering around the truth without deciding to discover it. Finally, he began to suspect. "Well," he said to himself, "is it possible she believes that I am making love to her daughter? No, that would be too much!" And, combating with ingenious and loyal arguments that supposititious conviction, he felt indignant that she had lent for an instant to this healthy and almost paternal affection any suspicion of gallantry. He became more and more irritated against the Countess, utterly unwilling to concede that she had dared suspect him of such villainy, of an infamy so unqualifiable; and he resolved, when the time should come for him to answer her, that he would not soften the expression of his resentment.
He soon left his studio to go to her house, impatient for an explanation. All along the way he prepared, with a growing irritation, the arguments and phrases that must justify him and avenge him for such a suspicion.
He found her on her lounge, her face changed by suffering.
"Well," said he, drily, "explain to me, my dear friend, the strange scene that has just occurred."
"What, you have not yet understood it?" she said, in a broken voice.
"No, I confess I have not."
"Come, Olivier, search your own heart well."
"Yes, at the bottom of your heart."
"I don't understand. Explain yourself better."
"Look well into the depths of your heart, and see whether you find nothing there that is dangerous for you and for me."
"I repeat that I do not comprehend you. I guess that there is something in your imagination, but in my own conscience I see nothing."
"I am not speaking of your conscience, but of your heart."
"I cannot guess enigmas. I entreat you to be more clear."
Then, slowing raising her hands, she took the hands of the painter and held them; then, as if each word broke her heart, she said:
"Take care, my friend, or you will fall in love with my daughter!"
He withdrew his hands abruptly, and with the vivacity of innocence which combats a shameful accusation, with animated gesture and increasing excitement, he defended himself, accusing her in her turn of having suspected him unjustly.
She let him talk for some time, obstinately incredulous, sure of what she had said. Then she resumed:
"But I do not suspect you, my friend. You were ignorant of what was passing within you, as I was ignorant of it until this morning. You treat me as if I had accused you of wishing to seduce Annette. Oh, no, no! I know how loyal you are, worthy of all esteem and of every confidence. I only beg you, I entreat you to look into the depths of your heart and see whether the affection which, in spite of yourself, you are beginning to have for my daughter, has not a characteristic a little different from simple friendship."
Now he was offended, and, growing still more excited, he began once more to plead his loyalty, just as he argued all alone in the street.
She waited until he had finished his defense; then, without anger, but without being shaken in her conviction, though frightfully pale, she murmured:
"Olivier, I know very well all that you have just said to me, and I think as you do. But I am sure that I do not deceive myself. Listen, reflect, understand. My daughter resembles me too much, she is too much what I was once when you began to love me, that you should not begin to love her, too."
"Then," he exclaimed, "you dare to throw in my face such a thing as that on this simple supposition and ridiculous reasoning: 'He loves me; my daughter resembles me; therefore he will love her'!"
But seeing the Countess's face changing more and more, he continued in a softer tone:
"Now, my dear Any, it is precisely because I do find you once more in her that this young girl pleases me so much. It is you, you alone, that I love when I look at her."
"Yes, and it is just that from which I begin to suffer, and which makes me so anxious. You are not yet aware of what you feel, but by and by you will no longer be able to deceive yourself regarding it."
"Any, I assure you that you are mad."
"Do you wish proofs?"
"You had not come to Roncieres for three years, in spite of my desire to have you come. But you rushed down there when it was proposed that you should come to fetch us."
"Oh, indeed! You reproach me for not leaving you alone down there, knowing that you were ill, after your mother's death!"
"So be it! I do not insist. But look: the desire to see Annette again is so imperious with you that you could not pass this day without asking me to take her to your studio, under the pretext of posing her."
"And do you not suppose it was you I wished to see?"
"At this moment you are arguing against yourself, trying to convince yourself—but you do not deceive me. Listen again: Why did you leave abruptly, the night before last, when the Marquis de Farandal entered? Do you know why?"
He hesitated, very much surprised, disturbed, disarmed by this observation. Then he said slowly:
"But—I hardly know—I was tired, and then, to be candid, that imbecile makes me nervous."
"Pardon me, I have heard you sing his praises. You liked him once. Be quite sincere, Olivier."
He reflected a few moments; then, choosing his words, he said:
"Yes, it is possible that the great love I have for you makes me love so much everything that belongs to you as to modify my opinion of that bore, whom I might meet occasionally with indifference, but whom I should not like to see in your house almost every day."
"My daughter's house will not be mine. But this is sufficient. I know the uprightness of your heart. I know that you will reflect deeply on what I have just said to you. When you have reflected you will understand that I have pointed out a great danger to you, while yet there is time to escape it. And you will beware. Now let us talk of something else, will you?"
He did not insist, but he was much disturbed; he no longer knew what to think, though indeed he had need for reflection. He went away after a quarter of an hour of unimportant conversation.
With slow steps, Olivier returned to his own house, troubled as if he had just learned some shameful family secret. He tried to sound his heart, to see clearly within himself, to read those intimate pages of the inner book which seemed glued together, and which sometimes only a strange hand can turn over by separating them. Certainly he did not believe himself in love with Annette. The Countess, whose watchful jealousy never slept, had foreseen this danger from afar, and had signaled it before it even existed. But might that peril exist to-morrow, the day after, in a month? It was the frank question that he tried to answer sincerely. It was true that the child stirred his instincts of tenderness, but these instincts in men are so numerous that the dangerous ones should not be confounded with the inoffensive. Thus he adored animals, especially cats, and could not see their silky fur without being seized with an irresistible sensuous desire to caress their soft, undulating backs and kiss their electric fur.
The attraction that impelled him toward this girl a little resembled those obscure yet innocent desires that go to make up part of all the ceaseless and unappeasable vibrations of human nerves. His eye of the artist, as well as that of the man, was captivated by her freshness, by that springing of beautiful clear life, by that essence of youth that glowed in her; and his heart, full of memories of his long intimacy with the Countess, finding in the extraordinary resemblance of Annette to her mother a reawakening of old feelings, of emotions sleeping since the beginning of his love, had been startled perhaps by the sensation of an awakening. An awakening? Yes. Was it that? This idea illumined his mind. He felt that he had awakened after years of sleep. If he had loved the young girl without being aware of it, he should have experienced near her that rejuvenation of his whole being which creates a different man as soon as the flame of a new desire is kindled within him. No, the child had only breathed upon the former fire. It had always been the mother that he loved, but now a little more than recently, no doubt, because of her daughter, this reincarnation of herself. And he formulated this decision with the reassuring sophism: "One loves but once! The heart may often be affected at meeting some other being, for everyone exercises on others either attractions or repulsions. All these influences create friendship, caprices, desire for possession, quick and fleeting ardors, but not real love. That this love may exist it is necessary that two beings should be so truly born for each other, should be linked together in so many different ways, by so many similar tastes, by so many affinities of body, of mind, and of character, and so many ties of all kinds that the whole shall form a union of bonds. That which we love, in short, is not so much Madame X. or Monsieur Z.; it is a women or a man, a creature without a name, something sprung from Nature, that great female, with organs, a form, a heart, a mind, a combination of attributes which like a magnet attract our organs, our eyes, our lips, our hearts, our thoughts, all our appetites, sensual as well as intellectual. We love a type, that is, the reunion in one single person of all the human qualities that may separately attract us in others."
For him, the Comtesse de Guilleroy had been this type, and their long-standing liaison, of which he had not wearied, proved it to him beyond doubt. Now, Annette so much resembled physically what her mother had been as to deceive the eye; so there was nothing astonishing in the fact that this man's heart had been surprised, if even it had not been wholly captured. He had adored one woman! Another woman was born of her, almost her counterpart. He could not prevent himself from bestowing on the latter a little tender remnant of the passionate attachment he had had for the former. There was no harm nor danger in that. Only his eyes and his memory allowed themselves to be deluded by this appearance of resurrection; but his instinct never had been affected, for never had he felt the least stirring of desire for the young girl.
However, the Countess had reproached him with being jealous of the Marquis! Was it true? Again he examined his conscience severely, and decided that as a matter of fact he was indeed a little jealous. What was there astonishing in that, after all? Are we not always being jealous of men who pay court to no matter what woman? Does not one experience in the street, at a restaurant, or a theater, a little feeling of enmity toward the gentleman who is passing or who enters with a lovely girl on his arm? Every possessor of a woman is a rival, a triumphant male, a conqueror envied by all the other males. And then, without considering these physiological reasons, if it was natural that he should have for Annette a sympathy a little excessive because of his love for her mother, was it not natural also that he should feel in his heart a little masculine hatred of the future husband? He could conquer this unworthy feeling without much trouble.
But in the depths of his heart he still felt a sort of bitter discontent with himself and with the Countess. Would not their daily intercourse be made disagreeable by the suspicion that he would be aware of in her? Should he not be compelled to watch with tiresome and scrupulous attention all that he said and did, his very looks, his slightest approach toward the young girl? for all that he might do or say would appear suspicious to the mother. He reached his home in a gloomy mood and began to smoke cigarettes, with the vehemence of an irritated man who uses ten matches to light his tobacco. He tried in vain to work. His hand, his eye, and his brain seemed to have lost the knack of painting, as if they had forgotten it, or never had known and practised the art. He had taken up to finish a little sketch on canvas—a street corner, at which a blind man stood singing—and he looked at it with unconquerable indifference, with such a lack of power to continue it that he sat down before it, palette in hand, and forgot it, though continuing to gaze at it with attention and abstracted fixity.
Then, suddenly, impatience at the slowness of time, at the interminable minutes, began to gnaw him with its intolerable fever. What should he do until he could go to the club for dinner, since he could not work at home? The thought of the streets tired him only to think of, filled him with disgust for the sidewalks, the pedestrians, the carriages and shops; and the idea of paying visits that day, to no matter whom, aroused in him an instantaneous hatred for everyone he knew.
Then, what should he do? Should he pace to and fro in his studio, looking at the clock at every turn, watching the displacement of the long hand every few seconds? Ah, he well knew those walks from the door to the cabinet, covered with ornaments. In his hours of excitement, impulse, ambition, of fruitful and facile execution, these pacings had been delicious recreation—these goings and comings across the large room, brightened, animated, and warmed by work; but now, in his hours of powerlessness and nausea, the miserable hours, when nothing seemed worth the trouble of an effort or a movement, it was like the terrible tramping of a prisoner in his cell. If only he could have slept, even for an hour, on his divan! But no, he should not sleep; he should only agitate himself until he trembled with exasperation. Whence came this sudden attack of bad temper? He thought: "I am becoming excessively nervous to have worked myself into such a state for so insignificant a cause."
Then he thought he would take a book. The volume of La Legende des Siecles had remained on the iron chair where Annette had laid it. He opened it and read two pages of verse without understanding them. He understood them no more than if they had been written in a foreign tongue. He was determined, however, and began again, only to find that what he read had not really penetrated to his mind. "Well," said he to himself, "it appears that I am becoming imbecile!" But a sudden inspiration reassured him as to how he should fill the two hours that must elapse before dinner-time. He had a hot bath prepared, and there he remained stretched out, relaxed and soothed by the warm water, until his valet, bringing his clothes, roused him from a doze. Then he went to the club, where he found the usual companions. He was received with open arms and exclamations, for they had not seen him for several days.
"I have just returned from the country," he explained.
All those men, except Musadieu, the landscape painter, professed a profound contempt for the fields. Rocdiane and Landa, to be sure, went hunting there, but among plains or woods they only enjoyed the pleasure of seeing pheasants, quail, or partridges falling like handfuls of feathers under their bullets, or little rabbits riddled with shot, turning somersaults like clowns, going heels over head four or five times, showing their white bellies and tails at every bound. Except for these sports of autumn and winter, they thought the country a bore. As Rocdiane would say: "I prefer little women to little peas!"
The dinner was lively and jovial as usual, animated by discussions wherein nothing unforeseen occurs. Bertin, to arouse himself, talked a great deal. They found him amusing, but as soon as he had had coffee, and a sixty-point game of billiards with the banker Liverdy, he went out, rambling from the Madeleine to the Rue Taitbout; after passing three times before the Vaudeville, he asked himself whether he should enter; almost called a cab to take him to the Hippodrome; changed his mind and turned toward the Nouveau Cirque, then made an abrupt half turn, without motive, design, or pretext, went up the Boulevard Malesherbes, and walked more slowly as he approached the dwelling of the Comtesse de Guilleroy. "Perhaps she will think it strange to see me again this evening," he thought. But he reassured himself in reflecting that there was nothing astonishing in his coming a second time to inquire how she felt.
She was alone with Annette, in the little back drawing-room, and was still working on her coverlets for the poor.
She said simply, on seeing him enter: "Ah, is it you, my friend?"
"Yes, I felt anxious; I wished to see you. How are you?"
"Thank you, very well."
She paused a moment, then added, significantly:
He began to laugh unconcernedly, as he replied: "Oh. I am very well, very well. Your fears were entirely without foundation."
She raised her eyes, pausing in her work, and fixed her gaze upon him, a gaze full of doubt and entreaty.
"It is true," said he.
"So much the better," she replied, with a smile that was slightly forced.
He sat down, and for the first time in that house he was seized with irresistible uneasiness, a sort of paralysis of ideas, still greater than that which had seized him that day as he sat before his canvas.
"You may go on, my child; it will not annoy him," said the Countess to her daughter.
"What was she doing?"
"She was studying a fantaisie."
Annette rose to go to the piano. He followed her with his eyes, unconsciously, as he always did, finding her pretty. Then he felt the mother's eye upon him, and turned his head abruptly, as if he were seeking something in the shadowy corner of the drawing-room.
The Countess took from her work-table a little gold case that he had given her, opened it, and offered him some cigarettes.
"Pray smoke, my friend," said she; "you know I like it when we are alone here."
He obeyed, and the music began. It was the music of the distant past, graceful and light, one of those compositions that seem to have inspired the artist on a soft moonlight evening in springtime.
"Who is the composer of that?" asked Bertin.
"Schumann," the Countess replied. "It is little known and charming."
A desire to look at Annette grew stronger within him, but he did not dare. He would have to make only a slight movement, merely a turn of the neck, for he could see out of the corner of his eye the two candles lighting the score; but he guessed so well, read so clearly, the watchful gaze of the Countess that he remained motionless, his eyes looking straight before him, interested apparently in the gray thread of smoke from his cigarette.
"Was that all you had to say to me?" Madame de Guilleroy murmured to him.
"Don't be vexed with me. You know that music hypnotizes me; it drinks my thoughts. I will talk soon."
"I must tell you," said the Countess, "that I had studied something for you before mamma's death. I never had you hear it, but I will play it for you immediately, as soon as the little one has finished; you shall see how odd it is."
She had real talent, and a subtle comprehension of the emotion that flows through sounds. It was indeed one of her surest powers over the painter's sensibility.
As soon as Annette had finished the pastoral symphony by Mehul, the Countess rose, took her place, and awakened a strange melody with her fingers, a melody of which all the phrases seemed complaints, divers complaints, changing, numerous, interrupted by a single note, beginning again, falling into the midst of the strains, cutting them short, scanning them, crashing into them, like a monotonous, incessant, persecuting cry, an unappeasable call of obsession.
But Olivier was looking at Annette, who had sat down facing him, and he heard nothing, comprehended nothing.
He looked at her, without thinking, indulging himself with the sight of her, as a good and habitual possession of which he had been deprived, drinking her youthful beauty wholesomely, as we drink water when thirsty.
"Well," said the Countess, "was not that beautiful?"
"Admirable! Superb!" he said, aroused. "By whom?"
"You do not know it?"
"What, really, you do not know it?"
"That does not astonish me at all," he said, with an air of profound conviction. "It is superb! You would be delightful if you would play it over again."
She began once more, and he, turning his head, began again to contemplate Annette, but listened also to the music, that he might taste two pleasures at the same time.
When Madame de Guilleroy had returned to her chair, in simple obedience to the natural duplicity of man he did not allow his gaze to rest longer on the fair profile of the young girl, who knitted opposite her mother, on the other side of the lamp.
But, though he did not see her, he tasted the sweetness of her presence, as one feels the proximity of a fire on the hearth; and the desire to cast upon her swift glances only to transfer them immediately to the Countess, tormented him—the desire of the schoolboy who climbs up to the window looking into the street as soon as the master's back is turned.
He went away early, for his power of speech was as paralyzed as his mind, and his persistent silence might be interpreted.
As soon as he found himself in the street a desire to wander took possession of him, for whenever he heard music it remained in his brain a long time, threw him into reveries that seemed the music itself in a dream, but in a clearer sequel. The sound of the notes returned, intermittent and fugitive, bringing separate measures, weakened, and far off as an echo; then, sinking into silence, appeared to leave it to the mind to give a meaning to the themes, and to seek a sort of tender and harmonious ideal. He turned to the left on reaching the outer Boulevard, perceiving the fairylike illumination of the Parc Monceau, and entered its central avenue, curving under the electric moons. A policeman was slowly strolling along; now and then a belated cab passed; a man, sitting on a bench in a bluish bath of electric light, was reading a newspaper, at the foot of a bronze mast that bore the dazzling globe. Other lights on the broad lawns, scattered among the trees, shed their cold and powerful rays into the foliage and on the grass, animating this great city garden with a pale life.
Bertin, with hands behind his back, paced the sidewalk, thinking of his walk with Annette in this same park when he had recognized in her the voice of her mother.
He let himself fall upon a bench, and, breathing in the cool freshness of the dewy lawns, he felt himself assailed by all the passionate expectancy that transforms the soul of youth into the incoherent canvas of an unfinished romance of love. Long ago he had known such evenings, those evenings of errant fancy, when he had allowed his caprice to roam through imaginary adventures, and he was astonished to feel a return of sensations that did not now belong to his age.
But, like the persistent note in the Schubert melody, the thought of Annette, the vision of her face bent beside the lamp, and the strange suspicion of the Countess, recurred to him at every instant. He continued, in spite of himself, to occupy his heart with this question, to sound the impenetrable depths where human feelings germinate before being born. This obstinate research agitated him; this constant preoccupation regarding the young girl seemed to open to his soul the way to tender reveries. He could not drive her from his mind; he bore within himself a sort of evocation of her image, as once he had borne the image of the Countess after she had left him; he often had the strange sensation of her presence in the studio.
Suddenly, impatient at being dominated by a memory, he arose, muttering: "Any was stupid to say that to me. Now she will make me think of the little one!"
He went home, disturbed about himself. After he had gone to bed he felt that sleep would not come to him, for a fever coursed in his veins, and a desire for reverie fermented in his heart. Dreading a wakeful night, one of those enervating attacks of insomnia brought about by agitation of the spirit, he thought he would try to read. How many times had a short reading served him as a narcotic! So he got up and went into his library to choose a good and soporific work; but his mind, aroused in spite of himself, eager for any emotion it could find, sought among the shelves for the name of some author that would respond to his state of exaltation and expectancy. Balzac, whom he loved, said nothing to him; he disdained Hugo, scorned Lamartine, who usually touched his emotions, and fell eagerly upon Musset, the poet of youth. He took the volume and carried it to bed, to read whatever he might chance to find.
When he had settled himself in bed, he began to drink, as with the thirst of a drunkard, those flowing verses of an inspired being who sang, like a bird, of the dawn of existence, and having breath only for the morning, was silent in the arid light of day; those verses of a poet who above all mankind was intoxicated with life, expressing his intoxication in fanfares of frank and triumphant love, the echo of all young hearts bewildered with desires.
Never had Bertin so perfectly comprehended the physical charm of those poems, which move the senses but hardly touch the intelligence. With his eyes on those vibrating stanzas, he felt that his soul was but twenty years old, radiant with hopes, and he read the volume through in a state of youthful intoxication. Three o'clock struck, and he was astonished to find that he had not yet grown sleepy. He rose to shut his window and to carry his book to a table in the middle of the room; but at the contact of the cold air a pain, of which several seasons at Aix had not cured him, ran through his loins, like a warning or a recall; and he threw aside the poet with an impatient movement, muttering: "Old fool!" Then he returned to bed and blew out his light.
He did not go to see the Countess the next day, and he even made the energetic resolution not to return there for two days. But whatever he did, whether he tried to paint or to walk, whether he bore his melancholy mood with him from house to house, his mind was everywhere harassed by the preoccupation of those two women, who would not be banished.
Having forbidden himself to go to see them, he solaced himself by thinking of them, and he allowed both mind and heart to give themselves up to memories of both. It happened often that in that species of hallucination in which he lulled his isolation the two faces approached each other, different, such as he knew them; then, passing one before the other, mingled, blended together, forming only one face, a little confused, a face that was no longer the mother's, not altogether that of the daughter, but the face of a woman loved madly, long ago, in the present, and forever.
Then he felt remorse at having abandoned himself to the influence of these emotions, which he knew were powerful and dangerous. To escape them, to drive them away, to deliver his soul from this sweet and captivating dream, he directed his mind toward all imaginable ideas, all possible subjects of reflection and meditation. Vain efforts! All the paths of distraction that he took led him back to the same point, where he met a fair young face that seemed to be lying in wait for him. It was a vague and inevitable obsession that floated round him, recalling him, stopping him, no matter what detour he might make in order to fly from it.
The confusion of these two beings, which had so troubled him on the evening of their walk at Roncieres, rose again in his memory as soon as he evoked them, after ceasing to reflect and reason, and he attempted to comprehend what strange emotion was this that stirred his being. He said to himself: "Now, have I for Annette a more tender feeling than I should have?" Then, probing his heart, he felt it burning with affection for a woman who was certainly young, who had Annette's features, but who was not she. And he reassured himself in a cowardly way by thinking: "No, I do not love the little one; I am the victim of a resemblance."
However, those two days at Roncieres remained in his soul like a source of heat, of happiness, of intoxication; and the least details of those days returned to him, one by one, with precision, sweeter even than at the time they occurred. Suddenly, while reviewing the course of these memories, he saw once more the road they had followed on leaving the cemetery, the young girl plucking flowers, and he recollected that he had promised her a cornflower in sapphires as soon as they returned to Paris.
All his resolutions took flight, and without struggling longer he took his hat and went out, rejoiced at the thought of the pleasure he was about to give her.
The footman answered him, when he presented himself:
"Madame is out, but Mademoiselle is at home."
Again he felt a thrill of joy.
"Tell her that I should like to speak to her."
Annette appeared very soon.
"Good-day, dear master," said she gravely.
He began to laugh, shook hands with her, and sitting near her, said:
"Guess why I have come."
She thought a few seconds.
"I don't know."
"To take you and your mother to the jeweler's to choose the sapphire cornflower I promised you at Roncieres."
The young girl's face was illumined with delight.
"Oh, and mamma has gone out," said she. "But she will return soon. You will wait for her, won't you?"
"Yes, if she is not too long."
"Oh, how insolent! Too long, with me! You treat me like a child."
"No, not so much as you think," he replied.
He felt in his heart a longing to please her, to be gallant and witty, as in the most successful days of his youth, one of those instinctive desires that excite all the faculties of charming, that make the peacock spread its tail and the poet write verses. Quick and vivacious phrases rose to his lips, and he talked as he knew how to talk when he was at his best. The young girl, animated by his vivacity, answered him with all the mischief and playful shrewdness that were in her.
Suddenly, while he was discussing an opinion, he exclaimed: "But you have already said that to me often, and I answered you—"
She interrupted him with a burst of laughter.
"Ah, you don't say 'tu' to me any more! You take me for mamma!"
He blushed and was silent, then he stammered:
"Your mother has already sustained that opinion with me a hundred times."
His eloquence was extinguished; he knew no more what to say, and he now felt afraid, incomprehensibly afraid, of this little girl.
"Here is mamma," said she.
She had heard the door open in the outer drawing-room, and Olivier, disturbed as if some one had caught him in a fault, explained how he had suddenly bethought him of his promise, and had come for them to take them to the jeweler's.
"I have a coupe," said he. "I will take the bracket seat."
They set out, and a little later they entered Montara's.
Having passed all his life in the intimacy, observation, study, and affection of women, having always occupied his mind with them, having been obliged to sound and discover their tastes, to know the details of dress and fashion as they knew them, being familiar with the minute details of their private life, he had arrived at a point that enabled him often to share certain of their sensations, and he always experienced, when entering one of the great shops where the charming and delicate accessories of their beauty are to be found, an emotion of pleasure that almost equaled that which stirred their hearts. He interested himself as they did in those coquettish trifles with which they set forth their beauty; the stuffs pleased his eyes; the laces attracted his hands; the most insignificant furbelows held his attention. In jewelers' shops he felt for the showcases a sort of religious respect, as if before a sanctuary of opulent seduction; and the counter, covered with dark cloth, upon which the supple fingers of the goldsmith make the jewels roll, displaying their precious reflections, filled him with a certain esteem.
When he had seated the Countess and her daughter before this severe piece of furniture, on which each, with a natural movement, placed one hand, he indicated what he wanted, and they showed him models of little flowers.
Then they spread sapphires before him, from which it was necessary to choose four. This took a long time. The two women turned them over on the cloth with the tips of their fingers, then lifted them carefully, looked through them at the light, studying them with knowing and passionate attention. When they had laid aside those they had chosen, three emeralds had to be selected to make the leaves, then a tiny diamond that would tremble in the center like a drop of dew.
Then Olivier, intoxicated with the joy of giving, said to the Countess:
"Will you do me the favor to choose two rings?"
"Yes. One for you, one for Annette. Let me make you these little presents in memory of the two days I passed at Roncieres."
She refused. He insisted. A long discussion followed, a struggle of words and arguments, which ended, not without difficulty, in his triumph.
Rings were brought, some, the rarest, alone in special cases; others arranged in similar groups in large square boxes, wherein all the fancifulness of their settings were displayed in alignment on the velvet. The painter was seated between the two women, and began, with the same ardent curiosity, to take up the gold rings, one by one, from the narrow slits that held them. He deposited them before him on the cloth-covered counter where they were massed in two groups, those that had been rejected at first sight and those from which a choice would be made.
Time was passing, insensibly and sweetly, in this pretty work of selection, more captivating than all the pleasures of the world, distracting and varied as a play, stirring also an exquisite and almost sensuous pleasure in a woman's heart.
Then they compared, grew animated, and, after some hesitation, the choice of the three judges settled upon a little golden serpent holding a beautiful ruby between his thin jaws and his twisted tail.
Olivier, radiant, now arose.
"I will leave you my carriage," said he; "I have something to look after, and I must go."
But Annette begged her mother to walk home, since the weather was so fine. The Countess consented, and, having thanked Bertin, went out into the street with her daughter.
They walked for some time in silence, enjoying the sweet realization of presents received; then they began to talk of all the jewels they had seen and handled. Within their minds still lingered a sort of glittering and jingling, an echo of gaiety. They walked quickly through the crowd which fills the street about five o'clock on a summer evening. Men turned to look at Annette, and murmured in distinct words of admiration as they passed. It was the first time since her mourning, since black attire had added brilliancy to her daughter's beauty, that the Countess had gone out with her in the streets of Paris; and the sensation of that street success, that awakened attention, those whispered compliments, that little wake of flattering emotion which the passing of a pretty woman leaves in a crowd of men, contracted her heart little by little with the same painful feeling she had had the other evening in her drawing-room, when her guests had compared the little one with her own portrait. In spite of herself, she watched for those glances that Annette attracted; she felt them coming from a distance, pass over her own face without stopping and suddenly settle upon the fair face beside her own. She guessed, she saw in the eyes the rapid and silent homage to this blooming youth, to the powerful charm of that radiant freshness, and she thought: "I was as pretty as she, if not prettier." Suddenly the thought of Olivier flashed across her mind, and she was seized, as at Roncieres, with a longing to flee.
She did not wish to feel herself any longer in this bright light, amid this stream of people, seen by all those men who yet did not look at her. Those days seemed far away, though in reality quite recent, when she had sought and provoked comparison with her daughter. Who, to-day, among the passers, thought of comparing them? Only one person had thought of it, perhaps, a little while ago, in the jeweler's shop. He? Oh, what suffering! Could it be that he was thinking continually of that comparison? Certainly he could not see them together without thinking of it, and without remembering the time when she herself had entered his house, so fresh, so pretty, so sure of being loved!
"I feel ill," said she. "We will take a cab, my child."
Annette was uneasy.
"What is the matter, mamma?" she asked.
"It is nothing; you know that since your grandmother's death I often have these moments of weakness."
A WANING MOON
Fixed ideas have the tenacity of incurable maladies. Once entered in the soul they devour it, leaving it no longer free to think of anything, or to have a taste for the least thing. Whatever she did, or wherever she was, alone or surrounded by friends, she could no longer rid herself of the thought that had seized her in coming home side by side with her daughter. Could it be that Olivier, seeing them together almost every day, thought continually of the comparison between them?
Surely he must do it in spite of himself, incessantly, himself haunted by that unforgettable resemblance, accentuated still further by the imitation of tone and gesture they had tried to produce. Every time he entered she thought of that comparison; she read it in his eyes, guessed it and pondered over it in her heart and in her mind. Then she was tortured by a desire to hide herself, to disappear, never to show herself again beside her daughter.
She suffered, too, in all ways, not feeling at home any more in her own house. That pained feeling of dispossession which she had had one evening, when all eyes were fixed on Annette under her portrait, continued, stronger and more exasperating than before. She reproached herself unceasingly for feeling that yearning need for deliverance, that unspeakable desire to send her daughter away from her, like a troublesome and tenacious guest; and she labored against it with unconscious skill, convinced of the necessity of struggling to retain, in spite of everything, the man she loved.
Unable to hasten Annette's marriage too urgently, because of their recent mourning, she feared, with a confused yet dominating fear, anything that might defeat that plan; and she sought, almost in spite of herself, to awaken in her daughter's heart some feeling of tenderness for the Marquis.
All the resourceful diplomacy she had employed so long to hold Olivier now took with her a new form, shrewder, more secret, exerting itself to kindle affection between the young people, and to keep the two men from meeting.
As the painter, who kept regular hours of work, never breakfasted away from home, and usually gave only his evenings to his friends, she often invited the Marquis to breakfast. He would arrive, spreading around him the animation of his ride, a sort of breath of morning air. And he talked gaily of all those worldly things that seem to float every day upon the autumnal awakening of brilliant and horse-loving Paris in the avenues of the Bois. Annette was amused in listening to him, acquired some taste for those topics of the days that he recounted to her, fresh and piquant as they were. An intimacy of youth sprang up between them, a pleasant companionship which a common and passionate love for horses naturally fostered. When he had gone the Countess and the Count would artfully praise him, saying everything necessary to let the young girl know that it depended only upon herself to marry him if he pleased her.
She had understood very quickly, however, and reasoning frankly with herself, judged it a very simple thing to take for a husband this handsome fellow, who would give her, besides other satisfactions, that which she preferred above all others, the pleasure of galloping beside him every morning on a thoroughbred.
They found themselves betrothed one day, quite naturally, after a clasp of the hand and a smile, and the marriage was spoken of as something long decided. Then the Marquis began to bring gifts, and the Duchess treated Annette like her own daughter. The whole affair, then, had been fostered by common accord, warmed over the fire of a little intimacy, during the quiet hours of the day; and the Marquis, having many other occupations, relatives, obligations and duties, rarely came in the evening.
That was Olivier's time. He dined regularly every week with his friends, and also continued to appear without appointment to ask for a cup of tea between ten o'clock and midnight.
As soon as he entered the Countess watched him, devoured by a desire to know what was passing in his heart. He gave no glance, made no gesture that she did not immediately interpret, and she was tortured by this thought: "It is impossible that he is not in love with her, seeing us so close together."
He, too, brought gifts. Not a week passed that he did not appear bearing two little packages in his hands, offering one to the mother, the other to the daughter; and the Countess, opening the boxes, which often held valuable objects, felt again that contraction of the heart. She knew so well that desire to give which, as a woman, she never had been able to satisfy—that desire to bring something that would give pleasure, to purchase for someone, to find in the shops some trifle that would please.
The painter had already been through this phase, and she had seen him come in many times with that same smile, that same gesture, a little packet in his hand. That habit had ceased after awhile, and now it had begun again. For whom? She had no matter of doubt. It was not for her!
He appeared fatigued and thin. She concluded that he was suffering. She compared his entrances, his manner, his bearing with the attitude of the Marquis, who was also beginning to be attracted by Annette's grace. It was not at all the same thing: Monsieur de Farandal admired her, Olivier Bertin loved! She believed this at least during her hours of torture; then, in quieter moments she still hoped that she had deceived herself.
Oh, often she could hardly restrain herself from questioning him when she was alone with him, praying, entreating him to speak, to confess all, to hide nothing! She preferred to know and to weep under certainty than to suffer thus under doubt, not able to read that closed heart, wherein she felt another love was growing.
That heart, which she prized more highly than her life, over which she had watched, and which she had warmed and animated with her love for twelve years, of which she had believed herself sure, which she had hoped was definitely hers, conquered, submissive, passionately devoted for the rest of their lives, behold! now that heart was escaping her by an inconceivable, horrible, and monstrous fatality! Yes, it had suddenly closed itself, upon a secret. She could no longer penetrate it by a familiar word, or hide therein her own affection as in a faithful retreat open for herself alone. What is the use of loving, of giving oneself without reserve, if suddenly he to whom one has offered her whole being, her entire existence, all, everything she had in the world, is to escape thus because another face has pleased him, transforming him in a few days almost into a stranger?
A stranger! He, Olivier? He spoke to her, as always, with the same words, the same voice, the same tone. And yet there was something between them, something inexplicable, intangible, invincible, almost nothing—that almost nothing that causes a sail to float away when the wind turns.
He was drifting, in fact, drifting away from her a little more each day, by all the glances he cast upon Annette. He himself did not attempt to see clearly into the depths of his heart. He felt, indeed, that fermentation of love, that irresistible attraction; but he would not understand, he trusted to events, to the unforeseen chances of life.
He had no longer any other interest than that of his dinners and his evenings between those two women, separated from the gay world by their mourning. Meeting only indifferent faces at their house—those of the Corbelles, and Musadieu oftener—he fancied himself almost alone in the world with them; and as he now seldom saw the Duchess and the Marquis, for whom the morning and noontimes were reserved, he wished to forget them, suspecting that the marriage had been indefinitely postponed.
Besides, Annette never spoke of Monsieur de Farandal before him. Was this because of a sort of instinctive modesty, or was it perhaps from one of those secret intuitions of the feminine heart which enable them to foretell that of which they are ignorant?
Weeks followed weeks, without changing this manner of life, and autumn came, bringing the reopening of the Chamber, earlier than usual because of certain political dangers.
On the day of the reopening, the Comte de Guilleroy was to take to the meeting of Parliament Madame de Mortemain, the Marquis, and Annette, after a breakfast at his own house. The Countess alone, isolated in her sorrow, which was steadily increasing, had declared that she would remain at home.
They had left the table and were drinking coffee in the large drawing-room, in a merry mood. The Count, happy to resume parliamentary work, his only pleasure, talked very well concerning the existing situation and of the embarrassments of the Republic; the Marquis, unmistakably in love, answered him brightly, while gazing at Annette; and the Duchess was almost equally pleased with the emotion of her nephew and the distress of the government. The air of the drawing-room was warm with that first concentrated heat of newly-lighted furnaces, the heat of draperies, carpets, and walls, in which the perfumes of asphyxiated flowers was evaporating. There was in this closely shut room, filled with the aroma of coffee, an air of comfort, intimate, familiar, and satisfied, when the door was opened before Olivier Bertin.
He paused at the threshold, so surprised that he hesitated to enter, surprised as a deceived husband who beholds his wife's crime. A confusion of anger and mingled emotion suffocated him, revealing to him the fact that his heart was worm-eaten with love! All that they had hidden from him, and all that he had concealed from himself appeared before him as he perceived the Marquis installed in the house, as a betrothed lover!
He understood, in a transport of exasperation, all that which he would rather not have known and all that the Countess had not dared to tell him. He did not ask himself why all those preparations for marriage had been concealed from him. He guessed it, and his eyes, growing hard, met those of the Countess, who blushed. They understood each other.
When he was seated, everyone was silent for a few seconds, his unexpected entrance having paralyzed their flow of spirits; then the Duchess began to speak to him, and he replied in a brief manner, his voice suddenly changed.
He looked around at these people who were now chatting again, and said to himself: "They are making game of me. They shall pay for it." He was especially vexed with the Countess and Annette, whose innocent dissimulation he suddenly understood.
"Oh, oh! it is time to go," exclaimed the Count, looking at the clock. Turning to the painter, he added: "We are going to the opening of Parliament. My wife will remain here, however. Will you accompany us? It would give me great pleasure."
"No, thanks," replied Olivier drily. "Your Chamber does not tempt me."
Annette approached in a playful way, saying: "Oh, do come, dear master! I am sure that you would amuse us much more than the deputies."
"No, indeed. You will amuse yourself very well without me."
Seeing him discontented and chagrined, she insisted, to show that she felt kindly toward him.
"Yes, come, sir painter! I assure you that as for myself I cannot do without you."
His next words escaped him so quickly that he could nether check them as he spoke nor soften their tone:
"Bah! You do well enough without me, just as everyone else does!"
A little surprised at his tone, she exclaimed: "Come, now! Here he is beginning again to leave off his 'tu' to me!"
His lips were curled in one of those smiles that reveal the suffering of a soul, and he said with a slight bow: "It will be necessary for me to accustom myself to it one day or another."
"Because you will marry, and your husband, whoever he may be, would have the right to find that word rather out of place coming from me."
"It will be time enough then to think about that," the Countess hastened to say. "But I trust that Annette will not marry a man so susceptible as to object to such familiarity from so old a friend."
"Come, come!" cried the Count; "let us go. We shall be late."
Those who were to accompany him, having risen, went out after him, after the usual handshakes and kisses which the Duchess, the Countess, and her daughter exchanged at every meeting as at every parting.
They remained alone, She and He, standing, behind the draperies over the closed door.
"Sit down, my friend," said she softly.
But he answered, almost violently: "No, thanks! I am going, too."
"Oh, why?" she murmured, entreatingly.
"Because this is not my hour, it appears. I ask pardon for having come without warning."
"Olivier, what is the matter with you?"
"Nothing. I only regret having disturbed an organized pleasure party."
She seized his hand.
"What do you mean?" she asked. "They were just about to set out, since they were going to be present at the opening of the session. I intended to stay at home. Contrary to what you said just now, you were really inspired in coming to-day when I am alone."
"Inspired? Yes, I was inspired!"
She seized his wrists, and looking deep into his eyes she murmured very low:
"Confess to me that you love her!"
He withdrew his hands, unable to control his impatience any longer.
"But you are simply insane with that idea!"
She seized him again by the arm and, tightening her hold on his sleeve, she implored:
"Olivier! Confess, confess! I would rather know. I am certain of it, but I would rather know. I would rather—Oh, you do not comprehend what my life has become!"
He shrugged his shoulders.
"What would you have me do? Is it my fault if you lose your head?"
She held him, drawing him toward the other salon at the back, where they could not be heard. She drew him by his coat, clinging to him and panting. When she had led him as far as the little circular divan, she made him let himself fall upon it; then she sat down beside him.
"Olivier, my friend, my only friend, I pray you to tell me that you love her. I know it, I feel it from all that you do. I cannot doubt it. I am dying of it, but I wish to know it from your own lips."
As he still resisted, she fell on her knees at his feet. Her voice shook.
"Oh, my friend, my only friend! Is it true that you love her?"
"No, no, no!" he exclaimed, as he tried to make her rise. "I swear to you that I do not."
She reached up her hand to his mouth and pressed it there tight, stammering: "Oh, do not lie! I suffer too much!"
Then, letting her head fall on this man's knees, she sobbed.
He could see only the back of her neck, a mass of blond hair, mingled with many white threads, and he was filled with immense pity, immense grief.
Seizing that heavy hair in both hands he raised her head violently, turning toward himself two bewildered eyes, from which tears were flowing. And then on those tearful eyes he pressed his lips many times, repeating:
"Any! Any! My dear, my dear Any!"
Then she, attempting to smile, and speaking in that hesitating voice of children when choking with grief, said:
"Oh, my friend, only tell me that you still love me a little."
He embraced her again, even more tenderly than before.
"Yes, I love you, my dear Any."
She arose, sat down beside him again, seized his hands, looked at him, and said tenderly:
"It is such a long time that we have loved each other. It should not end like this."
He pressed her close to him, asking:
"Why should it end?"
"Because I am old, and because Annette resembles too much what I was when you first knew me."
Now it was his turn to close her sad lips with his fingers, saying:
"Again! I beg that you will speak no more of that. I swear to you that you deceive yourself."
"Oh, if you will only love me a little," she repeated.
"Yes, I love you," he said again.
They remained a long time without speaking, hands clasped in hands, deeply moved and very sad. At last she broke the silence, murmuring:
"Oh, the hours that remain for me to live will not be gay!"
"I will try to make them sweet to you."
The shadow of the clouded sky that precedes the twilight by two hours was darkening the drawing-room, burying them little by little in the gray dimness of an autumn evening.
The clock struck.
"It is a long time since we came in here," said she. "You must go, for someone might come, and we are not calm."
He arose, clasped her close, kissing her half-open lips, as he used to do; then they crossed the two drawing-rooms, arm in arm, like a newly-married pair.
"Good-by, my friend."
"Good-by, my friend."
And the portiere fell behind him.
He went downstairs, turned toward the Madeleine, and began to walk without knowing what he was doing, dazed as if from a blow, his legs weak, his heart hot and palpitating as if something burning shook within his breast. For two or three hours, perhaps four, he walked straight before him, in a sort of moral stupor and physical prostration which left him only just strength enough to put one foot before the other. Then he went home to reflect.
He loved this little girl, then. He comprehended now all that he had felt near her since that walk in the Parc Monceau, when he found in her mouth the call from a voice hardly recognized, the voice that long ago had awakened his heart; then all that slow, irresistible renewal of a love not yet extinct, not yet frozen, which he persisted in not acknowledging to himself.
What should he do? But what could he do? When she was married he would avoid seeing her often, that was all. Meantime, he would continue to return to the house, so that no one should suspect anything, and he would hide his secret from everyone.
He dined at home, which he very seldom did. Then he had a fire made in the large stove in his studio, for the night promised to be very cold. He even ordered the chandeliers to be lighted, as if he disliked the dark corners, and then he shut himself in. What strange emotion, profound, physical, frightfully sad, had seized him! He felt it in his throat, in his breast, in all his relaxed muscles as well as in his fainting soul. The walls of the apartment oppressed him; all his life was inclosed therein—his life as an artist, his life as a man. Every painted study hanging there recalled a success, each piece of furniture spoke of some memory. But successes and memories were things of the past. His life? How short, how empty it seemed to him, yet full. He had made pictures, and more pictures, and always pictures, and had loved one woman. He recalled the evenings of exaltation, after their meetings, in this same studio. He had walked whole nights with his being on fire with fever. The joy of happy love, the joy of worldly success, the unique intoxication of glory, had caused him to taste unforgettable hours of inward triumph.
He had loved a woman, and that woman had loved him. Through her he had received that baptism which reveals to man the mysterious world of emotions and of love. She had opened his heart almost by force, and now he could no longer close it. Another love had entered, in spite of him, through this opening—another, or rather the same relighted by a new face; the same, stronger by all the force which this need to adore takes on in old age. So he loved this little girl! He need no longer struggle, resist, or deny; he loved her with the despairing knowledge that he should not even gain a little pity from her, that she would always be ignorant of his terrible torment, and that another would marry her! At this thought constantly recurring, impossible to drive away, he was seized with an animal-like desire to howl like chained dogs, for like them he felt powerless, enslaved, imprisoned. Becoming more and more nervous, the longer he thought, he walked with long strides through the vast room, lighted up as if for a celebration. At last, unable to tolerate longer the pain of that reopened wound, he wished to try to calm it with the recollection of his early love, to drown it in evoking his first and great passion. From the closet where he kept it he took the copy of the Countess's portrait that he had made formerly for himself, then he put it on his easel, and sitting down in front of it, gazed at it. He tried to see her again, to find her living again, such as he had loved her before. But it was always Annette that rose upon the canvas. The mother had disappeared, vanished, leaving in her place that other face which resembled hers so strangely. It was the little one, with her hair a little lighter, her smile a little more mischievous, her air a little more mocking; and he felt that he belonged body and soul to that young being, as he never had belonged to the other, as a sinking vessel belongs to the waves!
Then he arose, and in order to see this apparition no more he turned the painting around; then, as he felt his heart full of sadness, he went to his chamber to bring into the studio the drawer of his desk, wherein were sleeping all the letters of the mistress of his heart. There they lay, as if in a bed, one upon the other, forming a thick layer of little thin papers. He thrust his hands among the mass, among all that which spoke of both of them, deep into that bath of their long intimacy. He looked at that narrow board coffin in which lay the mass of piled-up envelopes, on which his name, his name alone, was always written. He reflected that the love, the tender attachment of two beings, one for the other, were recounted therein, among that yellowish wave of papers spotted by red seals, and he inhaled, in bending over it, the old melancholy odor of letters that have been packed away.
He wished to re-read them, and feeling in the bottom of the drawer, he drew out a handful of the earlier ones. As soon as he opened them vivid memories emerged from them, which stirred his soul. He recognized many that he had carried about on his person for whole weeks, and found again, throughout the delicate handwriting that said such sweet things to him, the forgotten emotions of early days. Suddenly he found under his fingers a fine embroidered handkerchief. What was that? He pondered a few minutes, then he remembered! One day, at his house, she had wept because she was a little jealous, and he had stolen and kept her handkerchief, moist with her tears!
Ah, what sad things! What sad things! The poor woman!
From the depths of that drawer, from the depths of his past, all these reminiscences rose like a vapor, but it was only the impalpable vapor of a reality now dead. Nevertheless, he suffered and wept over the letters, as one weeps over the dead because they are no more.
But the remembrance of all his early love awakened in him a new and youthful ardor, a wave of irresistible tenderness which called up in his mind the radiant face of Annette. He had loved the mother, through a passionate impulse of voluntary servitude; he was beginning to love this little girl like a slave, a trembling old slave on whom fetters are riveted that he never can break. He felt this in the depths of his being, and was terrified. He tried to understand how and why she possessed him thus. He knew her so little! She was hardly a woman as yet; her heart and soul still slept with the sleep of youth.
He, on the other hand, was now almost at the end of his life. How, then, had this child been able to capture him with a few smiles and locks of her hair? Ah, the smiles, the hair of that little blonde maiden made him long to fall on his knees and strike the dust with his head!
Does one know, does one ever know why a woman's face has suddenly the power of poison upon us? It seems as if one had been drinking her with the eyes, that she had become one's mind and body. We are intoxicated with her, mad over her; we live of that absorbed image and would die of it!
How one suffers sometimes from this ferocious and incomprehensible power of a certain face on a man's heart!
Olivier Bertin began to pace his room again; night was advancing, his fire had gone out. Through the window-panes the cold air penetrated from outside. Then he went back to bed, where he continued to think and suffer until daylight.
He rose early, without knowing why, nor what he was going to do, agitated by his nervousness, irresolute as a whirling weather-vane.
In seeking some distraction for his mind, some occupation for his body, he recollected that on that particular day of the week certain members of his club had the habit of meeting regularly at the Moorish Baths, where they breakfasted after the massage. So he dressed quickly, hoping that the hot room and the shower would calm him, and he went out.
As soon as he found himself in the street, he felt the cold air, that first crisp cold of the early frost, which destroys in a single night the last trances of summer.
All along the Boulevards fell a thick shower of large yellow leaves which rustled down with a dry sound. As far as could be seen, they fell from one end of the broad avenue to the other, between the facades of the houses, as if all their stems had just been cut from the branches by a thin blade of ice. The road and the sidewalks were already covered with them, resembling for a few hours the paths in the woods at the beginning of winter. All that dead foliage crackled under the feet, and massed itself, from time to time, in light waves under the gusts of wind.
This was one of those days of transition which mark the end of one season and the beginning of another, which have a savor or a special sadness—the sadness of the death-struggle or the savor of rising sap.
In crossing the threshold of the Moorish Baths, the thought of the heat that would soon penetrate his flesh after his walk in the cold air gave a feeling of satisfaction to Olivier's sad heart.
He undressed quickly, wrapping around his body the light scarf the attendant handed to him, and disappeared behind the padded door open before him.
A warm, oppressive breath, which seemed to come from a distant furnace, made him pant as if he needed air while traversing a Moorish gallery lighted by two Oriental lanterns. Then a negro with woolly head, attired only in a girdle, with shining body and muscular limbs, ran before him to raise a curtain at the other end; and Bertin entered the large hot-air room, round, high-studded, silent, almost as mystic as a temple. Daylight fell from above through a cupola and through trefoils of colored glass into the immense circular room, with paved floor and walls covered with pottery decorated after the Arab fashion.
Men of all ages, almost naked, walked slowly about, grave and silent; others were seated on marble benches, with arms crossed; others still chatted in low tones.
The burning air made one pant at the very entrance. There was, within that stifling and decorated circular room, where human flesh was heated, where black and yellow attendants with copper-colored legs moved about, something antique and mysterious.
The first face the painter saw was that of the Comte de Landa. He was promenading around like a Roman wrestler, proud of his enormous chest and of his great arms crossed over it. A frequenter of the hot baths, he felt when there like an admired actor on the stage, and he criticised like an expert the muscles of all the strong men in Paris.
"Good-morning, Bertin," said he.
They shook hands; then Landa continued: "Splendid weather for sweating!"
"Have you seen Rocdiane? He is down there. I was at his house just as he was getting out of bed. Oh, look at that anatomy!"
A little gentleman was passing, bow-legged, with thin arms and flanks, the sight of whom caused the two old models of human vigor to smile disdainfully.
Rocdiane approached them, having perceived the painter. They sat down on a long marble table and began to chat quite as if they were in a drawing-room. The attendants moved about, offering drinks. One could hear the clapping of the masseurs' hands on bare flesh and the sudden flow of the shower-baths. A continuous pattering of water, coming from all corners of the great amphitheater, filled it also with a sound like rain.
At every instant some newcomer saluted the three friends, or approached them to shake hands. Among them were the big Duke of Harrison, the little Prince Epilati, Baron Flach, and others.
Suddenly Rocdiane said: "How are you, Farandal?"
The Marquis entered, his hands on his hips, with the easy air of well-made men, who never feel embarrassed at anything.
"He is a gladiator, that chap!" Landa murmured.
Rocdiane resumed, turning toward Bertin: "Is it true that he is to marry the daughter of your friend?"
"I think so," said the painter.
But the question, before that man, in that place, gave to Olivier's heart a frightful shock of despair and revolt. The horror of all the realities he had foreseen appeared to him for a second with such acuteness that he struggled an instant or so against an animal-like desire to fling himself on Farandal.
"I am tired," said he. "I am going to the massage now."
An Arab was passing.
"Ahmed, are you at liberty?"
"Yes, Monsieur Bertin."
And he went away quickly in order to avoid shaking hands with Farandal, who was approaching slowly in making the rounds of the Hammam.
He remained barely a quarter of an hour in the large quiet resting-room, in the center of a row of cells containing the beds, with a parterre of African plants and a little fountain in the center. He had a feeling of being pursued, menaced, that the Marquis would join him, and that he should be compelled, with extended hand, to treat him as a friend, when he longed to kill him.
He soon found himself again on the Boulevard, covered with dead leaves. They fell no more, the last ones having been detached by a long blast of wind. Their red and yellow carpet shivered, stirred, undulated from one sidewalk to another, blown by puffs of the rising wind.
Suddenly a sort of roaring noise glided over the roofs, the animal-like sound of a passing tempest, and at the same time a furious gust of wind that seemed to come from the Madeleine swept through the Boulevard.
All the fallen leaves, which appeared to have been waiting for it, rose at its approach. They ran before it, massing themselves, whirling, and rising in spirals up to the tops of the buildings. The wind chased them like a flock, a mad flock that fled before it, flying toward the gates of Paris and the free sky of the suburbs. And when the great cloud of leaves and dust had disappeared on the heights of the Quartier Malesherbes, the sidewalks and roads remained bare, strangely clean and swept.
Bertin was thinking: "What will become of me? What shall I do? Where shall I go?" And he returned home, unable to think of anything.
A news-stand attracted his eye. He bought seven or eight newspapers, hoping that he might find in them something to read for an hour or two.
"I will breakfast here," said he, as he entered, and went up to his studio.
But as he sat down he felt that he could not stay there, for throughout his body surged the excitement of an angry beast.
The newspapers, which he glanced through, could not distract his mind for a minute, and the news he read met his eye without reaching his brain. In the midst of an article which he was not trying to comprehend, the name of Guilleroy made him start. It was about the session of the Chamber, where the Count had spoken a few words.
His attention, aroused by that call, was now arrested by the name of the celebrated tenor Montrose, who was to give, about the end of December, a single performance at the Opera. This would be, the newspaper stated, a magnificent musical solemnity, for the tenor Montrose, who had been absent six years from Paris, had just won, throughout Europe and America, a success without precedent; moreover, he would be supported by the illustrious Swedish singer, Helsson, who had not been heard in Paris for five years.
Suddenly Olivier had an idea, which seemed to spring from the depths of his heart—he would give Annette the pleasure of seeing this performance. Then he remembered that the Countess's mourning might be an obstacle to this scheme, and he sought some way to realize it in spite of the difficulty. Only one method presented itself. He must take a stage-box where one may be almost invisible, and if the Countess should still not wish to go, he would have Annette accompanied by her father and the Duchess. In that case, he would have to offer his box to the Duchess. But then he would be obliged to invite the Marquis!
He hesitated and reflected a long time.
Certainly, the marriage was decided upon; no doubt the date was settled. He guessed the reason for his friend's haste in having it finished soon; he understood that in the shortest time possible she would give her daughter to Farandal. He could not help it. He could neither prevent, nor modify, nor delay this frightful thing. Since he must bear it, would it not be better for him to try to master his soul, to hide his suffering, to appear content, and no longer allow himself to be carried away by his rage, as he had done?
Yes, he would invite the Marquis, and so allay the Countess's suspicions, and keep for himself a friendly door in the new establishment.
As soon as he had breakfasted, he went down to the Opera to engage one of the boxes hidden by the curtain. It was promised to him. Then he hastened to the Guilleroys'.
The Countess appeared almost immediately, apparently still a little moved by their tender interview of the day before.
"How kind of you to come again to-day!" said she.
"I am bringing you something," he faltered.
"What is it?"
"A stage-box at the Opera for the single performance of Helsson and Montrose."
"Oh, my friend, what a pity! And my mourning?"
"Your mourning has lasted for almost four months."
"I assure you that I cannot."
"And Annette? Remember that she may never have such an opportunity again."
"With whom could she go?"
"With her father and the Duchess, whom I am about to invite. I intend also to offer a seat to the Marquis."
She gazed deep into his eyes, and a wild desire to kiss him rose to her lips. Hardly believing her ears, she repeated: "To the Marquis?"
She consented at once to this arrangement.
He continued, in an indifferent tone: "Have you fixed the date of their marriage?"
"Oh, yes, almost. We have reasons for hastening it very much, especially as it was decided upon before my mother's death. You remember that?"
"Yes, perfectly. And when will it take place?"
"About the beginning of January. I ask your pardon for not having told you of it sooner."
Annette entered. He felt his heart leap within him as if on springs, and all the tenderness that drew him toward her suddenly became bitter, arousing in his heart that strange, passionate animosity into which love changes when lashed by jealousy.
"I have brought you something," he said.
"So we have decided to say 'you'?" she replied.
He assumed a paternal tone.
"Listen, my child, I know all about the event that is soon to occur. I assure you that then it will be indispensable. Better say 'you' now than later."
She shrugged her shoulders with an air of discontent, while the Countess remained silent, looking afar off, her thoughts preoccupied.
"Well, what have you brought me?" inquired Annette.
He told her about the performance, and the invitations he intended to give. She was delighted, and, throwing her arms around his neck with the manner of a little girl, she kissed him on both cheeks.
He felt ready to sink, and understood, when he felt the light caresses of that little mouth with its sweet breath, that he never should be cured of his passion.
The Countess, annoyed, said to her daughter: "You know that your father is waiting for you."
"Yes, mamma, I am going."
She ran away, still throwing kisses from the tips of her fingers.
As soon as she had gone, Olivier asked: "Will they travel?"
"Yes, for three months."
"So much the better," he murmured in spite of himself.
"We will resume our former life," said the Countess.
"Yes, I hope so," said he, hesitatingly.
"But do not neglect me meanwhile."
"No, my friend."
The impulse he had shown the evening before, when seeing her weep, and the intention which he had just expressed of inviting the Marquis to the performance at the Opera, had given new hope to the Countess.
But it was short. A week had not passed ere she was again following the expression of this man's face with tortured and jealous attention, watching every stage of his suffering. She could ignore nothing, herself enduring all the pain that she guessed at in him; and Annette's constant presence reminded her at every moment of the day of the hopelessness of her efforts.
Everything oppressed her at the same time—her age and her mourning. Her active, intelligent, and ingenious coquetry, which all her life had given her triumph, found itself paralyzed by that black uniform which marked her pallor and the change in her features, while it rendered the adolescence of her daughter absolutely dazzling. The time seemed far away, though it was quite recent, when, on Annette's return to Paris, she had proudly sought similar toilets which at that time were favorable to her. Now she had a furious longing to tear from her body those vestments of death which made her ugly and tortured her.
If she had felt that all the resources of elegance were at her service, if she had been able to choose and use delicately shaded stuffs, in harmony with her coloring, which would have lent a studied power to her fading charms, as captivating as the inert grace of her daughter, she would no doubt have known how to remain still the more charming.
She knew so well the influences of the fever-giving costume of evening, and the soft sensuousness of morning attire, of the disturbing deshabille worn at breakfast with intimate friends, which lend to a woman until noontime a sort of reminiscence of her rising, the material and warm impression of the bed and of her perfumed room!
But what could she attempt under that sepulchral robe, that convict's dress, which must cover her for a whole year? A year! She must remain a year imprisoned in that black attire, inactive and vanquished. For a whole year she would feel herself growing old, day by day, hour by hour, minute by minute, under that sheath of crape! What would she be in a year if her poor ailing body continued to alter thus under the anguish of her soul?
These thoughts never left her, and spoiled for her everything she might have enjoyed, turned into sadness things that would have given her joy, leaving her not a pleasure, a contentment, or a gaiety intact. She was agitated incessantly by an exasperating need to shake off this weight of misery that crushed her, for without this tormenting obsession she would still have been so happy, alert, and healthy! She felt that her soul was still fresh and bright, her heart still young, the ardor of a being that is beginning to live, an insatiable appetite for happiness, more voracious even than before, and a devouring desire to love.
And now, all good things, all things sweet, delicious and poetic, which embellish life and make it enjoyable, were withdrawing from her, because she was growing old! It was all finished! Yet she still found within her the tenderness of the young girl and the passionate impulses of the young woman. Nothing had grown old but her body, that miserable skin, that stuff over the bones, fading little by little like the covering of a piece of furniture. The curse of this decay had attached itself to her, and had become almost a physical suffering. This fixed idea had created a sensation of the epidermis, the sensation of growing old, continuous and imperceptible, like that of cold or of heat. She really believed that she felt an indescribable sort of itching, the slow march of wrinkles upon her forehead, the weakening of the tissues of the cheeks and throat, and the multiplication of those innumerable little marks that wear out the tired skin. Like some one afflicted with a consuming disease, whom a continual prurience induces to scratch himself, the perception and terror of that abominable, swift and secret work of time filled her soul with an irresistible need of verifying it in her mirrors. They called her, drew her, forced her to come, with fixed eyes, to see, to look again, to recognize incessantly, to touch with her finger, as if to assure herself, the indelible mark of the years. At first this was an intermittent thought, returning whenever she saw the polished surface of the dreaded crystal, at home or abroad. She paused in the street to gaze at herself in the shop-windows, hanging as if by one hand to all the glass plates with which merchants ornament their facades. It became a disease, an obsession. She carried in her pocket a dainty little ivory powder-box, as large as a nut, the interior of which contained a tiny mirror; and often, while walking, she held it open in her hand and raised it to her eyes.
When she sat down to read or write in the tapestried drawing-room, her mind, distracted for the time by a new occupation, would soon return to its obsession. She struggled, tried to amuse herself, to have other ideas, to continue her work. It was in vain; the prick of desire tormented her, and soon dropping her book or her pen, her hand would steal out, by an irresistible impulse, toward the little hand-glass mounted in antique silver that lay upon her desk. In this oval, chiseled frame her whole face was inclosed, like a face of days gone by, a portrait of the last century, or a once fresh pastel now tarnished by the sun. Then after gazing at herself a long time, she laid, with a weary movement, the little glass upon the desk and tried to resume her work; but ere she had read two pages or written twenty lines, she was again seized with the invincible and torturing need of looking at herself, and once more would extend her hand to take up the mirror.
She now handled it like an irritating and familiar toy that the hand cannot let alone, used it continually even when receiving her friends, and made herself nervous enough to cry out, hating it as if it were a sentient thing while turning it in her fingers.
One day, exasperated by this struggle between herself and this bit of glass, she threw it against the wall, where it was broken to pieces.
But after a time her husband, who had it repaired, brought it back to her, clearer than ever; and she was compelled to take it, to thank him, and resign herself to keep it.
Every evening, too, and every morning, shut up in her own room, she resumed, in spite of herself, that minute and patient examination of the quiet, odious havoc.
When she was in bed she could not sleep; she would light a candle again and lie, wide-eyed, thinking how insomnia and grief hasten irremediably the horrible work of fleeting time. She listened in the silence of the night to the ticking of the clock, which seemed to murmur, in its monotonous and regular tic-tac: "It goes, it goes, it goes!" and her heart shrank with such suffering that, with the sheet gripped between her teeth, she groaned in despair.
Once, like everyone else, she had some notion of the passing years and of the changes they bring. Like everyone else, she had said to herself every winter, every spring, and every summer, "I have changed very much since last year." But, always beautiful, with a changing beauty, she was never uneasy about it. Now, however, suddenly, instead of admitting peacefully the slow march of the seasons, she had just discovered and understood the formidable flight of the minutes. She had had a sudden revelation of the gliding of the hour, of that imperceptible race, maddening when we think of it—of that infinite defile of little hurrying seconds, which nibble at the body and the life of men.
After these miserable nights, she had long periods of somnolence that made her more tranquil, in the warmth of her bed, when her maid had opened the curtains and lighted the morning fire. She lay there tired, drowsy, neither awake nor asleep, in the torpor of thought which brings about the revival of that instinctive and providential hope which gives light and life to the hearts of men up to their last days.
Every morning now, as soon as she had risen from her bed, she felt moved by a powerful desire to pray to God, to obtain from Him a little relief and consolation.
She would kneel, then, before a large figure of Christ carved in oak, a gift from Olivier, a rare work he had discovered; and, with lips closed, but imploring with that voice of the soul with which we speak to ourselves, she lifted toward the Divine martyr a sorrowful supplication. Distracted by the need of being heard and succored, naive in her distress, as are all faithful ones on their knees, she could not doubt that He heard her, that He was attentive to her request, and was perhaps touched at her grief. She did not ask Him to do for her that which He never had done for anyone—to leave her until death all her charm, her freshness and grace; she begged only a little repose, a little respite. She must grow old, of course, just as she must die. But why so soon? Some women remain beautiful so long! Could He not grant that she should be one of these? How good He would be, He who had also suffered so much, if only He would let her keep for two or three years still the little charm she needed in order to be pleasing.
She did not say these things to Him, of course, but she sighed them forth, in the confused plaint of her being.
Then, having risen, she would sit before her toilet-table, and with a tension of thought as ardent as in her prayer, she would handle the powders, the pastes, the pencils, the puffs and brushes, which gave her once more a plaster-like beauty, fragile, lasting only for a day.
THE ASHES OF LOVE
On the Boulevard two names were heard from all lips: "Emma Helsson" and "Montrose." The nearer one approached the Opera, the oftener he heard those names repeated. Immense posters, too, affixed to the Morris columns, announced them in the eyes of passers, and in the evening air could be felt the excitement of an approaching event.
That heavy monument called the National Academy of Music, squatted under the black sky, exhibited to the crowd before its doors the pompous, whitish facade and marble colonnade of its balcony, illuminated like a stage setting by invisible electric lights.
In the square the mounted Republican guards directed the movement of the crowds, and the innumerable carriages coming from all parts of Paris allowed glimpses of creamy light stuff and fair faces behind their lowered windows.
The coupes and landaus formed in line under the reserved arcades, and stopped for a moment, and from them alighted fashionable and other women, in their opera-cloaks, trimmed with fur, feathers, and rare laces—precious bodies, divinely set forth!
All the way along the celebrated stairway was a sort of fairy flight, an uninterrupted mounting of ladies dressed like queens, whose throats and ears scattered flashing rays from their diamonds, and whose long trains swept the stairs.