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

woman's heart! They upset her almost as much as the tears of an officer in uniform.
'No, no,' she said, 'please, please do not distress yourself any more about me. Please say that you are not angry now.'
As she spoke she leaned quite close to him, letting her flowers slip down. She felt quite safe with two broad black backs and two black cockades visible on the box under a large umbrella.
'Look,' she went on; 'I promise you to come once--at least once--before----' but here she stopped in dismay. Carried away by her feelings, she was on the point of telling him that they were soon to part, and that she was going to St. Petersburg. Recovering herself in a moment, she declared emphatically that she would call unannounced some afternoon when she was not going to visit the mausoleum.
'But you go there every afternoon,' he said, with clenched teeth and such a queer accent of suppressed indignation that a smile played beneath the widow's veil, and to make a diversion she put down the window. The shower was over. The brougham had turned into a poor quarter, where the street in its squalid gaiety seemed to feel that the worst of the year was past, as the sun, almost hot enough for summer, lighted up the wretched shops, the barrows at the gutter's edge, the tawdry placards, and the rags that fluttered in the windows. The Princess looked out upon it with indifference. Such trivialities are non-existent for people accustomed to see them from the cushions of their carriage at an elevation of two feet from the road. The comfort of the springs and the protection of the glass have a peculiar influence upon the eyes, which take no interest in things below their level.
Madame de Rosen was thinking, 'How he loves me! And how nice he is!' The other suitor was of course more dignified, but it would have been much pleasanter with this one. Oh, dear! The happiest life is but a service incomplete, and never a perfect set!
By this time they were nearing the cemetery. On both sides of the road were stonemasons' yards, in which the hard white of slabs, images, and crosses mingled with the gold of _immortelles_ and the black or white beads of wreaths and memorials.
'And what about Vedrine's statue? Which way do we decide?' he asked abruptly, in the tone of a man who means to confine himself to business.
'Well, really--' she began. 'But, oh dear, oh dear, I shall hurt your feelings again?'
'My feelings! how so?'
The day before, they had been to make a last inspection of the knight, before he was sent to the foundry. At a previous visit the Princess had received a disagreeable impression, not so much from Vedrine's work, which she scarcely looked at, as from the strange studio with trees growing in it, with lizards and wood-lice running about the walls, and all around it roofless ruins, suggesting recollections of the incendiary mob. But from the second visit the poor little woman had come back literally ill. 'My dear, it is the horror of horrors!' Such was her real opinion, as given the same evening to Madame Astier. But she did not dare to say so to Paul, knowing that he was a friend of the sculptor, and also because the name of Vedrine is one of the two or three which the fashionable world has chosen to honour in spite of its natural and implanted tastes, and regards with an irrational admiration by way of pretending to artistic originality. That the coarse rude figure should not be put on dear Herbert's tomb she was determined, but she was at a loss for a presentable reason.
'Really, Monsieur Paul, between ourselves--of course it is a splendid work--a fine _Vedrine_--but you must allow that it is a little _triste!_
'Well, but for a tomb----' suggested Paul.
'And then, if you will not mind, there is this.' With much hesitation she came to the point. Really, you know, a man upon a camp bedstead with nothing on! Really she did not think it fit. It might be taken for a portrait!' And just think of poor Herbert, the correctest of men! What would it look like?'
'There is a good deal in that,' said Paul gravely, and he threw his friend Vedrine overboard with as little concern as a litter of kittens. 'After all, if you do not like the figure, we can put another, or none at all. It would have a more striking effect. The tent empty; the bed ready, and no one to lie on it!'
The Princess, whose chief satisfaction was that the shirtless ruffian would not be seen there, exclaimed, 'Oh, how glad I am! how nice of you! I don't mind telling you now, that I cried over it all night!'
As usual, when they stopped at the entrance gate, the footman took the wreaths and followed some way behind, while Colette and Paul climbed in the heat a path made soft by the recent showers. She leaned upon his arm, and from time to time 'hoped that she did not tire him.' He shook his head with a sad smile. There were few people in the cemetery. A gardener and a keeper recognised the familiar figure of the Princess with a respectful bow. But when they had left the avenue and passed the upper terraces, it was all solitude and shade. Besides the birds in the trees they heard only the grinding of the saw and the metallic clink of the chisel, sounds perpetual in Pere-la-Chaise, as in some city always in building and never finished.
Two or three times Madame de Rosen had seen her companion glance with displeasure at the tall lacquey in his long black overcoat and cockade, whose funereal figure now as ever formed part of the love-scene. Eager on this occasion to please him, she stopped, saying, 'Wait a minute,' took the flowers herself, dismissed the servant, and they went on all alone along the winding walk. But in spite of this kindness, Paul's brow did not relax; and, as he had hung upon his free arm three or four rings of violets, _immortelles_, and lilac, he felt more angry with the deceased than ever. 'You shall pay me for this,' was his savage reflection. She, on the contrary, felt singularly happy, in that vivid consciousness of life and health which comes upon us in places of death. Perhaps it was the warmth of the day, the perfume of the flowers, mixing their fragrance with the stronger scent of the yews and the box trees and the moist earth steaming in the sun, and with another yet, an acrid, faint, and penetrating scent, which she knew well, but which, to-day, instead of revolting her senses, as usual, seemed rather to intoxicate them.
Suddenly a shiver passed over her. The hand which lay on the young man's arm was suddenly grasped in his, grasped with force and held tight, held as it were in an embrace, and the little hand dared not take itself away. The fingers of his hand were trying to get between the delicate fingers of hers and take possession of it altogether. Hers resisted, trying to clench itself in the glove by way of refusal. All the time they went on walking, arm in arm, neither speaking nor looking, but much moved, resistance, according to the natural law, exciting the relative desire. At last came the surrender; the little hand opened, and their fingers joined in a clasp which parted their gloves, for one exquisite moment of full avowal and complete possession. The next minute the woman's pride awoke. She wanted to speak, to show that she was mistress of herself, that she had no part in what was done, nor knowledge of it at all. Finding nothing to say, she read aloud the epitaph on a tomb lying flat among the weeds, 'Augusta, 1847,' and he continued, under his breath, 'A love-story, no doubt.' Overhead the thrushes and finches uttered their strident notes, not unlike the sounds of the stone-cutting, which were heard uninterruptedly in the distance.
They were now entering the Twentieth Division, the part of the cemetery which may be called its 'old town,' where the paths are narrower, the trees higher, the tombs closer together, a confused mass of ironwork, pillars, Greek temples, pyramids, angels, genii, busts, wings open and wings folded. The tombs were various as the lives now hidden beneath--commonplace, odd, original, simple, forced, pretentious, modest. In some the floor-stones were freshly cleaned and loaded with flowers, memorials, and miniature gardens of a Chinese elegance in littleness. In others the mossy slabs were mouldering or parting, and were covered with brambles and high weeds. But all bore well-known names, names distinctly Parisian, names of lawyers, judges, merchants of eminence, ranged here in rows as in the haunts of business and trade. There were even double names, standing for family partnerships in capital and connection, substantial signatures, known no more to the directory or the bank ledger, but united for ever upon the tomb. And Madame de Rosen remarked them with the same tone of surprise, almost of pleasure, with which she would have bowed to a carriage in the Park, 'Ah! the So-and-So's! Mario? was that the singer?' and so forth, all by way of seeming not to know that their hands were clasped.
But presently the door of a tomb near them creaked, and there appeared a large lady in black, with a round fresh face. She carried a little watering-pot, and was putting to rights the flower-beds, oratory, and tomb generally, as calmly as if she had been in a summer-house. She nodded to them across the Enclosure with a kindly smile of unselfish good will, which seemed to say, 'Use your time, happy lovers; life is short, and nothing good but love.' A feeling of embarrassment unloosed their hands. The spell was broken, and the Princess, with a sort of shame, led the way across the tombs, taking the quickest and shortest line to reach the mausoleum of the Prince.
It stood on the highest ground in 'Division 20,' upon a large level of lawn and flowers, inclosed by a low rich rail of wrought iron in the style of the Scaliger tombs at Verona. Its general appearance was designedly rough, and fairly realised the conception of an antique tent with its coarse folds, the red of the Dalmatian granite giving the colour of the bark in which the canvas had been steeped. At the top of three broad steps of granite was the entrance, flanked with pedestals and high funereal tripods of bronze blackened with a sort of lacquer. Above were the Rosen arms upon a large scutcheon, also of bronze, the shield of the good knight who slept within the tent.
Entering the inclosure, they laid the wreaths here and there, on the pedestals and on the slanted projections, representing huge tent-pegs, at the edge of the base. The Princess went to the far end of the interior, where in the darkness before the altar shone the silver fringes of two kneeling-desks, and the old gold of a Gothic cross and massive candlesticks, and there fell upon her knees--a good place to pray in, among the cool slabs, the panels of black marble glittering with the name and full titles of the dead, and the inscriptions from Ecclesiastes or the Song of Songs. But the Princess could find only a few indistinct words, confused with profane thoughts, which made her ashamed. She rose and busied herself with the flower-stands, retiring gradually far enough to judge the effect of the sarcophagus or bed. The cushion of black bronze, with silver monogram, was already in its place, and she thought the hard couch with nothing upon it had a fine and simple effect. But