The Immortal, Alphonse Daudet [books you have to read .txt] 📗

a studio, roofed with planks and decorated with mats and hangings.
It looked with all its litter like a barn, or rather a yard under cover, for in a sun-lit corner climbed a fine fig-tree with its twining branches and elegant leaves, while close by was the bulk of a broken stove, garlanded with ivy and honeysuckle, so as to resemble an old well. Here he had been working for two years, summer and winter, in spite, of the fogs of the neighbouring river and the bitter cold winds, without a single sneeze (his own expression), having the healthful strength of the great artists of the Renaissance, as well as their large mould of countenance and fertile imagination. Now he was as weary of sculpture and architecture as if he had been writing a tragedy. The moment his statue was delivered and paid for, wouldn't he be off, nursery and all, for a journey up the Nile in a dahabeeah, and paint and paint from morning to night! While he spoke he moved away a stool and a bench, and led his friend up to a huge block in the rough. 'There's my warrior. Frankly now, what do you think of him?'
Freydet was somewhat startled and amazed at the colossal dimensions of the sleeping hero. The scale was magnified in proportion to the height of the canopy, and the roughness of the plaster exaggerated the anatomical emphasis characteristic of Vedrine. Rather than smooth away the force, he gives his work an unfinished earthy surface, as of something still in the rock. But as the spectator gazed and began to grasp, the huge form became distinct with that impressive and attractive power which is the essence of fine art.
'Splendid!' he exclaimed, with the tone of sincerity. The other winked his merry little eyes, and said:
'Not at first sight, eh? My style does not take till you are accustomed to it; and I do not feel sure of the Princess, when she comes to look at this ugly fellow.'
Paul Astier was to bring her in a few days, as soon as it had been rubbed down and smoothed and was ready to go to the foundry; and the sculptor looked forward to the visit with some uncertainty, knowing the taste of great ladies, as it is displayed in the stereotyped chatter, which at the Salon on five-shilling days runs up and down the picture-rooms, and breaks out round the sculpture. Oh, what hypocrisy it is! The only genuine thing about them is the spring costume, which they have provided to figure on this particular occasion.
'And altogether, old fellow,' continued Vedrine, as he drew his friend out of the studio, 'of all the affectations of Paris, of all the hypocrisies of society, the most shameless, the most amusing, is the pretended taste for art. It's enough to make you die of laughing; everyone performing a mummery, which imposes on nobody. And music, the same! You should just see them at the Pop!'
They went down a long arcaded passage, full of the same odd vegetation, sown there by all the winds of heaven, breaking out in green from the hard-beaten ground, and peeping among the paintings on the shrivelled and smoke-blackened walls, Presently they came to the principal court, formerly gravelled, but now a field, in which were mingled wild grasses, plantain, pimpernel, groundsel, and myriads of tiny stems and heads. In the middle, fenced off with boards, was a bed of artichokes, strawberries, and pumpkins, looking like the garden of some squatter at the edge of a virgin forest; and, to complete the illusion, beside it was a little building of brick.
'It's the bookbinder's garden, and that is his shop,' said Vedrine, pointing to a board over the half-open door, displaying in letters a foot long the inscription,
ALBIN FAGE,
Bookbinding in all its branches.
Fage had been bookbinder to the Cour des Comptes and the Conseil d'Etat, and having obtained leave to keep his lodge, which had escaped the fire, was now, with the exception of the caretaker, the sole tenant of the building. 'Let us go in for a minute,' said Vedrine; 'you will find him a remarkable specimen.' He went nearer and called, 'Fage! Fage!' but the humble workshop was empty. In front of the window was the binder's table, on which, among a heap of parings, lay his shears. Under a press were some green ledgers capped with copper. Strange to remark, everything in the room--the sewing-press, the tressel-table, the empty chair in front of it, the shelves piled with books, and even the shaving-mirror hung upon the latch--was on a diminutive scale, adapted to the height and reach of a child of twelve years old. It might have been taken for the house of a dwarf, or of a bookbinder of Lilliput.
'He is a humpback,' whispered Vedrine to Frey-det, 'and a lady's man into the bargain, all scent and pomade.' A horrible smell like a hairdresser's shop, otto of roses and macassar, mingled with the stifling fumes, of glue. Vedrine called once more in the direction of the back of the shop where the bedroom was; then they left, Freydet chuckling at the idea of a humpbacked Lovelace.
'Perhaps he's at a tryst,' he said.
'You are pleased to laugh; but, my dear fellow, the humpback is on the best of terms with all the beauties of Paris, if one may believe the testimony of his bedroom walls, which are covered with photographs bearing the owners' names, and headed "To Albin," "To my dear little Fage." There is never any lady to be seen here, but he sometimes comes and tells me about his fine octavo, or his pretty little duodecimo, as he calls his conquests, according to their height and size.'
'And he is ugly, you say?'
'A perfect monster.'
'And no money?'
'A poor little bookbinder and worker in cardboard, living on his work and his bit of a garden, but very intelligent and learned, with a marvellous memory. We shall probably find him wandering about in some corner of the building. He is a great dreamer is little Fage, like all sentimentalists.--This way, but look where you step; there are some awkward places.'
They were going up a huge staircase, of which the lower steps still remained, as did the balustrade, rusty, split, and in places twisted. Then suddenly they turned off by a fragile wooden bridge, resting on the supports of the staircase, between high walls on which were dimly visible the remains of huge frescoes, cracked, decayed, and blackened with soot, the hind legs of a horse, a woman's torso undraped, with inscriptions almost illegible on panels that had lost their gilding, 'Meditation,' 'Silence,' 'Trade uniting the nations of the world.'
On the first floor a long gallery with a vaulted roof, as in the amphitheatre at Aries or Nimes, stretched away between smoke-stained walls, covered with huge fissures, remains of plaster and iron work, and tangled vegetation. At the entrance to this passage was inscribed on the wall, 'Corridor des Huissiers.' On the next floor they found much the same thing, only that here, the roof having given way, the gallery was nothing but a long terrace of brambles climbing up to the undestroyed arcades and falling down in disordered waving festoons to the level of the courtyard. From this second floor could be seen the roofs of the neighbouring houses, the whitewashed walls of the barracks in the Rue de Poitiers, and the tall plane trees of the Padovani mansion, with the rooks' nests, abandoned till the winter, swinging in their top branches. Below was the deserted court in full sunlight, with the little garden and tiny house of the bookbinder.
'Just look, old boy, there's a good lot of it here,' said Vedrine to his friend, pointing to the wild exuberant vegetation of every species which ran riot over the whole building. 'If Crocodilus saw all these weeds, what a rage he would be in!' Suddenly he started, and said, 'Well, I never!'
At this moment, near the bookbinder's house below, came into sight Astier-Rehu, recognisable by his long frock-coat of a metallic green and his large wide 'topper.' Most people in the neighbourhood knew this hat, which, set on the back of a grey curly head, distinguished, like a halo, the hierarch of erudition. It was Crocodilus himself!
He was talking earnestly to a man of very small stature, whose bare head shone with hair-oil, and whose tight-fitting, light-coloured coat showed in all its elegance the deformity of his back. Their words were not audible, but Astier seemed much excited. He brandished his stick and bent himself forward over the face of the little creature, who for his part was perfectly calm, and stood, as if his mind was made up, with his two large hands behind him folded under his hump.
'The cripple does work for the Institute, does he?' said Freydet, who remembered now that his master had uttered the name of Fage. Vedrine did not answer. He was watching the action of the two men, whose conversation at this moment suddenly stopped, the humpback going into his house with a gesture which seemed to say, 'As you please,' while Astier with angry strides made for the gate of the building towards the Rue de Lille, then paused, turned back to the shop, went in, and closed the door behind him.
'It's odd,' muttered the sculptor. 'Why did Fage never tell me? What a mysterious little fellow it is! But I dare say they have the same taste for the "octavo" and the "duodecimo"!'
'For shame, Vedrine!'
The visit done, Freydet went slowly up the Quai d'Orsay, thinking about his book and his aspirations towards the Academie, which had received a severe shock from the home truths he had been hearing. How like the man is to the boy! How soon the character is in its essence complete! After an interval of twenty-five years, beneath the wrinkles and grey hairs and other changes, with which life disguises the outer man, the schoolfellows found each other just what they were when they sat together in class: one wilful, high-spirited, rebellious; the other obedient and submissive, with a tendency to indolence, which had been fostered by his quiet country life. After all Vedrine was perhaps right. Even if he was sure of succeeding, was the thing worth the trouble? He was particularly anxious about his invalid sister, who, while he went about canvassing, must be left all alone at Clos-Jallanges. A few days' absence had already made her feel nervous and low, and the morning's post had brought a miserable letter.
He was by this time passing before the dragoon barracks; and his attention was caught by the appearance of the paupers, waiting on the other side of the street for the distribution of the remains of the soup. They had come long before for fear of missing their turn, and were seated on the benches or standing in a line against the parapet of the quay. Foul and grimy, with the hair and beard of human dogs, and dressed in the filthiest rags, they waited like a herd, neither moving nor speaking to each other, but peering into the great barrack-yard to catch the arrival of the porringers and the adjutant's signal to come up. It was horrible to see in the brilliant sunlight the silent row of savage eyes and hungry faces, fixed with the same animal look upon the wide-open gate.
'What are you doing there, my dear boy?' said a voice, and Astier-Rehu, in high spirits, took his pupil's arm. The poet pointed to the pathetic group on the opposite pavement. 'Ah, yes,' said the historian, 'Ah, yes.' He had in truth no eyes for