The Parisians — Volume 07, Baron Edward Bulwer Lytton Lytton [read 50 shades of grey TXT] 📗

his nails. Up rises a wild-haired, weak-limbed silhouette of a man, and affecting a solemnity of mien which might have become the virtuous Guizot, moves this resolution: 'The French people condemns Charles Louis Napoleon the Third to the penalty of perpetual hard labour.' Then up rises the commissary of police and says quietly, 'I declare this meeting at an end.'

"Sensation among the audience—they gesticulate—they screech—they bellow—the commissary puts on his greatcoat—the secretary gives a last touch to his nails and pockets his penknife—the audience disperses—the silhouette of a man effaces itself—all is over."

"You describe the scene most wittily," said Rameau, laughing, but the laugh was constrained. A would-be cynic himself, there was a something grave and earnest in the real cynic that awed him.

"What conclusion do you draw from such a scene, cher poete" asked De
Mauleon, fixing his keen quiet eyes on Rameau.

"What conclusion? Well, that—that—"

"Yes, continue."

"That the audience were sadly degenerated from the time when Mirabeau said to a Master of the Ceremonies, 'We are here by the power of the French people, and nothing but the point of the bayonet shall expel us.'"

"Spoken like a poet, a French poet. I suppose you admire M. Victor Hugo. Conceding that he would have employed a more sounding phraseology, comprising more absolute ignorance of men, times, and manners in unintelligible metaphor and melodramatic braggadocio, your answer might have been his; but pardon me if I add, it would not be that of Common Sense."

"Monsieur le Vicomte might rebuke me more politely," said Rameau, colouring high.

"Accept my apologies; I did not mean to rebuke, but to instruct. The times are not those of 1789. And Nature, ever repeating herself in the production of coxcombs and blockheads, never repeats herself in the production of Mirabeaus. The Empire is doomed—doomed, because it is hostile to the free play of intellect. Any Government that gives absolute preponderance to the many is hostile to intellect, for intellect is necessarily confined to the few.

"Intellect is the most revengeful of all the elements of society. It cares not what the materials through which it insinuates or forces its way to its seat.

"I accept the aid of Pom-de-Tair. I do not demean myself to the extent of writing articles that may favor the principles of Pom-de-Tair, signed in the name of Victor de Mauleon or of Pierre Firinin.

"I will beg you, my dear editor, to obtain clever, smart writers, who know nothing about Socialists and Internationalists, who therefore will not commit Le Sens Commun by advocating the doctrines of those idiots, but who will flatter the vanity of the canaille—vaguely; write any stuff they please about the renown of Paris, 'the eye of the world,' 'the sun of the European system,' &c., of the artisans of Paris as supplying soul to that eye and fuel to that sun—any blague of that sort—genre Victor Hugo; but nothing definite against life and property, nothing that may not be considered hereafter as the harmless extravagance of a poetic enthusiasm. You might write such articles yourself. In fine, I want to excite the multitude, and yet not to commit our journal to the contempt of the few. Nothing is to be admitted that may bring the law upon us except it be signed by my name. There may be a moment in which it would be desirable for somebody to be sent to prison: in that case, I allow no substitute—I go myself.

"Now you have my most secret thoughts. I intrust them to your judgment with entire confidence. Monsieur Lebeau gave you a high character, which you have hitherto deserved. By the way, have you seen anything lately of that bourgeois conspirator?"

"No, his professed business of letter-writer or agent is transferred to a clerk, who says M. Lebeau is abroad."

"Ah! I don't think that is true. I fancy I saw him the other evening gilding along the lanes of Belleville. He is too confirmed a conspirator to be long out of Paris; no place like Paris for seething brains."

"Have you known M. Lebeau long?" asked Rameau. "Ay, many years. We are both Norman by birth, as you may perceive by something broad in our accent."

"Ha! I knew your voice was familiar to me; certainly it does remind me of
Lebeau's."

"Normans are like each other in many things besides voice and accent— obstinacy, for instance, in clinging to ideas once formed; this makes them good friends and steadfast enemies. I would advise no man to make an enemy of Lebeau.

"Au revoir, cher confrere. Do not forget to present me to Mademoiselle Cicogna."

CHAPTER II.

On leaving De Mauleon and regaining his coupe, Rameau felt at once bewildered and humbled, for he was not prepared for the tone of careless superiority which the Vicomte assumed over him. He had expected to be much complimented, and he comprehended vaguely that he had been somewhat snubbed. He was not only irritated—he was bewildered; for De Mauleon's political disquisitions did not leave any clear or definite idea on his mind as to the principles which as editor of the Sens Commun he was to see adequately represented and carried out. In truth, Rameau was one of those numerous Parisian politicians who have read little and reflected less on the government of men and States. Envy is said by a great French writer to be the vice of Democracies. Envy certainly had made Rameau a democrat. He could talk and write glibly enough upon the themes of equality and fraternity, and was so far an ultra-democrat that he thought moderation the sign of a mediocre understanding.

De Mauleon's talk, therefore, terribly perplexed him. It was unlike anything he had heard before. Its revolutionary professions, accompanied with so much scorn for the multitude, and the things the multitude desired, were Greek to him. He was not shocked by the cynicism which placed wisdom in using the passions of mankind as tools for the interests of an individual; but he did not understand the frankness of its avowal.

Nevertheless the man had dominated over and subdued him. He recognized the power of his contributor without clearly analysing its nature— a power made up of large experience of life, of cold examination of doctrines that heated others—of patrician calm—of intellectual sneer— of collected confidence in self.

Besides, Rameau felt, with a nervous misgiving, that in this man, who so boldly proclaimed his contempt for the instruments he used, he had found a master. De Mauleon, then, was sole proprietor of the journal from which Rameau drew his resources; might at any time dismiss him; might at any time involve the journal in penalties which, even if Rameau could escape in his official capacity as editor, still might stop the Sens Commun, and with it Rameau's luxurious subsistence.

Altogether the visit to De Mauleon had been anything but a pleasant one. He sought, as the carriage rolled on, to turn his thoughts to more agreeable subjects, and the image of Isaura rose before him. To do him justice he had learned to love this girl as well as his nature would permit: he loved her with the whole strength of his imagination, and though his heart was somewhat cold, his imagination was very ardent. He loved her also with the whole strength of his vanity, and vanity was even a more preponderant organ of his system than imagination. To carry off as his prize one who had already achieved celebrity, whose beauty and fascination of manner were yet more acknowledged than her genius, would certainly be a glorious triumph.

Every Parisian of Rameau's stamp looks forward in marriage to a brilliant salon. What salon more brilliant than that which he and Isaura united could command? He had long conquered his early impulse of envy at Isaura's success,—in fact that success had become associated with his own, and had contributed greatly to his enrichment. So that to other motives of love he might add the prudential one of interest. Rameau well knew that his own vein of composition, however lauded by the cliques, and however unrivalled in his own eyes, was not one that brings much profit in the market. He compared himself to those poets who are too far in advance of their time to be quite as sure of bread and cheese as they are of immortal fame.

But he regarded Isaura's genius as of a lower order, and a thing in itself very marketable. Marry her, and the bread and cheese were so certain that he might elaborate as slowly as he pleased the verses destined to immortal fame. Then he should be independent of inferior creatures like Victor de Mauleon. But while Rameau convinced himself that he was passionately in love with Isaura, he could not satisfy himself that she was in love with him.

Though during the past year they had seen each other constantly, and their literary occupations had produced many sympathies between them— though he had intimated that many of his most eloquent love-poems were inspired by her—though he had asserted in prose, very pretty prose too, that she was all that youthful poets dream of,—yet she had hitherto treated such declarations with a playful laugh, accepting them as elegant compliments inspired by Parisian gallantry; and he felt an angry and sore foreboding that if he were to insist too seriously on the earnestness of their import and ask her plainly to be his wife, her refusal would be certain, and his visits to her house might be interdicted.

Still Isaura was unmarried, still she had refused offers of marriage from men higher placed than himself,—still he divined no one whom she could prefer. And as he now leaned back in his coupe he muttered to himself, "Oh, if I could but get rid of that little demon Julie, I would devote myself so completely to winning Isaura's heart that I must succeed!—but how to get rid of Julie? She so adores me, and is so headstrong! She is capable of going to Isaura—showing my letters—making such a scene!"

Here he checked the carriage at a cafe on the Boulevard—descended, imbibed two glasses of absinthe,—and then feeling much emboldened, remounted his coupe and directed the driver to Isaura's apartment.

CHAPTER III.

Yes, celebrities are of rapid growth in the salons of Paris. Far more solid than that of Rameau, far more brilliant than that of De Mauleon, was the celebrity which Isaura had now acquired. She had been unable to retain the pretty suburban villa at A———. The owner wanted to alter and enlarge it for his own residence, and she had been persuaded by Signora Venosta, who was always sighing for fresh salons to conquer, to remove (towards the close of the previous year) to apartments in the centre of the Parisian beau monde. Without formally professing to receive, on one evening in the week her salon was open to those who had eagerly sought her acquaintance—comprising many stars in the world of fashion, as well as those in the world of art and letters. And as she had now wholly abandoned the idea of the profession for which her voice had been cultivated, she no longer shrank from the exercise of her surpassing gift of song for the delight of private friends. Her physician had withdrawn the interdict on such exercise. His skill, aided by the rich vitality of her constitution, had triumphed over all tendencies to the malady for which he had been consulted. To hear Isaura Cicogna sing in her own house was a privilege sought and prized by many who never read a word of her literary compositions. A good critic of a book is rare; but good judges of a voice are numberless. Adding this attraction of song to her youth, her beauty, her frank powers of converse—an innocent sweetness of manner free from all conventional affectation—and to the fresh novelty of a genius which inspired the young with enthusiast and beguiled the old to indulgence, it was no wonder that Isaura became a celebrity at Paris.

Perhaps it was a wonder that her head was not turned by the adulation that surrounded her. But I believe, be it said with diffidence, that a woman of mind so superior that the mind never pretends to efface the heart, is less intoxicated with flattery than a man equally exposed to it.

It is the strength of her heart that keeps her head sober.