Cousin Betty, Honoré de Balzac [best short books to read txt] 📗

to Heloise. Everybody is asking who is that charming creature. Are you sure that it will strike no one how and why her husband's appointment got itself signed?--You happy rascal, she is worth a whole office.--I would serve in her office only too gladly.--Come, cinna, let us be friends."

"Better friends than ever," said the Baron to the perfumer, "and I promise you I will be a good fellow. Within a month you shall dine with that little angel.--For it is an angel this time, old boy. And I advise you, like me, to have done with the devils."

Cousin Betty, who had moved to the Rue Vanneau, into a nice little apartment on the third floor, left the ball at ten o'clock, but came back to see with her own eyes the two bonds bearing twelve hundred francs interest; one of them was the property of the Countess Steinbock, the other was in the name of Madame Hulot.

It is thus intelligible that Monsieur Crevel should have spoken to Hulot about Madame Marneffe, as knowing what was a secret to the rest of the world; for, as Monsieur Marneffe was away, no one but Lisbeth Fischer, besides the Baron and Valerie, was initiated into the mystery.

The Baron had made a blunder in giving Madame Marneffe a dress far too magnificent for the wife of a subordinate official; other women were jealous alike of her beauty and of her gown. There was much whispering behind fans, for the poverty of the Marneffes was known to every one in the office; the husband had been petitioning for help at the very moment when the Baron had been so smitten with madame. Also, Hector could not conceal his exultation at seeing Valerie's success; and she, severely proper, very lady-like, and greatly envied, was the object of that strict examination which women so greatly fear when they appear for the first time in a new circle of society.

After seeing his wife into a carriage with his daughter and his son-in-law, Hulot managed to escape unperceived, leaving his son and Celestine to do the honors of the house. He got into Madame Marneffe's carriage to see her home, but he found her silent and pensive, almost melancholy.

"My happiness makes you very sad, Valerie," said he, putting his arm round her and drawing her to him.

"Can you wonder, my dear," said she, "that a hapless woman should be a little depressed at the thought of her first fall from virtue, even when her husband's atrocities have set her free? Do you suppose that I have no soul, no beliefs, no religion? Your glee this evening has been really too barefaced; you have paraded me odiously. Really, a schoolboy would have been less of a coxcomb. And the ladies have dissected me with their side-glances and their satirical remarks. Every woman has some care for her reputation, and you have wrecked mine.

"Oh, I am yours and no mistake! And I have not an excuse left but that of being faithful to you.--Monster that you are!" she added, laughing, and allowing him to kiss her, "you knew very well what you were doing! Madame Coquet, our chief clerk's wife, came to sit down by me, and admired my lace. 'English point!' said she. 'Was it very expensive, madame?'--'I do not know. This lace was my mother's. I am not rich enough to buy the like,' said I."

Madame Marneffe, in short, had so bewitched the old beau, that he really believed she was sinning for the first time for his sake, and that he had inspired such a passion as had led her to this breach of duty. She told him that the wretch Marneffe had neglected her after they had been three days married, and for the most odious reasons. Since then she had lived as innocently as a girl; marriage had seemed to her so horrible. This was the cause of her present melancholy.

"If love should prove to be like marriage----" said she in tears.

These insinuating lies, with which almost every woman in Valerie's predicament is ready, gave the Baron distant visions of the roses of the seventh heaven. And so Valerie coquetted with her lover, while the artist and Hortense were impatiently awaiting the moment when the Baroness should have given the girl her last kiss and blessing.

At seven in the morning the Baron, perfectly happy--for his Valerie was at once the most guileless of girls and the most consummate of demons--went back to release his son and Celestine from their duties. All the dancers, for the most part strangers, had taken possession of the territory, as they do at every wedding-ball, and were keeping up the endless figures of the cotillions, while the gamblers were still crowding round the _bouillotte_ tables, and old Crevel had won six thousand francs.

The morning papers, carried round the town, contained this paragraph in the Paris article:--

"The marriage was celebrated this morning, at the Church of
Saint-Thomas d'Aquin, between Monsieur le Comte Steinbock and
Mademoiselle Hortense Hulot, daughter of Baron Hulot d'Ervy,
Councillor of State, and a Director at the War Office; niece of
the famous General Comte de Forzheim. The ceremony attracted a
large gathering. There were present some of the most distinguished
artists of the day: Leon de Lora, Joseph Bridau, Stidmann, and
Bixiou; the magnates of the War Office, of the Council of State,
and many members of the two Chambers; also the most distinguished
of the Polish exiles living in Paris: Counts Paz, Laginski, and
others.

"Monsieur le Comte Wenceslas Steinbock is grandnephew to the
famous general who served under Charles XII., King of Sweden. The
young Count, having taken part in the Polish rebellion, found a
refuge in France, where his well-earned fame as a sculptor has
procured him a patent of naturalization."

And so, in spite of the Baron's cruel lack of money, nothing was lacking that public opinion could require, not even the trumpeting of the newspapers over his daughter's marriage, which was solemnized in the same way, in every particular, as his son's had been to Mademoiselle Crevel. This display moderated the reports current as to the Baron's financial position, while the fortune assigned to his daughter explained the need for having borrowed money.

Here ends what is, in a way, the introduction to this story. It is to the drama that follows that the premise is to a syllogism, what the prologue is to a classical tragedy.


In Paris, when a woman determines to make a business, a trade, of her beauty, it does not follow that she will make a fortune. Lovely creatures may be found there, and full of wit, who are in wretched circumstances, ending in misery a life begun in pleasure. And this is why. It is not enough merely to accept the shameful life of a courtesan with a view to earning its profits, and at the same time to bear the simple garb of a respectable middle-class wife. Vice does not triumph so easily; it resembles genius in so far that they both need a concurrence of favorable conditions to develop the coalition of fortune and gifts. Eliminate the strange prologue of the Revolution, and the Emperor would never have existed; he would have been no more than a second edition of Fabert. Venal beauty, if it finds no amateurs, no celebrity, no cross of dishonor earned by squandering men's fortunes, is Correggio in a hay-loft, is genius starving in a garret. Lais, in Paris, must first and foremost find a rich man mad enough to pay her price. She must keep up a very elegant style, for this is her shop-sign; she must be sufficiently well bred to flatter the vanity of her lovers; she must have the brilliant wit of a Sophie Arnould, which diverts the apathy of rich men; finally, she must arouse the passions of libertines by appearing to be mistress to one man only who is envied by the rest.

These conditions, which a woman of that class calls being in luck, are difficult to combine in Paris, although it is a city of millionaires, of idlers, of used-up and capricious men.

Providence has, no doubt, vouchsafed protection to clerks and middle-class citizens, for whom obstacles of this kind are at least double in the sphere in which they move. At the same time, there are enough Madame Marneffes in Paris to allow of our taking Valerie to figure as a type in this picture of manners. Some of these women yield to the double pressure of a genuine passion and of hard necessity, like Madame Colleville, who was for long attached to one of the famous orators of the left, Keller the banker. Others are spurred by vanity, like Madame de la Baudraye, who remained almost respectable in spite of her elopement with Lousteau. Some, again, are led astray by the love of fine clothes, and some by the impossibility of keeping a house going on obviously too narrow means. The stinginess of the State--or of Parliament--leads to many disasters and to much corruption.

At the present moment the laboring classes are the fashionable object of compassion; they are being murdered--it is said--by the manufacturing capitalist; but the Government is a hundred times harder than the meanest tradesman, it carries its economy in the article of salaries to absolute folly. If you work harder, the merchant will pay you more in proportion; but what does the State do for its crowd of obscure and devoted toilers?

In a married woman it is an inexcusable crime when she wanders from the path of honor; still, there are degrees even in such a case. Some women, far from being depraved, conceal their fall and remain to all appearances quite respectable, like those two just referred to, while others add to their fault the disgrace of speculation. Thus Madame Marneffe is, as it were, the type of those ambitious married courtesans who from the first accept depravity with all its consequences, and determine to make a fortune while taking their pleasure, perfectly unscrupulous as to the means. But almost always a woman like Madame Marneffe has a husband who is her confederate and accomplice. These Machiavellis in petticoats are the most dangerous of the sisterhood; of every evil class of Parisian woman, they are the worst.

A mere courtesan--a Josepha, a Malaga, a Madame Schontz, a Jenny Cadine--carries in her frank dishonor a warning signal as conspicuous as the red lamp of a house of ill-fame or the flaring lights of a gambling hell. A man knows that they light him to his ruin.

But mealy-mouthed propriety, the semblance of virtue, the hypocritical ways of a married woman who never allows anything to be seen but the vulgar needs of the household, and affects to refuse every kind of extravagance, leads to silent ruin, dumb disaster, which is all the more startling because, though condoned, it remains unaccounted for. It is the ignoble bill of daily expenses and not gay dissipation that devours the largest fortune. The father of a family ruins himself ingloriously, and the great consolation of gratified vanity is wanting in his misery.

This little sermon will go like a javelin to the heart of many a home. Madame Marneffes are to be seen in every sphere of social life, even at Court; for Valerie is a melancholy fact, modeled from the life in the smallest details. And, alas! the portrait will not cure any man of the folly of loving these sweetly-smiling angels, with pensive looks