The Works of Guy de Maupassant Volume III Part 41

He was an old man of about sixty-five, and his rags and the wallet over his shoulder denoted a beggar, but Sonia immediately noticed that there was a certain amount of affectation in his wretchedness. His hair and beard were not s.h.a.ggy and ragged, like such men usually wear them, and evidently he had his hair cut occasionally, and he had a fine, and even _distinguished_ face, as Sonia said to herself. But she did not pay much attention to that, as for some time she had noticed that old men at the seaside nearly all looked like gentlemen.

When he got to the foot of the terrace, the beggar stopped, and wagged his head and said: "Pretty! The little woman is very pretty!" But he did not obey Sonia's order, who repeated it, almost angrily this time, beating a violent tattoo on the stone-work. "The song, the whole song!"

He did not seem to hear, but stood there gaping, with a vacant smile on his face, and as his head was rather inclined towards his left shoulder, a thin stream of saliva trickled from his lips onto his beard, and his looks became more and more ardent. "How stupid I am!" Sonia suddenly thought. "Of course he is waiting for something." She felt in her pocket, in which she always carried some gold by way of half-pence, took out a twenty-franc piece and threw it down to the old man. He, however, did not take any notice of it, but continued looking at her ecstatically, and was only roused from his state of bliss by receiving a handful of gravel which she threw at him, right in his face.

"Do sing!" she exclaimed. "You must; I will have it; I have paid you."

And then, still smiling, he picked up the napoleon and threw it back onto the terrace, and then he said proudly, though in a very gentle voice: "I do not ask for charity, little lady; but if it gives you pleasure, I will sing you the whole song, the whole of it, as often as you please." And he began the song again, in his tremulous voice, which was more tremulous than it had been before, as if he were much touched.

Sonia was overcome, and without knowing was moved into tears; delighted because the man had spoken to her so familiarly, and rather ashamed at having treated him as a beggar; and now her whole being was carried away by the slow rhythm of the melody, which related an old love story, and when he had done he again looked at her with a smile, and as she was crying, he said to her: "I dare say you have a beautiful horse, or a little dog that you are very fond of, which is ill. Take me to it, and I will cure it: I understand it thoroughly. I will do it _gratis_, because you are so pretty."

She could not help laughing. "You must not laugh," he said. "What are you laughing at? Because I am poor? But I am not, for I had work yesterday, and again to-day. I have a bag full. See, look here!" And from his belt he drew a leather purse in which coppers rattled. He poured them out into the palm of his hand, and said merrily: "You see, little one, I have a purse. Forty-seven sous; forty-seven!" "So you will not take my napoleon?" Sonia said. "Certainly not," he replied. "I do not want it; and then, I tell you again, I will not accept alms. So you do not know me?" "No, I do not." "Very well, ask anyone in the neighborhood. Everybody will tell you that the Marquis does not live on charity."

The Marquis! At that name she suddenly remembered that two years ago she had heard his story. It was at the time that she bought the property, and the vendor had mentioned the _Marquis_ as one of the curiosities of the soil. He was said to be half silly, at any rate an original, almost in his dotage, living by any lucky bits that he could make as horse-coper and veterinary. The peasants gave him a little work, as they feared that he might throw spells over anyone who refused to employ him.

They also respected him on account of his former wealth and of his t.i.tle, for he had been rich, very rich, and they said that he really was a marquis, and it was said that he had ruined himself in Paris by speculating. The reason, of course, _was women_!

At that moment the dinner bell began to ring, and a wild idea entered Sonia's head. She ran to the little door that opened onto the terrace, overtook the musician, and with a ceremonious bow she said to him: "Will you give me the pleasure and the honor of dining with me, Marquis?"

The old man left off smiling and grew serious; he put his hand to his forehead, as if to bring old recollections back, and then with a very formal, old-fashioned bow, he said: "With pleasure, my dear." And letting his wallet drop, he offered Sonia his arm.

When she introduced this new guest to them, all the seven, even to the best drilled, started. "I see what disturbs you," she said. "It is his dress. Well! It really leaves much to be desired. But wait a moment; that can soon be arranged."

She rang for her lady's maid and whispered something to her, and then she said: "Marquis, your bath is ready in your dressing-room. If you will follow Sabina, she will show you to it. These gentlemen and I will wait dinner for you." And as soon as he had gone out, she said to the youngest there: "And now, Ernest, go upstairs and undress; I will allow you to dine in your morning coat, and you will give your dress coat and the rest to Sabina, for the Marquis."

Ernest was delighted at having to play a part in the piece, and the six others clapped their hands. "n.o.body else could think of such things; n.o.body, n.o.body!"

Half an hour later they were sitting at dinner, the Marquis in a dress coat on Sonia's left, and it was a great deception for the seven. They had reckoned on having some fun with him, and especially Ernest, who set up as a wit, had intended to _draw him_. But at the first attempt of this sort, Sonia had given him a look which they all understood, and dinner began very ceremoniously for the seven, but merrily and without restraint between Sonia and the old man.

They cut very long faces, those seven, but inwardly, if one can say so, for of course they could not dream of showing how put out they were, and those inward long faces grew longer still when Sonia said to the old fellow, quite suddenly: "I say, how stupid these gentlemen are! Suppose we leave them to themselves?"

The Marquis rose, offered her his arm again, and said: "Where shall we go to?" But Sonia's only reply was to sing the couplet of that song which she had remembered:

"For three years I pa.s.sed The nights with my love, In a beautiful bed In a splendid alcove.

Though wine makes me sleepy, Yet love keeps me frisky."

And the seven, who were altogether dumbfounded this time, and who could not conceal their vexation, saw the couple disappear out of the door which led to Sonia's apartments. "Hum!" Ernest ventured to say, "this is really rather strong!" "Yes," the eldest of the menagerie replied. "It certainly is rather strong, but it will do! You know, there is n.o.body like her for thinking of such things!"

The next morning, the _chateau_ bell woke them up at six o'clock, when they had agreed to return to Paris, and the seven men asked each other whether they should go and wish Sonia good-morning, as usual, before she was out of her room. Ernest hesitated more than any of them about it, and it was not until Sabina, her maid, came and told them that her mistress insisted upon it, that they could make up their minds to do so, and they were surprised to find Sonia in bed by herself.

"Well!" Ernest asked boldly, "and what about the Marquis?" "He left very early," Sonia replied. "A queer sort of marquis, I must say!" Ernest observed contemptuously, and growing bolder. "Why, I should like to know?" Sonia replied, drawing herself up. "The man has his own habits, I suppose!" "Do you know, Madame," Sabina observed, "that he came back half an hour after he left?" "Ah!" Sonia said, getting up and walking about the room. "He came back? What did he want, I wonder?" "He did not say, Madame. He merely went upstairs to see you. He was dressed in his old clothes again."

And suddenly Sonia uttered a loud cry, and clapped her hands, and the seven came round to see what had caused her emotion. "Look here! Just look here!" she cried. "Do look on the mantel-piece! It is really charming! Do look!"

And with a smiling, and yet somewhat melancholy expression in her eyes, with a tender look which they could not understand, she showed them a small bunch of wild flowers, by the side of a heap of half-pennies.

Mechanically she took them up and counted them, and then began to cry.

There were forty-seven of them.

THE BED

On a hot afternoon during last summer, the large auction rooms seemed asleep, and the auctioneers were knocking down the various lots in a listless manner. In a back room, on the first floor, two or three lots of old silk, ecclesiastical vestments, were lying in a corner.

They were copes for solemn occasions, and graceful chasubles on which embroidered flowers surrounded symbolic letters on a yellowish ground, which had become cream-colored, although it had originally been white.

Some second-hand dealers were there, two or three men with dirty beards, and a fat woman with a big stomach, one of those women who deal in second-hand finery, and who also manage illicit love affairs, who are brokers in old and young human flesh, just as much as they are in new and old clothes.

Presently a beautiful Louis XV. chasuble was put up for sale, which was as pretty as the dress of a marchioness of that period; it had retained all its colors, and was embroidered with lilies of the valley round the cross, and long blue iris, which came up to the foot of the sacred emblem, and wreaths of roses in the corners. When I had bought it, I noticed that there was a faint scent about it, as if it were permeated with the remains of incense, or rather, as if it were still pervaded by those delicate, sweet scents of by-gone years, which seemed to be only the memory of perfumes, the soul of evaporated essences.

When I got it home, I wished to have a small chair of the same period covered with it; and as I was handling it in order to take the necessary measures, I felt some paper beneath my fingers, and when I cut the lining, some letters fell at my feet. They were yellow with age, and the faint ink was the color of rust, and outside the sheet, which was folded in the fashion of years long past, it was addressed in a delicate hand: _To Monsieur l'Abbe d'Argence_

The first three lines merely settled places of meeting, but here is the third:

"My Friend; I am very unwell, ill in fact, and I cannot leave my bed.

The rain is beating against my windows, and I lie dreaming comfortably and warmly on my eider-down coverlet. I have a book of which I am very fond, and which seems as if it really applied to me. Shall I tell you what it is? No, for you would only scold me. Then, when I have read a little, I think, and will tell you what about.

"Having been in bed for three days, I think about my bed, and even in my sleep I meditate on it still, and I have come to the conclusion that the bed const.i.tutes our whole life; for we were born in it, we live in it, and we shall die in it. If, therefore, I had Monsieur de Crebillon's pen, I should write the history of a bed, and what exciting and terrible, as well as delightful moving occurrences would not such a book contain! What lessons and what subjects for moralizing could one not draw from it, for everyone?

"You know my bed, my friend, but you will never guess how many things I have discovered in it within the last three days, and how much more I love it, in consequence. It seems to me to be inhabited, haunted, if I may say so, by a number of people I never thought of, who, nevertheless, have left something of themselves in that couch.

"Ah! I cannot understand people who buy new beds, beds to which no memories or cares are attached. Mine, ours, which is so shabby, and so s.p.a.cious, must have held many existences in it, from birth to the grave.

Think of that, my friend; think of it all; review all those lives, a great part of which was spent between these four posts, surrounded by these hangings embroidered by human figures, which have seen so many things. What have they seen during the three centuries since they were first put up?

"Here is a young woman lying on this bed. From time to time she sighs, and then she groans and cries out; her mother is with her, and presently a little creature that makes a noise like a cat mewing, and which is all shriveled and wrinkled, comes from her. It is a male child to which she has given birth, and the young mother feels happy in spite of her pain; she is nearly suffocated with joy at that first cry, and stretches out her arms, and those around her shed tears of pleasure; for that little morsel of humanity which has come from her means the continuation of the family, the perpetuation of the blood, of the heart, and of the soul of the old people, who are looking on, trembling with excitement.

"And then, here are two lovers, who for the first time are flesh to flesh together in that tabernacle of life. They tremble; but transported with delight, they have the delicious sensation of being close together, and by degrees their lips meet. That divine kiss makes them one, that kiss, which is the gate of a terrestrial heaven, that kiss which speaks of human delights, which continually promises them, announces them, and precedes them. And their bed is agitated like the tempestuous sea, and it bends and murmurs, and itself seems to become animated and joyous, for the maddening mystery of love is being accomplished on it. What is there sweeter, what more perfect in this world than those embraces, which make one single being out of two, and which give to both of them at the same moment the same thought, the same expectation, and the same maddening pleasure, which descends upon them like a celestial and devouring fire?

"Do you remember those lines from some old poet, which you read to me last year? I do not remember who wrote them, but it may have been Rousard:

"When you and I in bed shall lie, Lascivious we shall be, Enlaced, playing a thousand tricks, Of lovers, gamesomely.

"I should like to have that verse embroidered on the top of my bed, where Pyramus and Thisbe are continually looking at me out of their tapestry eyes.

"And think of death, my friend; of all those who have breathed out their last sigh to G.o.d in this bed. For it is also the tomb of hopes ended, the door which closes everything, after having been the one which lets in the world. What cries, what anguish, what sufferings, what groans, how many arms stretched out towards the past; what appeals to happiness that has vanished for ever; what convulsions, what death-rattles, what gaping lips and distorted eyes have there not been in this bed, from which I am writing to you, during the three centuries that it has sheltered human beings!

"The bed, you must remember, is the symbol of life; I have discovered this within the last three days. There is nothing good except the bed, and are not some of our best moments spent in sleep?

"But then again, we suffer in bed! It is the refuge of those who are ill and suffering; a place of repose and comfort for worn-out bodies, and, in a word, the bed is part and parcel of humanity.

"Many other thoughts have struck me, but I have no time to note them down for you, and then, should I remember them all? Besides that, I am so tired that I mean to retire to my pillows, stretch myself out at full length, and sleep a little. But be sure and come to see me at three o'clock to-morrow; perhaps I may be better, and able to prove it to you.

"Good-bye, my friend; here are my hands for you to kiss, and I also offer you my lips."

AN ADVENTURE IN PARIS