Beatrix Part 7

Camille had varied, modified, and lengthened the introduction to the cavatina: "Mercy for thee, mercy for me!" which is nearly the whole of the fourth act of "Robert le Diable." She now suddenly sang the words in a heart-rending manner, and then as suddenly interrupted herself.

Calyste entered, and saw the reason. Poor Camille Maupin! poor Felicite!

She turned to him a face bathed with tears, took out her handkerchief and dried them, and said, simply, without affectation, "Good-morning."

She was beautiful as she sat there in her morning gown. On her head was one of those red chenille nets, much worn in those days, through which the coils of her black hair shone, escaping here and there. A short upper garment made like a Greek peplum gave to view a pair of cambric trousers with embroidered frills, and the prettiest of Turkish slippers, red and gold.

"What is the matter?" cried Calyste.

"He has not returned," she replied, going to a window and looking out upon the sands, the sea and the marshes.

This answer explained all. Camille was awaiting Claude Vignon.

"You are anxious about him?" asked Calyste.

"Yes," she answered, with a sadness the lad was too ignorant to a.n.a.lyze.

He started to leave the room.

"Where are you going?" she asked.

"To find him," he replied.

"Dear child!" she said, taking his hand and drawing him toward her with one of those moist glances which are to a youthful soul the best of recompenses. "You are distracted! Where could you find him on that wide sh.o.r.e?"

"I will find him."

"Your mother would be in mortal terror. Stay. Besides, I choose it," she said, making him sit down upon the sofa. "Don't pity me. The tears you see are the tears a woman likes to shed. We have a faculty that is not in man,--that of abandoning ourselves to our nervous nature and driving our feelings to an extreme. By imagining certain situations and encouraging the imagination we end in tears, and sometimes in serious states of illness or disorder. The fancies of women are not the action of the mind; they are of the heart. You have come just in time; solitude is bad for me. I am not the dupe of his professed desire to go to Croisic and see the rocks and the dunes and the salt-marshes without me. He meant to leave us alone together; he is jealous, or, rather, he pretends jealousy, and you are young, you are handsome."

"Why not have told me this before? What must I do? must I stay away?"

asked Calyste, with difficulty restraining his tears, one of which rolled down his cheek and touched Felicite deeply.

"You are an angel!" she cried. Then she gaily sang the "Stay! stay!" of Matilde in "Guillaume Tell," taking all gravity from that magnificent answer of the princess to her subject. "He only wants to make me think he loves me better than he really does," she said. "He knows how much I desire his happiness," she went on, looking attentively at Calyste.

"Perhaps he feels humiliated to be inferior to me there. Perhaps he has suspicions about you and means to surprise us. But even if his only crime is to take his pleasure without me, and not to a.s.sociate me with the ideas this new place gives him, is not that enough? Ah! I am no more loved by that great brain than I was by the musician, by the poet, by the soldier! Sterne is right; names signify much; mine is a bitter sarcasm. I shall die without finding in any man the love which fills my heart, the poesy that I have in my soul--"

She stopped, her arms pendant, her head lying back on the cushions, her eyes, stupid with thought, fixed on a pattern of the carpet. The pain of great minds has something grandiose and imposing about it; it reveals a vast extent of soul which the thought of the spectator extends still further. Such souls share the privileges of royalty whose affections belong to a people and so affect a world.

"Why did you reject my--" said Calyste; but he could not end his sentence. Camille's beautiful hand laid upon his eloquently interrupted him.

"Nature changed her laws in granting me a dozen years of youth beyond my due," she said. "I rejected your love from egotism. Sooner or later the difference in our ages must have parted us. I am thirteen years older than _he_, and even that is too much."

"You will be beautiful at sixty," cried Calyste, heroically.

"G.o.d grant it," she answered, smiling. "Besides, dear child, I _want_ to love. In spite of his cold heart, his lack of imagination, his cowardly indifference, and the envy which consumes him, I believe there is greatness behind those tatters; I hope to galvanize that heart, to save him from himself, to attach him to me. Alas! alas! I have a clear-seeing mind, but a blind heart."

She was terrible in her knowledge of herself. She suffered and a.n.a.lyzed her feelings as Cuvier and Dupuytren explained to friends the fatal advance of their disease and the progress that death was making in their bodies. Camille Maupin knew the pa.s.sion within her as those men of science knew their own anatomy.

"I have brought him here to judge him, and he is already bored," she continued. "He pines for Paris, I tell him; the nostalgia of criticism is on him; he has no author to pluck, no system to undermine, no poet to drive to despair, and he dares not commit some debauch in this house which might lift for a moment the burden of his ennui. Alas! my love is not real enough, perhaps, to soothe his brain; I don't intoxicate him!

Make him drunk at dinner to-night and I shall know if I am right. I will say I am ill, and stay in my own room."

Calyste turned scarlet from his neck to his forehead; even his ears were on fire.

"Oh! forgive me," she cried. "How can I heedlessly deprave your girlish innocence! Forgive me, Calyste--" She paused. "There are some superb, consistent natures who say at a certain age: 'If I had my life to live over again, I would so the same things.' I who do not think myself weak, I say, 'I would be a woman like your mother, Calyste.' To have a Calyste, oh! what happiness! I could be a humble and submissive woman--And yet, I have done no harm except to myself. But alas! dear child, a woman cannot stand alone in society except it be in what is called a primitive state. Affections which are not in harmony with social or with natural laws, affections that are not obligatory, in short, escape us. Suffering for suffering, as well be useful where we can. What care I for those children of my cousin Faucombe? I have not seen them these twenty years, and they are married to merchants. You are my son, who have never cost me the miseries of motherhood; I shall leave you my fortune and make you happy--at least, so far as money can do so, dear treasure of beauty and grace that nothing should ever change or blast."

"You would not take my love," said Calyste, "and I shall return your fortune to your heirs."

"Child!" answered Camille, in a guttural voice, letting the tears roll down her cheeks. "Will nothing save me from myself?" she added, presently.

"You said you had a history to tell me, and a letter to--" said the generous youth, wishing to divert her thoughts from her grief; but she did not let him finish.

"You are right to remind me of that. I will be an honest woman before all else. I will sacrifice no one--Yes, it was too late, yesterday, but to-day we have time," she said, in a cheerful tone. "I will keep my promise; and while I tell you that history I will sit by the window and watch the road to the marshes."

Calyste arranged a great Gothic chair for her near the window, and opened one of the sashes. Camille Maupin, who shared the oriental taste of her ill.u.s.trious sister-author, took a magnificent Persian narghile, given to her by an amba.s.sador. She filled the nipple with patchouli, cleaned the _bochettino_, perfumed the goose-quill, which she attached to the mouthpiece and used only once, set fire to the yellow leaves, placing the vase with its long neck enamelled in blue and gold at some distance from her, and rang the bell for tea.

"Will you have cigarettes?--Ah! I am always forgetting that you do not smoke. Purity such as yours is so rare! The hand of Eve herself, fresh from the hand of her Maker, is alone innocent enough to stroke your cheek."

Calyste colored; sitting down on a stool at Camille's feet, he did not see the deep emotion that seemed for a moment to overcome her.

VIII. LA MARQUISE BEATRIX

"I promised you this tale of the past, and here it is," said Camille.

"The person from whom I received that letter yesterday, and who may be here to-morrow, is the Marquise de Rochefide. The old marquis (whose family is not as old as yours), after marrying his eldest daughter to a Portuguese grandee, was anxious to find an alliance among the higher n.o.bility for his son, in order to obtain for him the peerage he had never been able to get for himself. The Comtesse de Montcornet told him of a young lady in the department of the Orne, a Mademoiselle Beatrix-Maximilienne-Rose de Casteran, the youngest daughter of the Marquis de Casteran, who wished to marry his two daughters without dowries in order to reserve his whole fortune for the Comte de Casteran, his son. The Casterans are, it seems, of the bluest blood. Beatrix, born and brought up at the chateau de Casteran, was twenty years old at the time of her marriage in 1828. She was remarkable for what you provincials call originality, which is simply independence of ideas, enthusiasm, a feeling for the beautiful, and a certain impulse and ardor toward the things of Art. You may believe a poor woman who has allowed herself to be drawn along the same lines, there is nothing more dangerous for a woman. If she follows them, they lead her where you see me, and where the marquise came,--to the verge of abysses. Men alone have the staff on which to lean as they skirt those precipices,--a force which is lacking to most women, but which, if we do possess it, makes abnormal beings of us. Her old grandmother, the dowager de Casteran, was well pleased to see her marry a man to whom she was superior in every way. The Rochefides were equally satisfied with the Casterans, who connected them with the Verneuils, the d'Esgrignons, the Troisvilles, and gave them a peerage for their son in that last big batch of peers made by Charles X., but revoked by the revolution of July. The first days of marriage are perilous for little minds as well as for great loves. Rochefide, being a fool, mistook his wife's ignorance for coldness; he cla.s.sed her among frigid, lymphatic women, and made that an excuse to return to his bachelor life, relying on the coldness of the marquise, her pride, and the thousand barriers that the life of a great lady sets up about a woman in Paris. You'll know what I mean when you go there. People said to Rochefide: 'You are very lucky to possess a cold wife who will never have any but head pa.s.sions. She will always be content if she can shine; her fancies are purely artistic, her desires will be satisfied if she can make a salon, and collect about her distinguished minds; her debauches will be in music and her orgies literary.' Rochefide, however, is not an ordinary fool; he has as much conceit and vanity as a clever man, which gives him a mean and squinting jealousy, brutal when it comes to the surface, lurking and cowardly for six months, and murderous the seventh. He thought he was deceiving his wife, and yet he feared her,--two causes for tyranny when the day came on which the marquise let him see that she was charitably a.s.suming indifference to his unfaithfulness. I a.n.a.lyze all this in order to explain her conduct. Beatrix had the keenest admiration for me; there is but one step, however, from admiration to jealousy. I have one of the most remarkable salons in Paris; she wished to make herself another; and in order to do so she attempted to draw away my circle. I don't know how to keep those who wish to leave me. She obtained the superficial people who are friends with every one from mere want of occupation, and whose object is to get out of a salon as soon as they have entered it; but she did not have time to make herself a real society. In those days I thought her consumed with a desire for celebrity of one kind or another.

Nevertheless, she has really much grandeur of soul, a regal pride, distinct ideas, and a marvellous facility for apprehending and understanding all things; she can talk metaphysics and music, theology and painting. You will see her, as a mature woman, what the rest of us saw her as a bride. And yet there is something of affectation about her in all this. She has too much the air of knowing abstruse things,--Chinese, Hebrew, hieroglyphics perhaps, or the papyrus that they wrapped round mummies. Personally, Beatrix is one of those blondes beside whom Eve the fair would seem a Negress. She is slender and straight and white as a church taper; her face is long and pointed; the skin is capricious, to-day like cambric, to-morrow darkened with little speckles beneath its surface, as if her blood had left a deposit of dust there during the night. Her forehead is magnificent, though rather daring. The pupils of her eyes are pale sea-green, floating on their white b.a.l.l.s under thin lashes and lazy eyelids. Her eyes have dark rings around them often; her nose, which describes one-quarter of a circle, is pinched about the nostrils; very shrewd and clever, but supercilious.

She has an Austrian mouth; the upper lip has more character than the lower, which drops disdainfully. Her pale cheeks have no color unless some very keen emotion moves her. Her chin is rather fat; mine is not thin, and perhaps I do wrong to tell you that women with fat chins are exacting in love. She has one of the most exquisite waists I ever saw; the shoulders are beautiful, but the bust has not developed as well, and the arms are thin. She has, however, an easy carriage and manner, which redeems all such defects and sets her beauties in full relief. Nature has given her that princess air which can never be acquired; it becomes her, and reveals at sudden moments the woman of high birth. Without being faultlessly beautiful, or prettily pretty, she produces, when she chooses, ineffaceable impressions. She has only to put on a gown of cherry velvet with clouds of lace, and wreathe with roses that angelic hair of hers, which resembles floods of light, and she becomes divine.

If, on some excuse or other, she could wear the costume of the time when women had long, pointed bodices, rising, slim and slender, from voluminous brocaded skirts with folds so heavy that they stood alone, and could hide her arms in those wadded sleeves with ruffles, from which the hand comes out like a pistil from a calyx, and could fling back the curls of her head into the jewelled knot behind her head, Beatrix would hold her own victoriously with ideal beauties like _that_--"

And Felicite showed Calyste a fine copy of a picture by Mieris, in which was a woman robed in white satin, standing with a paper in her hand, and singing with a Brabancon seigneur, while a Negro beside them poured golden Spanish wine into a goblet, and the old housekeeper in the background arranged some biscuits.

"Fair women, blonds," said Camille, "have the advantage over us poor brown things of a precious diversity; there are a hundred ways for a blonde to charm, and only one for a brunette. Besides, blondes are more womanly; we are too like men, we French brunettes--Well, well!" she cried, "pray don't fall in love with Beatrix from the portrait I am making of her, like that prince, I forget his name, in the Arabian Nights. You would be too late, my dear boy."

These words were said pointedly. The admiration depicted on the young man's face was more for the picture than for the painter whose _faire_ was failing of its purpose. As she spoke, Felicite was employing all the resources of her eloquent physiognomy.

"Blond as she is, however," she went on, "Beatrix has not the grace of her color; her lines are severe; she is elegant, but hard; her face has a harsh contour, though at times it reveals a soul with Southern pa.s.sions; an angel flashes out and then expires. Her eyes are thirsty.

She looks best when seen full face; the profile has an air of being squeezed between two doors. You will see if I am mistaken. I will tell you now what made us intimate friends. For three years, from 1828 to 1831, Beatrix, while enjoying the last fetes of the Restoration, making the round of the salons, going to court, taking part in the fancy-b.a.l.l.s of the Elysee-Bourbon, was all the while judging men, and things, events, and life itself, from the height of her own thought. Her mind was busy. These first years of the bewilderment the world caused her prevented her heart from waking up. From 1830 to 1831 she spent the time of the revolutionary disturbance at her husband's country-place, where she was bored like a saint in paradise. On her return to Paris she became convinced, perhaps justly, that the revolution of July, in the minds of some persons purely political, would prove to be a moral revolution. The social cla.s.s to which she belonged, not being able, during its unhoped-for triumph in the fifteen years of the Restoration to reconstruct itself, was about to go to pieces, bit by bit, under the battering-ram of the bourgeoisie. She heard the famous words of Monsieur Laine: 'Kings are departing!' This conviction, I believe was not without its influence on her conduct. She took an intellectual part in the new doctrines, which swarmed, during the three years succeeding July, 1830, like gnats in the sunshine, and turned some female heads. But, like all n.o.bles, Beatrix, while thinking these novel ideals superb, wanted always to protect the n.o.bility. Finding before long that there was no place in this new regime for individual superiority, seeing that the higher n.o.bility were beginning once more the mute opposition it had formerly made to Napoleon,--which was, in truth, its wisest course under an empire of deeds and facts, but which in an epoch of moral causes was equivalent to abdication,--she chose personal happiness rather than such eclipse. About the time we were all beginning to breathe again, Beatrix met at my house a man with whom I had expected to end my days,--Gennaro Conti, the great composer, a man of Neapolitan origin, though born in Ma.r.s.eilles. Conti has a brilliant mind; as a composer he has talent, though he will never attain to the first rank. Without Rossini, without Meyerbeer, he might perhaps have been taken for a man of genius. He has one advantage over those men,--he is in vocal music what Paganini is on the violin, Liszt on the piano, Taglioni in the ballet, and what the famous Garat was; at any rate he recalls that great singer to those who knew him. His is not a voice, my friend, it is a soul. When its song replies to certain ideas, certain states of feeling difficult to describe in which a woman sometimes finds herself, that woman is lost.

The marquise conceived the maddest pa.s.sion for him, and took him from me. The act was provincial, I allow, but it was all fair play. She won my esteem and friendship by the way she behaved to me. She thought me a woman who was likely to defend her own; she did not know that to me the most ridiculous thing in the world is such a struggle. She came to see me. That woman, proud as she is, was so in love that she told me her secret and made me the arbiter of her destiny. She was really adorable, and she kept her place as woman and as marquise in my eyes. I must tell you, dear friend, that while women are sometimes bad, they have hidden grandeurs in their souls that men can never appreciate. Well, as I seem to be making my last will and testament like a woman on the verge of old age, I shall tell you that I was ever faithful to Conti, and should have been till death, and yet I _know him_. His nature is charming, apparently, and detestable beneath its surface. He is a charlatan in matters of the heart. There are some men, like Nathan, of whom I have already spoken to you, who are charlatans externally, and yet honest.

Such men lie to themselves. Mounted on their stilts, they think they are on their feet, and perform their jugglery with a sort of innocence; their humb.u.g.g.e.ry is in their blood; they are born comedians, braggarts; extravagant in form as a Chinese vase; perhaps they even laugh at themselves. Their personality is generous; like Murat's kingly garments, it attracts danger. But Conti's duplicity will be known only to the women who love him. In his art he has that deep Italian jealousy which led the Carlone to murder Piola, and stuck a stiletto into Paesiello.

That terrible envy lurks beneath the warmest comradeship. Conti has not the courage of his vice; he smiles at Meyerbeer and flatters him, when he fain would tear him to bits. He knows his weakness, and cultivates an appearance of sincerity; his vanity still further leads him to play at sentiments which are far indeed from his real heart. He represents himself as an artist who receives his inspirations from heaven; Art is something saintly and sacred to him; he is fanatic; he is sublime in his contempt for worldliness; his eloquence seems to come from the deepest convictions. He is a seer, a demon, a G.o.d, an angel. Calyste, although I warn you about him, you will be his dupe. That Southern nature, that impa.s.sioned artist is cold as a well-rope. Listen to him: the artist is a missionary. Art is a religion, which has its priests and ought to have its martyrs. Once started on that theme, Gennaro reaches the most dishevelled pathos that any German professor of philosophy ever spluttered to his audience. You admire his convictions, but he hasn't any. Bearing his hearers to heaven on a song which seems a mysterious fluid shedding love, he casts an ecstatic glance upon them; he is examining their enthusiasm; he is asking himself: 'Am I really a G.o.d to them?' and he is also thinking: 'I ate too much macaroni to-day.' He is insatiable of applause, and he wins it. He delights, he is beloved; he is admired whensoever he will. He owes his success more to his voice than to his talent as a composer, though he would rather be a man of genius like Rossini than a performer like Rubini. I had committed the folly of attaching myself to him, and I was determined and resigned to deck this idol to the end. Conti, like a great many artists, is dainty in all his ways; he likes his ease, his enjoyments; he is always carefully, even elegantly dressed. I do respect his courage; he is brave; bravery, they say, is the only virtue into which hypocrisy cannot enter. While we were travelling I saw his courage tested; he risked the life he loved; and yet, strange contradiction! I have seen him, in Paris, commit what I call the cowardice of thought. My friend, all this was known to me. I said to the poor marquise: 'You don't know into what a gulf you are plunging. You are the Perseus of a poor Andromeda; you release me from my rock. If he loves you, so much the better! but I doubt it; he loves no one but himself.' Gennaro was transported to the seventh heaven of pride. I was not a marquise, I was not born a Casteran, and he forgot me in a day. I then gave myself the savage pleasure of probing that nature to the bottom. Certain of the result, I wanted to see the twistings and turnings Conti would perform. My dear child, I saw in one week actual horrors of sham sentiment, infamous buffooneries of feeling. I will not tell you about them; you shall see the man here in a day or two. He now knows that I know him, and he hates me accordingly. If he could stab me with safety to himself I shouldn't be alive two seconds. I have never said one word of all this to Beatrix.

The last and constant insult Geranno offers me is to suppose that I am capable of communicating my sad knowledge of him to her; but he has no belief in the good feeling of any human being. Even now he is playing a part with me; he is posing as a man who is wretched at having left me.

You will find what I may call the most penetrating cordiality about him; he is winning; he is chivalrous. To him, all women are madonnas. One must live with him long before we get behind the veil of this false chivalry and learn the invisible signs of his humbug. His tone of conviction about himself might almost deceive the Deity. You will be entrapped, my dear child, by his catlike manners, and you will never believe in the profound and rapid arithmetic of his inmost thought. But enough; let us leave him. I pushed indifference so far as to receive them together in my house. This circ.u.mstance kept that most perspicacious of all societies, the great world of Paris, ignorant of the affair. Though intoxicated with pride, Gennaro was compelled to dissimulate; and he did it admirably. But violent pa.s.sions will have their freedom at any cost. Before the end of the year, Beatrix whispered in my ear one evening: 'My dear Felicite, I start to-morrow for Italy with Conti.' I was not surprised; she regarded herself as united for life to Gennaro, and she suffered from the restraints imposed upon her; she escaped one evil by rushing into a greater. Conti was wild with happiness,--the happiness of vanity alone. 'That's what it is to love truly,' he said to me. 'How many women are there who would sacrifice their lives, their fortune, their reputation?'--'Yes, she loves you,' I replied, 'but you do not love her.' He was furious, and made me a scene; he stormed, he declaimed, he depicted his love, declaring that he had never supposed it possible to love as much. I remained impa.s.sible, and lent him money for his journey, which, being unexpected, found him unprepared. Beatrix left a letter for her husband and started the next day for Italy. There she has remained two years; she has written to me several times, and her letters are enchanting. The poor child attaches herself to me as the only woman who will comprehend her. She says she adores me. Want of money has compelled Gennaro to accept an offer to write a French opera; he does not find in Italy the pecuniary gains which composers obtain in Paris. Here's the letter I received yesterday from Beatrix. Take it and read it; you can now understand it,--that is, if it is possible, at your age, to a.n.a.lyze the things of the heart."

So saying, she held out the letter to him.

At this moment Claude Vignon entered the room. At his unexpected apparition Calyste and Felicite were both silent for a moment,--she from surprise, he from a vague uneasiness. The vast forehead, broad and high, of the new-comer, who was bald at the age of thirty-seven, now seemed darkened by annoyance. His firm, judicial mouth expressed a habit of chilling sarcasm. Claude Vignon is imposing, in spite of the precocious deteriorations of a face once magnificent, and now grown haggard.

Between the ages of eighteen and twenty-five he strongly resembled the divine Raffaelle. But his nose, that feature of the human face that changes most, is growing to a point; the countenance is sinking into mysterious depressions, the outlines are thickening; leaden tones predominate in the complexion, giving tokens of weariness, although the fatigues of this young man are not apparent; perhaps some bitter solitude has aged him, or the abuse of his gift of comprehension.

He scrutinizes the thought of every one, yet without definite aim or system. The pickaxe of his criticism demolishes, it never constructs.

Thus his la.s.situde is that of a mechanic, not of an architect. The eyes, of a pale blue, once brilliant, are clouded now by some hidden pain, or dulled by gloomy sadness. Excesses have laid dark tints above the eyelids; the temples have lost their freshness. The chin, of incomparable distinction, is getting doubled, but without dignity. His voice, never sonorous, is weakening; without being either hoa.r.s.e or extinct, it touches the confines of hoa.r.s.eness and extinction. The impa.s.sibility of that fine head, the fixity of that glance, cover irresolution and weakness, which the keenly intelligent and sarcastic smile belies. The weakness lies wholly in action, not in thought; there are traces of an encyclopedic comprehension on that brow, and in the habitual movement of a face that is childlike and splendid both. The man is tall, slightly bent already, like all those who bear the weight of a world of thought. Such long, tall bodies are never remarkable for continuous effort or creative activity. Charlemagne, Belisarious, and Constantine are noted exceptions to this rule.

Certainly Claude Vignon presents a variety of mysteries to be solved. In the first place, he is very simple and very wily. Though he falls into excesses with the readiness of a courtesan, his powers of thought remain untouched. Yet his intellect, which is competent to criticise art, science, literature, and politics, is incompetent to guide his external life. Claude contemplates himself within the domain of his intellectual kingdom, and abandons his outer man with Diogenic indifference.

Satisfied to penetrate all, to comprehend all by thought, he despises materialities; and yet, if it becomes a question of creating, doubt a.s.sails him; he sees obstacles, he is not inspired by beauties, and while he is debating means, he sits with his arms pendant, accomplishing nothing. He is the Turk of the intellect made somnolent by meditation.