Cosmopolis Part 15

"Good," said he, "neither of them will have the slightest suspicion; I am saved."

How astonished he would have been could he, while walking leisurely toward his destination, have returned in thought to the smoking-room he had just left! He would have seen a woman glide noiselessly through the open door, with the precaution of a malefactor! He would have seen her examine, without disarranging, all the papers on the table. She frowned on seeing Dorsenne's and the Marquis's cards. She took from the blotting-case some loose leaves and held them in front of the gla.s.s, trying to read there the imprint left upon them. He would have seen finally the woman draw from her pocket a bunch of keys. She inserted one of them in the lock of the drawer which Florent had so carefully turned, and took from that drawer the three unsealed envelopes he had placed within it. And the woman who thus read, with a face contracted by anguish, the papers discovered in such a manner, thanks to a ruse the abominable indelicacy of which gave proof of shameful habits of espionage, was his own sister, the Lydia whom he believed so gentle and so simple, to whom he had penned an adieu so tender in case he should be killed--the Lydia who would have terrified him had he seen her thus, with pa.s.sion distorting the face which was considered insignificant!

She herself, the audacious spy, trembled as if she would fall, her eyes dilated, her bosom heaved, her teeth chattered, so greatly was she unnerved by what she had discovered, by the terrible consequences which she had brought about.

Had she not written the anonymous letters to Gorka, denouncing to him the intrigue between Maitland and Madame Steno? Was it not she who had chosen, the better to poison those terrible letters, phrases the most likely to strike the betrayed lover in the most sensitive part of his 'amour propre'? Was it not she who had hastened the return of the jealous man with the certain hope of drawing thus a tragical vengeance upon the hated heads of her husband and the Venetian? That vengeance, indeed, had broken. But upon whom? Upon the only person Lydia loved in the world, upon the brother whom she saw endangered through her fault; and that thought was to her so overwhelming that she sank into the armchair in which Florent had been seated fifteen minutes before, repeating, with an accent of despair: "He is going to fight a duel. He is going to fight instead of the other!"

All the moral history of that obscure and violent soul was summed up in the cry in which pa.s.sionate anxiety for her brother was coupled with a fierce hatred of her husband. That hatred was the result of a youth and a childhood without the story of which a duplicity so criminal in a being so young would be unintelligible. That youth and that childhood had presaged what Lydia would one day be. But who was there to train the nature in which the heredity of an oppressed race manifested itself, as has been already remarked, by the two most detestable characteristics--hypocrisy and perfidy? Who, moreover, observes in children the truth, as much neglected in practise as it is common in theory, that the defects of the tenth year become vices in the thirtieth? When quite a child Lydia invented falsehoods as naturally as her brother spoke the truth.... Whosoever observed her would have perceived that those lies were all told to paint herself in a favorable light. The germ, too, of another defect was springing up within her--a jealousy instinctive, irrational, almost wicked. She could not see a new plaything in Florent's hands without sulking immediately. She could not bear to see her brother embrace her father without casting herself between them, nor could she see him amuse himself with other comrades.

Had Napoleon Chap.r.o.n been interested in the study of character as deeply as he was in his cotton and his sugarcane, he would have perceived, with affright, the early traces of a sinful nature. But, on that point, like his son, he was one of those trustful men who did not judge when they loved. Moreover, Lydia and Florent, to his wounded sensibility of a demi-pariah, formed the only pleasant corner in his life--were the fresh and youthful comforters of his widowerhood and of his misanthropy. He cherished them with the idolatry which all great workers entertain for their children, which is one of the most dangerous forms of paternal tenderness; Lydia's incipient vices were to the planter delightful fancies! Did she lie? The excellent man exclaimed: What an imagination she has! Was she jealous? He would sigh, pressing to his broad breast the tiny form: How sensitive she is!... The result of that selfish blindness--for to love children thus is to love them for one's self and not for them--was that the girl, at the time of her entrance at Roehampton, was spoiled in the essential traits of her character. But she was so pretty, she owed to the singular mixture of three races an originality of grace so seductive that only the keen glance of a governess of genius could have discerned, beneath that exquisite exterior, the already marked lines of her character. Such governesses are rare, still more so at convents than elsewhere. There was none at Roehampton when Lydia entered that pious haven which was to prove fatal to her, for a reason precisely contrary to that which transformed for Florent the lawns of peaceful Beaumont into a radiant paradise of friendship.

Among the pupils with whom Lydia was to be educated were four young girls from Philadelphia, older than the newcomer by two years, and who, also, had left America for the first time. They brought with them the unconquerable aversion to negro blood and that wonderful keenness in discovering it, even in the most infinitesimal degree, which distinguishes real Yankees. Little Lydia Chap.r.o.n, having been entered as French, they at first hesitated in the face of a suspicion speedily converted into a certainty and that certainty into an aversion, which they could not conceal. They would not have been children had they not been unfeeling. They, therefore, began to offer poor Lydia petty affronts. Convents and colleges resemble other society. There, too, unjust contempt is like that "ferret of the woods," which runs from hand to hand and which always returns to its point of setting out. All the scornful are themselves scorned by some one--a merited punishment, which does not correct our pride any more than the other punishments which abound in life cure our other faults. Lydia's persecutors were themselves the objects of outrages practised by their comrades born in England, on account of certain peculiarities in their language and for the nasal quality of their voices. The drama was limited, as we can imagine, to a series of insignificant episodes and of which the superintendents only surprised a demi-echo.

Children nurse pa.s.sions as strong as ours, but so much interrupted by playfulness that it is impossible to measure their exact strength.

Lydia's 'amour propre' was wounded in an incurable manner by that revelation of her own peculiarity. Certain incidents of her American life recurred to her, which she comprehended more clearly. She recalled the portrait of her grandmother, the complexion, the hands, the hair of her father, and she experienced that shame of her birth and of her family much more common with children than our optimism imagines.

Parents of humble origin give their sons a liberal education, expose them to the demoralization which it brings with it in their positions, and what social hatreds date from the moment when the boy of twelve blushes in secret at the condition of his relatives! With Lydia, so instinctively jealous and untruthful, those first wounds induced falsehood and jealousy. The slightest superiority even, noticed in one of her companions, became to her a cause for suffering, and she undertook to compensate by personal triumphs the difference of blood, which, once discovered, wounds a vain nature. In order to a.s.sure herself those triumphs she tried to win all the persons who approached her, mistresses and comrades, and she began to practise that continued comedy of att.i.tude and of sentiment to which the fatal desire to please, so quickly leads-that charming and dangerous tendency which borders much less on goodness than falseness. At eighteen, submitted to a sort of continual cabotinage, Lydia was, beneath the most attractive exterior, a being profoundly, though unconsciously, wicked, capable of very little affection--she loved no one truly but her brother--open to the invasion of the pa.s.sions of hatred which are the natural products of proud and false minds. It was one of these pa.s.sions, the most fatal of all, which marriage was to develop within her--envy.

That hideous vice, one of those which govern the world, has been so little studied by moralists, as all too dishonorable for the heart of man, no doubt, that this statement may appear improbable. Madame Maitland, for years, had been envious of her husband, but envious as one of the rivals of an artist would be, envious as one pretty woman is of another, as one banker is of his opponent, as a politician of his adversary, with the fierce, implacable envy which writhes with physical pain in the face of success, which is transported with a sensual joy in the face of disaster. It is a great mistake to limit the ravages of that guilty pa.s.sion to the domain of professional emulation. When it is deep, it does not alone attack the qualities of the person, but the person himself, and it was thus that Lydia envied Lincoln. Perhaps the a.n.a.lysis of this sentiment, very subtle in its ugliness, will explain to some a few of the antipathies against which they have struck in their relatives. For it is not only between husband and wife that these unavowed envies are met, it is between lover and mistress, friend and friend, brother and brother, sometimes, alas, father and son, mother and daughter! Lydia had married Lincoln Maitland partly out of obedience to her brother's wishes, partly from vanity, because the young man was an American, and because it was a sort of victory over the prejudices of race, of which she thought constantly, but of which she never spoke.

It required only three months of married life to perceive that Maitland could not forgive himself for that marriage. Although he affected to scorn his compatriots, and although at heart he did not share any of the views of the country in which he had not set foot since his fifth year, he could not hear remarks made in New York upon that marriage without a pang. He disliked Lydia for the humiliation, and she felt it. The birth of a child would no doubt have modified that feeling, and, if it would not have removed it, would at least have softened the embittered heart of the young wife. But no child was born to them. They had not returned from their wedding tour, upon which Florent accompanied them, before their lives rolled along in that silence which forms the base of all those households in which husband and wife, according to a simple and grand expression of the people, do not live heart against heart.

After the journey through Spain, which should have been one continued enchantment, the wife became jealous of the evident preference which Florent showed for Maitland. For the first time she perceived the hold which that impa.s.sioned friendship had taken upon her brother's heart.

He loved her, too, but with a secondary love. The comparison annoyed her daily, hourly, and it did not fail to become a real wound. Returned to Paris, where they spent almost three years, that wound was increased by the sole fact that the puissant individuality of the painter speedily relegated to the shade the individuality of his wife, simply, almost mechanically, like a large tree which pushes a smaller one into the background. The composite society of artists, amateurs, and writers who visited Lincoln came there only for him. The house they had rented was rented only for him. The journeys they made were for him. In short, Lydia was borne away, like Florent, in the orbit of the most despotic force in the world--that of a celebrated talent. An entire book would be required to paint in their daily truth the continued humiliations which brought the young wife to detest that talent and that celebrity with as much ardor as Florent worshipped them. She remained, however, an honest woman, in the sense in which the word is construed by the world, which sums up woman's entire dishonor in errors of love.

But within Lydia's breast grew a rooted aversion toward Lincoln. She detested him for the pure blood which made of that large, fair, and robust man so admirable a type of Anglo-Saxon beauty, by the side of her, so thin, so insignificant indeed, in spite of the grace of her pretty, dark face. She detested him for his taste, for the original elegance with which he understood how to adorn the places in which he lived, while she maintained within her a barbarous lack of taste for the least arrangement of materials and of colors. When she was forced to acknowledge progress in the painter, bitter hatred entered her heart.

When he lamented over his work, and when she saw him a prey to the dolorous anxiety of an artist who doubts himself, she experienced a profound joy, marred only by the evident sadness into which Lincoln's struggles plunged Florent. Never had she met the eyes of Chap.r.o.n fixed upon Maitland with that look of a faithful dog which rejoices in the joy of its master, or which suffers in his sadness, without enduring, like Alba Steno, the sensation of a "needle in the heart."

The idolatrous worship of her brother for the painter caused her to suffer still more as she comprehended, with the infallible perspicacity of antipathy, the immense dupery. She read the very depths of the souls of the two old comrades of Beaumont. She knew that in that friendship, as is almost always the case, one alone gave all to receive in exchange only the most brutal recognition, that with which a huntsman or a master gratifies a faithful dog! As for enlightening Florent with regard to Lincoln's character, she had vainly tried to do so by those fine and perfidious insinuations in which women excel. She only recognized her impotence, and myriads of hateful impressions were thus acc.u.mulated in her heart, to be summed up in one of those frenzies of taciturn rancor which bursts on the first opportunity with terrifying energy. Crime itself has its laws of development. Between the pretty little girl who wept on seeing a new toy in her brother's hand and the Lydia Maitland, forcer of locks, author of anonymous letters, driven by the thirst for vengeance, even to villainy, no dramatic revolution of character had taken place. The logical succession of days had sufficed.

The occasion to gratify that deep and mortal longing to touch Lincoln on some point truly sensitive, how often Lydia had sought it in vain, before Madame Steno obtained an ascendancy over the painter. She had been reduced by it to those meannesses of feminine animosity to manage, as if accidentally, that her husband might read all the disagreeable articles written about his paintings, innocently to praise before him the rivals who had given him offense, to repeat to him with an air of embarra.s.sment the slightest criticisms p.r.o.nounced on one of his exhibits--all the unpleasantnesses which had the result of irritating Florent, above all, for Maitland was one of those artists too well satisfied with the results of his own work for the opinion of others to annoy him very much. On the other hand, before the pa.s.sion for the dogaresse had possessed him, he had never loved. Many painters are thus, satisfying with magnificent models an impetuosity of temperament which does not mount from the senses to the heart. Accustomed to regard the human form from a certain point, they find in beauty, which would appear to us simply animal, principles of plastic emotion which at times suffice for their amorous requirements. They are only more deeply touched by it, when to that rather coa.r.s.e intoxication is joined, in the woman who inspires them, the refined graces of mind, the delicacy of elegance and the subtleties of sentiment.

Such was Madame Steno, who at once inspired the painter with a pa.s.sion as complete as a first love. It was really such. The Countess, who was possessed of the penetration of voluptuousness, was not mistaken there.

Lydia, who was possessed of the penetration of hatred, was not mistaken either. She knew from the first day how matters stood in the beginning, because she was as observing as she was dissimulating; then, thanks to means less hypothetic, she had always had the habit of making those abominable inquiries which are natural, we venture to avow, to nine women out of ten! And how many men are women, too, on this point, as said the fabulist. At school Lydia was one of those who ascended to the dormitory, or who reentered the study to rummage in the cupboards and open trunks of her companions. When mature, never had a sealed letter pa.s.sed through her hands without her having ingeniously managed to read through the envelope, or at least to guess from the postmark, the seal, the handwriting of the address, who was the author of it. The instinct of curiosity was so strong that she could not refrain, at a telegraph office, from glancing over the shoulders of the persons before her, to learn the contents of their despatches. She never had her hair dressed or made her toilette without minutely questioning her maid as to the goings-on in the pantry and the antechamber. It was through a story of that kind that she learned the altercation between Florent and Gorka in the vestibule, which proves, between parentheses, that these espionages by the aid of servants are often efficacious. But they reveal a native baseness, which will not recoil before any piece of villainy.

When Madame Maitland suspected the liaison of Madame Steno and her husband, she no more hesitated to open the latter's secretary than she later hesitated to open the desk of her brother. The correspondence which she read in that way was of a nature which exasperated her desire for vengeance almost to frenzy. For not only did she acquire the evidence of a happiness shared by them which humiliated in her the woman barren in all senses of the word, a stranger to voluptuousness as well as to maternity, but she gathered from it numerous proofs that the Countess cherished, with regard to her, a scorn of race as absolute as if Venice had been a city of the United States.... That part of the Adriatic abounds in prejudices of blood, as do all countries which serve as confluents for every nation. It is sufficient to convince one's self of it, to have heard a Venetian treat of the Slavs as 'Cziavoni', and the Levantines as 'Gregugni'.

Madame Steno, in those letters she had written with all the familiarity and all the liberty of pa.s.sion, never called Lydia anything but La Morettina, and by a very strange illogicalness never was the name of the brother of La Morettina mentioned without a formula of friendship.

As the mistress treated Florent in that manner, it must be that she apprehended no hostility on the part of her lover's brother-in-law.

Lydia understood it only too well, as well as the fresh proof of Florent's sentiments for Lincoln. Once more he gave precedence to the friend over the sister, and on what an occasion! The most secret wounds in her inmost being bled as she read. The success of Alba's portrait, which promised to be a masterpiece, ended by precipitating her into a fierce and abominable action. She resolved to denounce Madame Steno's new love to the betrayed lover, and she wrote the twelve letters, wisely calculated and graduated, which had indeed determined Gorka's return.

His return had even been delayed too long to suit the relative of Iago, who had decided to aim at Madame Steno through Alba by a still more criminal denunciation. Lydia was in that state of exasperation in which the vilest weapons seem the best, and she included innocent Alba in her hatred for Maitland, on account of the portrait, a turn of sentiment which will show that it was envy by which that soul was poisoned above all. Ah, what bitter delight the simultaneous success of that double infamy had procured for her! What savage joy, mingled with bitterness and ecstacy, had been hers the day before, on witnessing the nervousness of poor Alba and the suppressed fury of Boleslas!

In her mind she had seen Maitland provoked by the rival whom she knew to be as adroit with the sword as with the pistol. She would not have been the great-grandchild of a slave of Louisiana, if she had not combined with the natural energy of her hatreds a considerable amount of superst.i.tion. A fortune-teller had once foretold, from the lines in her palm, that she would cause the violent death of some person. "It will be he," she had thought, glancing at her husband with a horrible tremor of hope.... And now she had the proof, the indisputable proof, that her plot for vengeance was to terminate in the danger of another. Of what other?

The letter and will made by Florent disclosed to her the threat of a fatal duel suspended over the head which was the dearest to her. So she had driven to a tragical encounter the only being whom she loved.... The disappointment of the heart in which palpitated the wild energies of a b.e.s.t.i.a.l atavism was so sudden, so acute, so dolorous, that she uttered an inarticulate cry, leaning upon her brother's desk, and, in the face of those sheets of paper which had revealed so much, she repeated:

"He is going to fight a duel! He!... And I am the cause!".... Then, returning the letters and the will to the drawer, she closed it and rose, saying aloud:

"No. It shall not be. I will prevent it, if I have to cast myself between them. I do not wish it! I do not wish it!"

It was easy to utter such words. But the execution of them was less easy. Lydia knew it, for she had no sooner uttered that vow than she wrung her hands in despair--those weak hands which Madame Steno compared in one of her letters to the paws of a monkey, the fingers were so supple and so long--and she uttered this despairing cry: "But how?"....

which so many criminals have uttered before the issue, unexpected and fatal to them, of their shrewdest calculations. The poet has sung it in the words which relate the story of all our faults, great and small:

"The G.o.ds are just, and of our pleasant vices Make instruments to plague us."

It is necessary that the belief in the equity of an incomprehensible judge be well grounded in us, for the strongest minds are struck by a sinister apprehension when they have to brave the chance of a misfortune absolutely merited. The remembrance of the soothsayer's prediction suddenly occurred to Lydia. She uttered another cry, rubbing her hands like a somnambulist. She saw her brother's blood flowing.... No, the duel should not take place! But how to prevent it? How-how? she repeated. Florent was not at home. She could, therefore, not implore him. If he should return, would there still be time? Lincoln was not at home. Where was he? Perhaps at a rendezvous with Madame Steno.

The image of that handsome idol of love clasped in the painter's arms, plunged in the abyss of intoxication which her ardent letters described, was presented to the mind of the jealous wife. What irony to perceive thus those two lovers, whom she had wished to strike, with the ecstacy of bliss in their eyes! Lydia would have liked to tear out their eyes, his as well as hers, and to trample them beneath her heel. A fresh flood of hatred filled her heart. G.o.d! how she hated them, and with what a powerless hatred! But her time would come; another need pressed sorely--to prevent the meeting of the following day, to save her brother. To whom should she turn, however? To Dorsenne? To Montfanon?

To Baron Hafner? To Peppino Ardea? She thought by turns of the four personages whose almost simultaneous visits had caused her to believe that they were the seconds of the two champions. She rejected them, one after the other, comprehending that none of them possessed enough authority to arrange the affair. Her thoughts finally reverted to Florent's adversary, to Boleslas Gorka, whose wife was her friend and whom she had always found so courteous. What if she should ask him to spare her brother? It was not Florent against whom the discarded lover bore a grudge. Would he not be touched by her tears? Would he not tell her what had led to the quarrel and what she should ask of her brother that the quarrel might be conciliated? Could she not obtain from him the promise to discharge his weapon in the air, if the duel was with pistols, or, if it was with swords, simply to disarm his enemy?

Like nearly all persons unversed in the art, she believed in infallible fencers, in marksmen who never missed their aim, and she had also ideas profoundly, absolutely inexact on the relations of one man with another in the matter of an insult. But how can women admit that inflexible rigor in certain cases, which forms the foundation of manly relations, when they themselves allow of a similar rigor neither in their arguments with men, nor in their discussions among themselves? Accustomed always to appeal from convention to instinct and from reason to sentiment, they are, in the face of certain laws, be they those of justice or of honor, in a state of incomprehension worse than ignorance. A duel, for example, appears to them like an arbitrary drama, which the wish of one of those concerned can change at his fancy. Ninety-nine women out of a hundred would think like Lydia Maitland of hastening to the adversary of the man they love, to demand, to beg for his life. Let us add, however, that the majority would not carry out that thought. They would confine themselves to sewing in the vest of their beloved some blessed medal, in recommending him to the Providence, which, for them, is still the favoritism of heaven. Lydia felt that if ever Florent should learn of her step with regard to Gorka, he would be very indignant. But who would tell him? She was agitated by one of those fevers of fear and of remorse which are too acute not to act, cost what it might. Her carriage was announced, and she entered it, giving the address of the Palazzetto Doria. In what terms should she approach the man to whom she was about to pay that audacious and absurd visit? Ah, what mattered it? The circ.u.mstances would inspire her. Her desire to cut short the duel was so strong that she did not doubt of success.

She was greatly disappointed when the footman at the palace told her that the Count had gone out, while at the same moment a voice interrupted him with a gay laugh. It was Countess Maud Gorka, who, returning from her walk with her little boy, recognized Lydia's coup, and who said to her:

"What a lucky idea I had of returning a little sooner. I see you were afraid of a storm, as you drove out in a closed carriage. Will you come upstairs a moment?" And, perceiving that the young woman, whose hand she had taken, was trembling: "What ails you? I should think you were ill!

You do not feel well? My G.o.d, what ails her! She is ill, Luc," she added, turning to her son; "run to my room and bring me the large bottle of English salts; Rose knows which one. Go, go quickly."

"It is nothing," replied Lydia, who had indeed closed her eyes as if on the point of swooning. "See, I am better already. I think I will return home; it will be wiser."

"I shall not leave you," said Maud, seating herself, too, in the carriage; and, as they handed her the bottle of salts, she made Madame Maitland inhale it, talking to her the while as to a sick child: "Poor little thing!"

"How her cheeks burn! And you pay visits in this state. It is very venturesome! Rue Leopardi," she called to the coachman, "quickly."

The carriage rolled away, and Madame Gorka continued to press the tiny hands of Lydia, to whom she gave the tender name, so ironical under the circ.u.mstances, of "Poor little one!" Maud was one of those women like whom England produces many, for the honor of that healthy and robust British civilization, who are at once all energy and all goodness. As large and stout as Lydia was slender, she would rather have borne her to her bed in her vigorous arms than to have abandoned her in the troubled state in which she had surprised her. Not less practical and, as her compatriots say, as matter-of-fact as she was charitable, she began to question her friend on the symptoms which had preceded that attack, when with astonishment she saw that altered face contract, tears gushing from the closed eyes, and the fragile form convulsed by sobs. Lydia had a nervous attack caused by anxiety, by the fresh disappointment of Boleslas's absence from home, and no doubt, too, by the gentleness with which Maud addressed her, and tearing her handkerchief with her white teeth, she moaned:

"No, I am not ill. But it is that thought which I can not bear. No, I can not. Ah, it is maddening!" And turning toward her companion, she in her turn pressed her hands, saying: "But you know nothing! You suspect nothing! It is that which maddens me, when I see you tranquil, calm, happy, as if the minutes were not valuable, every one, to-day, to you as well as to me. For if one is my brother, the other is your husband; and you love him. You must love him, to have pardoned him for what you have pardoned him."

She had spoken in a sort of delirium, brought about by her extreme nervous excitement, and she had uttered, she, usually so dissembling, her very deepest thought. She did not think she was giving Madame Gorka any information by that allusion, so direct, to the liaison of Boleslas with Madame Steno. She was persuaded, as was entire Rome, that Maud knew of her husband's infidelities, and that she tolerated them by one of those heroic sacrifices which maternity justifies. How many women have immolated thus their wifely pride to maintain the domestic relation which the father shall at least not desert officially! All Rome was mistaken, and Lydia Maitland was to have an unexpected proof. Not a suspicion that such an intrigue could unite her husband with the mother of her best friend had ever entered the thoughts of Boleslas's wife.

But to account for that, it is necessary to admit, as well, and to comprehend the depth of innocence of which, notwithstanding her twenty-six years, the beautiful and healthy Englishwoman, with her eyes so clear, so frank, was possessed.

She was one of those persons who command the respect of the boldest of men, and before whom the most dissolute women exercised care. She might have seen the freedom of Madame Steno without being disillusioned. She had only a liking for acquaintances and positive conversation. She was very intellectual, but without any desire to study character.

Dorsenne said of her, with more justness than he thought: "Madame Boleslas Gorka is married to a man who has never been presented to her,"

meaning by that, that first of all she had no idea of her husband's character, and then of the treason of which she was the victim. However, the novelist was not altogether right. Boleslas's infidelity was of too long standing for the woman pa.s.sionately, religiously loyal, who was his wife, not to have suffered by it. But there was an abyss between such sufferings and the intuition of a determined fact such as that which Lydia had just mentioned, and such a suspicion was so far from Maud's thoughts that her companion's words only aroused in her astonishment at the mysterious danger of which Lydia's troubles was a proof more eloquent still than her words.

"Your brother? My husband?" she said. "I do not understand you."

"Naturally," replied Lydia, "he has hidden all from you, as Florent hid all from me. Well! They are going to fight a duel, and to-morrow morning.... Do not tremble, in your turn," she continued, twining her arms around Maud Gorka. "We shall be two to prevent the terrible affair, and we shall prevent it."

"A duel? To-morrow morning?" repeated Maud, in affright. "Boleslas fights to-morrow with your brother? No, it is impossible. Who told you so? How do you know it?"

"I read the proof of it with my eyes," replied Lydia. "I read Florent's will. I read the letter which he prepared for Maitland and for me in case of accident...."

"Should I be in the state in which you see me if it were not true?"

"Oh, I believe you!" cried Maud, pressing her hands to her eyelids, as if to shut out a horrible sight. "But where can they be seen? Boleslas has been here scarcely any of the time for two days. What is there between them? What have they said to one another? One does not risk one's life for nothing when he has, like Boleslas, a wife and a son.

Answer me, I conjure you. Tell me all. I desire to know all. What is there at the bottom of this duel?"

"What could there be but a woman?" interrupted Lydia, who put into the two last words more savage scorn than if she had publicly spit in Caterina Steno's face. But that fresh access of anger fell before the surprise caused her by Madame Gorka's reply.