Sentimental Education; Or, The History of a Young Man. Volume 1

Arnoux entered.

"Just one word. Yesterday I got a lovely trout from Geneva. We expect you by-and-by – at seven o'clock sharp. The address is the Rue de Choiseul 24 bis. Don't forget!"

Frederick was obliged to sit down; his knees were tottering under him. He repeated to himself, "At last! at last!" Then he wrote to his tailor, to his hatter, and to his bootmaker; and he despatched these three notes by three different messengers.

The key turned in the lock, and the door-keeper appeared with a trunk on his shoulder.

Frederick, on seeing Deslauriers, began to tremble like an adulteress under the glance of her husband.

"What has happened to you?" said Deslauriers. "Surely you got my letter?"

Frederick had not enough energy left to lie. He opened his arms, and flung himself on his friend's breast.

Then the clerk told his story. His father thought to avoid giving an account of the expense of tutelage, fancying that the period limited for rendering such accounts was ten years; but, well up in legal procedure, Deslauriers had managed to get the share coming to him from his mother into his clutches – seven thousand francs clear – which he had there with him in an old pocket-book.

"'Tis a reserve fund, in case of misfortune. I must think over the best way of investing it, and find quarters for myself to-morrow morning. To-day I'm perfectly free, and am entirely at your service, my old friend."

"Oh! don't put yourself about," said Frederick. "If you had anything of importance to do this evening – "

"Come, now! I would be a selfish wretch – "

This epithet, flung out at random, touched Frederick to the quick, like a reproachful hint.

The door-keeper had placed on the table close to the fire some chops, cold meat, a large lobster, some sweets for dessert, and two bottles of Bordeaux.

Deslauriers was touched by these excellent preparations to welcome his arrival.

"Upon my word, you are treating me like a king!"

They talked about their past and about the future; and, from time to time, they grasped each other's hands across the table, gazing at each other tenderly for a moment.

But a messenger came with a new hat. Deslauriers, in a loud tone, remarked that this head-gear was very showy. Next came the tailor himself to fit on the coat, to which he had given a touch with the smoothing-iron.

"One would imagine you were going to be married," said Deslauriers.

An hour later, a third individual appeared on the scene, and drew forth from a big black bag a pair of shining patent leather boots. While Frederick was trying them on, the bootmaker slyly drew attention to the shoes of the young man from the country.

"Does Monsieur require anything?"

"Thanks," replied the clerk, pulling behind his chair his old shoes fastened with strings.

This humiliating incident annoyed Frederick. At length he exclaimed, as if an idea had suddenly taken possession of him:

"Ha! deuce take it! I was forgetting."

"What is it, pray?"

"I have to dine in the city this evening."

"At the Dambreuses'? Why did you never say anything to me about them in your letters?"

"It is not at the Dambreuses', but at the Arnoux's."

"You should have let me know beforehand," said Deslauriers. "I would have come a day later."

"Impossible," returned Frederick, abruptly. "I only got the invitation this morning, a little while ago."

And to redeem his error and distract his friend's mind from the occurrence, he proceeded to unfasten the tangled cords round the trunk, and to arrange all his belongings in the chest of drawers, expressed his willingness to give him his own bed, and offered to sleep himself in the dressing-room bedstead. Then, as soon as it was four o'clock, he began the preparations for his toilet.

"You have plenty of time," said the other.

At last he was dressed and off he went.

"That's the way with the rich," thought Deslauriers.

And he went to dine in the Rue Saint-Jacques, at a little restaurant kept by a man he knew.

Frederick stopped several times while going up the stairs, so violently did his heart beat. One of his gloves, which was too tight, burst, and, while he was fastening back the torn part under his shirt-cuff, Arnoux, who was mounting the stairs behind him, took his arm and led him in.

The anteroom, decorated in the Chinese fashion, had a painted lantern hanging from the ceiling, and bamboos in the corners. As he was passing into the drawing-room, Frederick stumbled against a tiger's skin. The place had not yet been lighted up, but two lamps were burning in the boudoir in the far corner.

Mademoiselle Marthe came to announce that her mamma was dressing. Arnoux raised her as high as his mouth in order to kiss her; then, as he wished to go to the cellar himself to select certain bottles of wine, he left Frederick with the little girl.

She had grown much larger since the trip in the steamboat. Her dark hair descended in long ringlets, which curled over her bare arms. Her dress, more puffed out than the petticoat of a danseuse, allowed her rosy calves to be seen, and her pretty childlike form had all the fresh odour of a bunch of flowers. She received the young gentleman's compliments with a coquettish air, fixed on him her large, dreamy eyes, then slipping on the carpet amid the furniture, disappeared like a cat.

After this he no longer felt ill at ease. The globes of the lamps, covered with a paper lace-work, sent forth a white light, softening the colour of the walls, hung with mauve satin. Through the fender-bars, as through the slits in a big fan, the coal could be seen in the fireplace, and close beside the clock there was a little chest with silver clasps. Here and there things lay about which gave the place a look of home – a doll in the middle of the sofa, a fichu against the back of a chair, and on the work-table a knitted woollen vest, from which two ivory needles were hanging with their points downwards. It was altogether a peaceful spot, suggesting the idea of propriety and innocent family life.

Arnoux returned, and Madame Arnoux appeared at the other doorway. As she was enveloped in shadow, the young man could at first distinguish only her head. She wore a black velvet gown, and in her hair she had fastened a long Algerian cap, in a red silk net, which coiling round her comb, fell over her left shoulder.

Arnoux introduced Frederick.

"Oh! I remember Monsieur perfectly well," she responded.

Then the guests arrived, nearly all at the same time – Dittmer, Lovarias, Burrieu, the composer Rosenwald, the poet Théophile Lorris, two art critics, colleagues of Hussonnet, a paper manufacturer, and in the rear the illustrious Pierre Paul Meinsius, the last representative of the grand school of painting, who blithely carried along with his glory his forty-five years and his big paunch.

When they were passing into the dining-room, Madame Arnoux took his arm. A chair had been left vacant for Pellerin. Arnoux, though he took advantage of him, was fond of him. Besides, he was afraid of his terrible tongue, so much so, that, in order to soften him, he had given a portrait of him in L'Art Industriel, accompanied by exaggerated eulogies; and Pellerin, more sensitive about distinction than about money, made his appearance about eight o'clock quite out of breath. Frederick fancied that they had been a long time reconciled.

He liked the company, the dishes, everything. The dining-room, which resembled a mediæval parlour, was hung with stamped leather. A Dutch whatnot faced a rack for chibouks, and around the table the Bohemian glasses, variously coloured, had, in the midst of the flowers and fruits, the effect of an illumination in a garden.

He had to make his choice between ten sorts of mustard. He partook of daspachio, of curry, of ginger, of Corsican blackbirds, and a species of Roman macaroni called lasagna; he drank extraordinary wines, lip-fraeli and tokay. Arnoux indeed prided himself on entertaining people in good style. With an eye to the procurement of eatables, he paid court to mail-coach drivers, and was in league with the cooks of great houses, who communicated to him the secrets of rare sauces.

But Frederick was particularly amused by the conversation. His taste for travelling was tickled by Dittmer, who talked about the East; he gratified his curiosity about theatrical matters by listening to Rosenwald's chat about the opera; and the atrocious existence of Bohemia assumed for him a droll aspect when seen through the gaiety of Hussonnet, who related, in a picturesque fashion, how he had spent an entire winter with no food except Dutch cheese. Then, a discussion between Lovarias and Burrieu about the Florentine School gave him new ideas with regard to masterpieces, widened his horizon, and he found difficulty in restraining his enthusiasm when Pellerin exclaimed:

"Don't bother me with your hideous reality! What does it mean – reality? Some see things black, others blue – the multitude sees them brute-fashion. There is nothing less natural than Michael Angelo; there is nothing more powerful! The anxiety about external truth is a mark of contemporary baseness; and art will become, if things go on that way, a sort of poor joke as much below religion as it is below poetry, and as much below politics as it is below business. You will never reach its end – yes, its end! – which is to cause within us an impersonal exaltation, with petty works, in spite of all your finished execution. Look, for instance, at Bassolier's pictures: they are pretty, coquettish, spruce, and by no means dull. You might put them into your pocket, bring them with you when you are travelling. Notaries buy them for twenty thousand francs, while pictures of the ideal type are sold for three sous. But, without ideality, there is no grandeur; without grandeur there is no beauty. Olympus is a mountain. The most swagger monument will always be the Pyramids. Exuberance is better than taste; the desert is better than a street-pavement, and a savage is better than a hairdresser!"

Frederick, as these words fell upon his ear, glanced towards Madame Arnoux. They sank into his soul like metals falling into a furnace, added to his passion, and supplied the material of love.

His chair was three seats below hers on the same side. From time to time, she bent forward a little, turning aside her head to address a few words to her little daughter; and as she smiled on these occasions, a dimple took shape in her cheek, giving to her face an expression of more dainty good-nature.

As soon as the time came for the gentlemen to take their wine, she disappeared. The conversation became more free and easy. M. Arnoux shone in it, and Frederick was astonished at the cynicism of men. However, their preoccupation with woman established between them and him, as it were, an equality, which raised him in his own estimation.

When they had returned to the drawing-room, he took up, to keep himself in countenance, one of the albums which lay about on the table. The great artists of the day had illustrated them with drawings, had written in them snatches of verse or prose, or their signatures simply. In the midst of famous names he found many that he had never heard of before, and original thoughts appeared only underneath a flood of nonsense. All these effusions contained a more or less direct expression of homage towards Madame Arnoux. Frederick would have been afraid to write a line beside them.

She went into her boudoir to look at the little chest with silver clasps which he had noticed on the mantel-shelf. It was a present from her husband, a work of the Renaissance. Arnoux's friends complimented him, and his wife thanked him. His tender emotions were aroused, and before all the guests he gave her a kiss.

After this they all chatted in groups here and there. The worthy Meinsius was with Madame Arnoux on an easy chair close beside the fire. She was leaning forward towards his ear; their heads were just touching, and Frederick would have been glad to become deaf, infirm, and ugly if, instead, he had an illustrious name and white hair – in short, if he only happened to possess something which would install him in such intimate association with her. He began once more to eat out his heart, furious at the idea of being so young a man.

But she came into the corner of the drawing-room in which he was sitting, asked him whether he was acquainted with any of the guests, whether he was fond of painting, how long he had been a student in Paris. Every word that came out of her mouth seemed to Frederick something entirely new, an exclusive appendage of her personality. He gazed attentively at the fringes of her head-dress, the ends of which caressed her bare shoulder, and he was unable to take away his eyes; he plunged his soul into the whiteness of that feminine flesh, and yet he did not venture to raise his eyelids to glance at her higher, face to face.

Rosenwald interrupted them, begging of Madame Arnoux to sing something. He played a prelude, she waited, her lips opened slightly, and a sound, pure, long-continued, silvery, ascended into the air.

Frederick did not understand a single one of the Italian words. The song began with a grave measure, something like church music, then in a more animated strain, with a crescendo movement, it broke into repeated bursts of sound, then suddenly subsided, and the melody came back again in a tender fashion with a wide and easy swing.

She stood beside the keyboard with her arms hanging down and a far-off look on her face. Sometimes, in order to read the music, she advanced her forehead for a moment and her eyelashes moved to and fro. Her contralto voice in the low notes took a mournful intonation which had a chilling effect on the listener, and then her beautiful head, with those great brows of hers, bent over her shoulder; her bosom swelled; her eyes were wide apart; her neck, from which roulades made their escape, fell back as if under aërial kisses. She flung out three sharp notes, came down again, cast forth one higher still, and, after a silence, finished with an organ-point.

Rosenwald did not leave the piano. He continued playing, to amuse himself. From time to time a guest stole away. At eleven o'clock, as the last of them were going off, Arnoux went out along with Pellerin, under the pretext of seeing him home. He was one of those people who say that they are ill when they do not "take a turn" after dinner. Madame Arnoux had made her way towards the anteroom. Dittmer and Hussonnet bowed to her. She stretched out her hand to them. She did the same to Frederick; and he felt, as it were, something penetrating every particle of his skin.

He quitted his friends. He wished to be alone. His heart was overflowing. Why had she offered him her hand? Was it a thoughtless act, or an encouragement? "Come now! I am mad!" Besides, what did it matter, when he could now visit her entirely at his ease, live in the very atmosphere she breathed?

The streets were deserted. Now and then a heavy wagon would roll past, shaking the pavements. The houses came one after another with their grey fronts, their closed windows; and he thought with disdain of all those human beings who lived behind those walls without having seen her, and not one of whom dreamed of her existence. He had no consciousness of his surroundings, of space, of anything, and striking the ground with his heel, rapping with his walking-stick on the shutters of the shops, he kept walking on continually at random, in a state of excitement, carried away by his emotions. Suddenly he felt himself surrounded by a circle of damp air, and found that he was on the edge of the quays.

The gas-lamps shone in two straight lines, which ran on endlessly, and long red flames flickered in the depths of the water. The waves were slate-coloured, while the sky, which was of clearer hue, seemed to be supported by vast masses of shadow that rose on each side of the river. The darkness was intensified by buildings whose outlines the eye could not distinguish. A luminous haze floated above the roofs further on. All the noises of the night had melted into a single monotonous hum.

He stopped in the middle of the Pont Neuf, and, taking off his hat and exposing his chest, he drank in the air. And now he felt as if something that was inexhaustible were rising up from the very depths of his being, an afflux of tenderness that enervated him, like the motion of the waves under his eyes. A church-clock slowly struck one, like a voice calling out to him.

Then, he was seized with one of those shuddering sensations of the soul in which one seems to be transported into a higher world. He felt, as it were, endowed with some extraordinary faculty, the aim of which he could not determine. He seriously asked himself whether he would be a great painter or a great poet; and he decided in favour of painting, for the exigencies of this profession would bring him into contact with Madame Arnoux. So, then, he had found his vocation! The object of his existence was now perfectly clear, and there could be no mistake about the future.

When he had shut his door, he heard some one snoring in the dark closet near his apartment. It was his friend. He no longer bestowed a thought on him.

His own face presented itself to his view in the glass. He thought himself handsome, and for a minute he remained gazing at himself.

CHAPTER V.

"Love Knoweth No Laws."

Before twelve o'clock next day he had bought a box of colours, paintbrushes, and an easel. Pellerin consented to give him lessons, and Frederick brought him to his lodgings to see whether anything was wanting among his painting utensils.

Deslauriers had come back, and the second armchair was occupied by a young man. The clerk said, pointing towards him:

"'Tis he! There he is! Sénécal!" Frederick disliked this young man. His forehead was heightened by the way in which he wore his hair, cut straight like a brush. There was a certain hard, cold look in his grey eyes; and his long black coat, his entire costume, savoured of the pedagogue and the ecclesiastic.

They first discussed topics of the hour, amongst others the Stabat of Rossini. Sénécal, in answer to a question, declared that he never went to the theatre.

Pellerin opened the box of colours.

"Are these all for you?" said the clerk.

"Why, certainly!"

"Well, really! What a notion!" And he leaned across the table, at which the mathematical tutor was turning over the leaves of a volume of Louis Blanc. He had brought it with him, and was reading passages from it in low tones, while Pellerin and Frederick were examining together the palette, the knife, and the bladders; then the talk came round to the dinner at Arnoux's.

"The picture-dealer, is it?" asked Sénécal. "A nice gentleman, truly!"

"Why, now?" said Pellerin. Sénécal replied:

"A man who makes money by political turpitude!"

And he went on to talk about a well-known lithograph, in which the Royal Family was all represented as being engaged in edifying occupations: Louis Philippe had a copy of the Code in his hand; the Queen had a Catholic prayer-book; the Princesses were embroidering; the Duc de Nemours was girding on a sword; M. de Joinville was showing a map to his young brothers; and at the end of the apartment could be seen a bed with two divisions. This picture, which was entitled "A Good Family," was a source of delight to commonplace middle-class people, but of grief to patriots.

Pellerin, in a tone of vexation, as if he had been the producer of this work himself, observed by way of answer that every opinion had some value. Sénécal protested: Art should aim exclusively at promoting morality amongst the masses! The only subjects that ought to be reproduced were those which impelled people to virtuous actions; all others were injurious.

"But that depends on the execution," cried Pellerin. "I might produce masterpieces."

"So much the worse for you, then; you have no right – "

"What?"

"No, monsieur, you have no right to excite my interest in matters of which I disapprove. What need have we of laborious trifles, from which it is impossible to derive any benefit – those Venuses, for instance, with all your landscapes? I see there no instruction for the people! Show us rather their miseries! arouse enthusiasm in us for their sacrifices! Ah, my God! there is no lack of subjects – the farm, the workshop – "

Pellerin stammered forth his indignation at this, and, imagining that he had found an argument:

"Molière, do you accept him?"

"Certainly!" said Sénécal. "I admire him as the precursor of the French Revolution."

"Ha! the Revolution! What art! Never was there a more pitiable epoch!"

"None greater, Monsieur!"

Pellerin folded his arms, and looking at him straight in the face:

"You have the appearance of a famous member of the National Guard!"

His opponent, accustomed to discussions, responded:

"I am not, and I detest it just as much as you. But with such principles we corrupt the crowd. This sort of thing, however, is profitable to the Government. It would not be so powerful but for the complicity of a lot of rogues of that sort."

The painter took up the defence of the picture-dealer, for Sénécal's opinions exasperated him. He even went so far as to maintain that Arnoux was really a man with a heart of gold, devoted to his friends, deeply attached to his wife.

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1

The French word huissier means a sheriff's officer, or a person whose business it is to serve writs, processes, and legal documents generally. The word "process-server" must not be understood in its colloquial English sense, for in France this business is sometimes a lucrative one. – Translator.