International Short Stories: French Part 42

The door in the wall had been partly opened as they approached and the young men saw, within the arbor on the terrace, the resident, Herr Reimer--his three-cornered hat on his powdered wig, his arms crossed on the top of the adjacent wall, as he awaited their coming.

As soon as the officers were within ear-shot, he called out:

"Come on, Baron de Trenck, breakfast is ready."

The two officers were almost at the threshold. Trenck slackened his pace somewhat; then he felt Henry grip his arm more closely and forcibly drag him toward the doorway.

Trenck energetically freed his arm, upon observing this movement that spoke so eloquently of betrayal, and twice struck the lieutenant, with such violence that Henry was thrown to the ground.

Reimer, the resident, realizing that Trenck knew of the plot, saw that the time had come to resort to armed intervention.

"Soldiers, in the name of Prussia, I command you to arrest Baron de Trenck!" he shouted to the men who were posted in the courtyard.

"Soldiers, in the name of Russia!" Trenck shouted, brandishing his sword, "kill these brigands who are violating the rights of the country."

At these words, six Russian dragoons emerged suddenly from a field of wheat and, running up, fell upon the Prussians who had rushed from the courtyard at the resident's command.

This unexpected attack took the Prussians by surprise. They defended themselves only half-heartedly and finally they fled in disorder, throwing away their weapons, and followed by the shots of the Russians.

Lieutenant Henry and four soldiers remained in the custody of the victors.

Trenck dashed into the arbor to seize Resident Reimer, but the only evidence of that personage was his wig, which remained caught in the foliage at an opening in the rear of the arbor through which the resident had made his escape. Trenck then returned to the prisoners.

As a fitting punishment for the Prussian soldiers, he commanded his dragoons to give each of them fifty blows, to turn their uniforms wrongside out, to decorate their helmets with straw c.o.c.kades, and to drive them thus attired across the frontier.

While his men proceeded to execute his orders, Trenck drew his sword and turned to Lieutenant Henry.

"And now, for our affair, lieutenant!" he exclaimed.

The unfortunate Henry, under the disgrace of his position, lost his presence of mind. Hardly knowing what he did, he drew his sword, but dropped it almost immediately, begging for mercy.

Trenck endeavored to force him to fight, without avail, then, disgusted with the lieutenant's cowardice, he caught up a stick and belabored him heartily, crying:

"Rogue, go tell your fellows how Trenck deals with traitors!"

The people of the inn, attracted by the noise of the conflict, had gathered around the spot, and, as the baron administered the punishment, they added to the shame of the disgraced lieutenant by applauding the baron heartily.

The punishment over and the sentence of the Prussians having been carried out, Trenck returned to the city with his six dragoons and the two servants.

In this affair, as throughout his entire career, Trenck was simply faithful to the rule which he had adopted to guide him through life:

"Always face danger rather than avoid it."

THE Pa.s.sAGE OF THE RED SEA

BY HENRY MURGER

For five or six years Marcel had been engaged upon the famous painting which he said was meant to represent the Pa.s.sage of the Red Sea; and for five or six years this masterpiece in color had been obstinately refused by the jury. Indeed, from its constant journeying back and forth, from the artist's studio to the Musee, and from the Musee to the studio, the painting knew the road so well that one needed only to set it on rollers and it would have been quite capable of reaching the Louvre alone. Marcel, who had repainted the picture ten times, and minutely gone over it from top to bottom, vowed that only a personal hostility on the part of the members of the jury could account for the ostracism which annually turned him away from the Salon, and in his idle moments he had composed, in honor of those watch-dogs of the Inst.i.tute, a little dictionary of insults, with ill.u.s.trations of a savage irony. This collection gained celebrity and enjoyed, among the studios and in the Ecole des Beaux-Arts, the same sort of popular success as that achieved by the immortal complaint of Giovanni Bellini, painter by appointment to the Grand Sultan of the Turks; every dauber in Paris had a copy stored away in his memory.

For a long time Marcel had not allowed himself to be discouraged by the emphatic refusal which greeted him at each exposition. He was comfortably settled in his opinion that his picture was, in a modest way, the companion piece long awaited by the "Wedding of Cana," that gigantic masterpiece whose dazzling splendor the dust of three centuries has not dimmed. Accordingly, each year, at the time of the Salon, Marcel sent his picture to be examined by the jury. Only, in order to throw the examiners off the track and if possible to make them abandon the policy of exclusion which they seemed to have adopted toward the "Pa.s.sage of the Red Sea,"

Marcel, without in any way disturbing the general scheme of his picture, modified certain details and changed its t.i.tle.

For instance, on one occasion it arrived before the jury under the name of the "Pa.s.sage of the Rubicon!" but Pharaoh, poorly disguised under Caesar's mantle, was recognized and repulsed with all the honors that were his due.

The following year, Marcel spread over the level plane of his picture a layer of white representing snow, planted a pine-tree in one corner, and clothing an Egyptian as a grenadier of the Imperial Guard, rechristened the painting the "Pa.s.sage of the Beresina."

The jury, which on that very day had polished its spectacles on the lining of its ill.u.s.trious coat, was not in any way taken in by this new ruse. It recognized perfectly well the persistent painting, above all by a big brute of a horse of many colors, which was rearing out of one of the waves of the Red Sea. The coat of that horse had served Marcel for all his experiments in color, and in private conversation he called it his synoptic table of fine tones, because he had reproduced, in their play of light and shade, all possible combinations of color. But once again, insensible to this detail, the jury seemed scarcely able to find blackb.a.l.l.s enough to emphasize their refusal of the "Pa.s.sage of the Beresina."

"Very well," said Marcel; "no more than I expected. Next year I shall send it back under the t.i.tle of 'Pa.s.sage des Panoramas.'"

"That will be one on them--on them--on them, them, them," sang the musician, Schaunard, fitting the words to a new air he had been composing--a terrible air, noisy as a gamut of thunderclaps, and the accompaniment to which was a terror to every piano in the neighborhood.

"How could they refuse that picture without having every drop of the vermilion in my Red Sea rise up in their faces and cover them with shame?"

murmured Marcel, as he gazed at the painting. "When one thinks that it contains a good hundred crowns' worth of paint, and a million of genius, not to speak of the fair days of my youth, fast growing bald as my hat!

But they shall never have the last word; until my dying breath I shall keep on sending them my painting. I want to have it engraved upon their memory."

"That is certainly the surest way of ever getting it engraved," said Gustave Colline, in a plaintive voice, adding to himself: "That was a good one, that was--really a good one; I must get that off the next time I am asked out."

Marcel continued his imprecations, which Schaunard continued to set to music.

"Oh, they won't accept me," said Marcel. "Ah! the government pays them, boards them, gives them the Cross, solely for the one purpose of refusing me once a year, on the 1st of March. I see their idea clearly now--I see it perfectly clearly; they are trying to drive me to break my brushes.

They hope, perhaps, by refusing my Red Sea, to make me throw myself out of the window in despair. But they know very little of the human heart if they expect to catch me with such a clumsy trick. I shall no longer wait for the time of the annual Salon. Beginning with to-day, my work becomes the canvas of Damocles, eternally suspended over their existence. From now on, I am going to send it once a week to each one of them, at their homes, in the bosom of their families, in the full heart of their private life.

It shall trouble their domestic joy, it shall make them think that their wine is sour, their dinner burned, their wives bad-tempered. They will very soon become insane, and will have to be put in strait-jackets when they go to the Inst.i.tute, on the days when there are meetings. That idea pleases me."

A few days later, when Marcel had already forgotten his terrible plans for vengeance upon his persecutors, he received a visit from Father Medicis.

For that was the name by which the brotherhood called a certain Jew, whose real name was Soloman, and who at that time was well known throughout the bohemia of art and literature, with which he constantly had dealings.

Father Medicis dealt in all sorts of bric-a-brac. He sold complete house-furnishings for from twelve francs up to a thousand crowns. He would buy anything, and knew how to sell it again at a profit. His shop, situated in the Place du Carrousel, was a fairy spot where one could find everything that one might wish. All the products of nature, all the creations of art, all that comes forth from the bowels of the earth or from the genius of man, Medicis found it profitable to trade in. His dealings included everything, absolutely everything that exists; he even put a price upon the Ideal. Medicis would even buy ideas, to use himself or to sell again. Known to all writers and artists, intimate friend of the palette, familiar spirit of the writing-desk, he was the Asmodeus of the arts. He would sell you cigars in exchange for the plot of a dime novel, slippers for a sonnet, a fresh catch of fish for a paradox; he would talk at so much an hour with newspaper reporters whose duty was to record the lively capers of the smart set. He would get you pa.s.ses to the parliament buildings, or invitations to private parties; he gave lodgings by the night, the week, or the month to homeless artists, who paid him by making copies of old masters in the Louvre. The greenroom had no secrets for him; he could place your plays for you with some manager; he could obtain for you all sorts of favors. He carried in his head a copy of the almanac of twenty-five thousand addresses, and knew the residence, the name, and the secrets of all the celebrities, even the obscure ones.

In entering the abode of the bohemians, with that knowing air which characterized him, the Jew divined that he had arrived at a propitious moment. As a matter of fact, the four friends were at that moment gathered in council, and under the domination of a ferocious appet.i.te were discussing the grave question of bread and meat. It was Sunday, the last day of the month. Fatal day, sinister of date!

The entrance of Medicis was accordingly greeted with a joyous chorus, for they knew that the Jew was too avaricious of his time to waste it in mere visits of civility; accordingly his presence always announced that he was open to a bargain.

"Good evening, gentlemen," said the Jew; "how are you?"

"Colline," said Rodolphe from where he lay upon the bed, sunk in the delights of maintaining a horizontal line, "practise the duties of hospitality and offer our guest a chair; a guest is sacred. I salute you, Abraham," added the poet.

Colline drew forward a chair which had about as much elasticity as a piece of bronze and offered it to the Jew, Medicis let himself fall into the chair, and started to complain of its hardness, when he remembered that he himself had once traded it off to Colline in exchange for a profession of faith which he afterward sold to a deputy. As he sat down the pockets of the Jew gave forth a silvery sound, and this melodious symphony threw the four bohemians into a reverie that was full of sweetness.

"Now," said Rodolphe, in a low tone, to Marcel, "let us hear the song. The accompaniment sounds all right."

"Monsieur Marcel," said Medicis. "I have simply come to make your fortune.

That is to say, I have come to offer you a superb opportunity to enter into the world of art. Art, as you very well know, Monsieur Marcel, is an arid road, in which glory is the oasis."

"Father Medicis," said Marcel, who was on coals of impatience, "in the name of fifty per cent, your revered patron saint, be brief."

"Here is the offer," rejoined Medicis. "A wealthy amateur, who is collecting a picture-gallery destined to make the tour of Europe, has commissioned me to procure for him a series of remarkable works. I have come to give you a chance to be included in this collection. In one word, I have come to purchase your 'Pa.s.sage of the Red Sea.'"