The Parisians — Volume 02, Baron Edward Bulwer Lytton Lytton [uplifting books for women txt] 📗

Count, with a benignant smile on his handsome face, answered, 'All wrecks come to the shore: the shore does not go to the wrecks.'"

"Beautifully said!" exclaimed the Marquis.

"Not if 'Le beau est toujours le vrai.' My father, no inexperienced nor unwise politician, in repeating the royal words, remarked: 'The fallacy of the Count's argument is in its metaphor. A man is not a shore. Do you not think that the seamen on board the wrecks would be more grateful to him who did not complacently compare himself to a shore, but considered himself a human being like themselves, and risked his own life in a boat, even though it were a cockleshell, in the chance of saving theirs?"

Alain de Rochebriant was a brave man, with that intense sentiment of patriotism which characterizes Frenchmen of every rank and persuasion, unless they belong to the Internationalists; and, without pausing to consider, he cried, "Your father was right."

The Englishman resumed: "Need I say, my dear Marquis, that I am not a Legitimist? I am not an Imperialist, neither am I an Orleanist nor a Republican. Between all those political divisions it is for Frenchmen to make their choice, and for Englishmen to accept for France that government which France has established. I view things here as a simple observer. But it strikes me that if I were a Frenchman in your position, I should think myself unworthy my ancestors if I consented to be an insignificant looker-on."

"You are not in my position," said the Marquis, half mournfully, half haughtily, "and you can scarcely judge of it even in imagination."

"I need not much task my imagination; I judge of it by analogy. I was very much in your position when I entered upon what I venture to call my career; and it is the curious similarity between us in circumstances, that made me wish for your friendship when that similarity was made known to me by Lemercier, who is not less garrulous than the true Parisian usually is. Permit me to say that, like you, I was reared in some pride of no inglorious ancestry. I was reared also in the expectation of great wealth. Those expectations were not realized: my father had the fault of noble natures,—generosity pushed to imprudence: he died poor and in debt. You retain the home of your ancestors; I had to resign mine."

The Marquis had felt deeply interested in this narrative, and as Graham now paused, took his hand and pressed it. "One of our most eminent personages said to me about that time, 'Whatever a clever man of your age determines to do or to be, the odds are twenty to one that he has only to live on in order to do or to be it.' Don't you think he spoke truly? I think so."

"I scarcely know what to think," said Rochebriant; "I feel as if you had given me so rough a shake when I was in the midst of a dull dream, that I am not yet quite sure whether I am asleep or awake."

Just as he said this, and towards the Paris end of the Champs Elysees, there was a halt, a sensation among the loungers round them; many of them uncovered in salute.

A man on the younger side of middle age, somewhat inclined to corpulence, with a very striking countenance, was riding slowly by. He returned the salutations he received with the careless dignity of a Personage accustomed to respect, and then reined in his horse by the side of a barouche, and exchanged some words with a portly gentleman who was its sole occupant. The loungers, still halting, seemed to contemplate this parley—between him on horseback and him in the carriage—with very eager interest. Some put their hands behind their ears and pressed forward, as if trying to overhear what was said.

"I wonder," quoth Graham, "whether, with all his cleverness, the Prince has in any way decided what he means to do or to be."

"The Prince!" said Rochebriant, rousing himself from revery; "what
Prince?"

"Do you not recognize him by his wonderful likeness to the first
Napoleon,—him on horseback talking to Louvier, the great financier."

"Is that stout bourgeois in the carriage Louvier,—my mortgagee,
Louvier?"

"Your mortgagee, my dear Marquis? Well, he is rich enough to be a very lenient one upon pay-day."

"Hein!—I doubt his leniency," said Alain. "I have promised my avoue to meet him at dinner. Do you think I did wrong?"

"Wrong! of course not; he is likely to overwhelm you with civilities. Pray don't refuse if he gives you an invitation to his soiree next Saturday; I am going to it. One meets there the notabilities most interesting to study,—artists, authors, politicians, especially those who call themselves Republicans. He and the Prince agree in one thing; namely, the cordial reception they give to the men who would destroy the state of things upon which Prince and financier both thrive. Hillo! here comes Lemercier on return from the Bois."

Lemercier's coupe stopped beside the footpath. "What tidings of the Belle Inconnue?" asked the Englishman. "None; she was not there. But I am rewarded: such an adventure! a dame of the haute volee; I believe she is a duchess. She was walking with a lap-dog, a pure Pomeranian. A strange poodle flew at the Pomeranian, I drove off the poodle, rescued the Pomeranian, received the most gracious thanks, the sweetest smile: femme superbe, middle aged. I prefer women of forty. Au revoir, I am due at the club."

Alain felt a sensation of relief that Lemercier had not seen the lady in the pearl-coloured dress, and quitted the Englishman with a lightened heart.

CHAPTER IV.

"Piccola, piccola! com e cortese! another invitation from M. Louvier for next Saturday,—conversazione." This was said in Italian by an elderly lady bursting noisily into the room,—elderly, yet with a youthful expression of face, owing perhaps to a pair of very vivacious black eyes. She was dressed, after a somewhat slatternly fashion, in a wrapper of crimson merino much the worse for wear, a blue handkerchief twisted turban-like round her head, and her feet encased in list slippers. The person to whom she addressed herself was a young lady with dark hair, which, despite its evident repugnance, was restrained into smooth glossy braids over the forehead, and at the crown of the small graceful head into the simple knot which Horace has described as "Spartan." Her dress contrasted the speaker's by an exquisite neatness.

We have seen her before as the lady in the pearl-coloured robe; but seen now at home she looks much younger. She was one of those whom, encountered in the streets or in society, one might guess to be married, —probably a young bride; for thus seen there was about her an air of dignity and of self-possession which suits well with the ideal of chaste youthful matronage; and in the expression of the face there was a pensive thoughtfulness beyond her years. But as she now sat by the open window arranging flowers in a glass bowl, a book lying open on her lap, you would never have said, "What a handsome woman!" you would have said, "What a charming girl!" All about her was maidenly, innocent, and fresh. The dignity of her bearing was lost in household ease, the pensiveness of her expression in an untroubled serene sweetness.

Perhaps many of my readers may have known friends engaged in some absorbing cause of thought, and who are in the habit when they go out, especially if on solitary walks, to take that cause of thought with them. The friend may be an orator meditating his speech, a poet his verses, a lawyer a difficult case, a physician an intricate malady. If you have such a friend, and you observe him thus away from his home, his face will seem to you older and graver. He is absorbed in the care that weighs on him. When you see him in a holiday moment at his own fireside, the care is thrown aside; perhaps he mastered while abroad the difficulty that had troubled him; he is cheerful, pleasant, sunny. This appears to be very much the case with persons of genius. When in their own houses we usually find them very playful and childlike. Most persons of real genius, whatever they may seem out of doors, are very sweet-tempered at home, and sweet temper is sympathizing and genial in the intercourse of private life. Certainly, observing this girl as she now bends over the flowers, it would be difficult to believe her to be the Isaura Cicogna whose letters to Madame de Grantinesnil exhibit the doubts and struggles of an unquiet, discontented, aspiring mind. Only in one or two passages in those letters would you have guessed at the writer in the girl as we now see her. It is in those passages where she expresses her love of harmony, and her repugnance to contest: those were characteristics you might have read in her face.

Certainly the girl is very lovely: what long dark eyelashes! what soft, tender, dark-blue eyes! now that she looks up and smiles, what a bewitching smile it is! by what sudden play of rippling dimples the smile is enlivened and redoubled! Do you notice one feature? In very showy beauties it is seldom noticed; but I, being in my way a physiognomist, consider that it is always worth heeding as an index of character. It is the ear. Remark how delicately it is formed in her: none of that heaviness of lobe which is a sure sign of sluggish intellect and coarse perception. Hers is the artist's ear. Note next those hands: how beautifully shaped! small, but not doll-like hands,—ready and nimble, firm and nervous hands, that could work for a helpmate. By no means very white, still less red, but somewhat embrowned as by the sun, such as you may see in girls reared in southern climes, and in her perhaps betokening an impulsive character which had not accustomed itself, when at sport in the open air, to the thraldom of gloves,—very impulsive people even in cold climates seldom do.

In conveying to us by a few bold strokes an idea of the sensitive, quick- moved, warm-blooded Henry II., the most impulsive of the Plantagenets, his contemporary chronicler tells us that rather than imprison those active hands of his, even in hawking-gloves, he would suffer his falcon to fix its sharp claws into his wrist. No doubt there is a difference as to what is befitting between a burly bellicose creature like Henry II. and a delicate young lady like Isaura Cicogna; and one would not wish to see those dainty wrists of hers seamed and scarred by a falcon's claws. But a girl may not be less exquisitely feminine for slight heed of artificial prettiness. Isaura had no need of pale bloodless hands to seem one of Nature's highest grade of gentlewomen even to the most fastidious eyes. About her there was a charm apart from her mere beauty, and often disturbed instead of heightened by her mere intellect: it consisted in a combination of exquisite artistic refinement, and of a generosity of character by which refinement was animated into vigour and warmth.

The room, which was devoted exclusively to Isaura, had in it much that spoke of the occupant. That room, when first taken furnished, had a good deal of the comfortless showiness which belongs to ordinary furnished apartments in France, especially in the Parisian suburbs, chiefly let for the summer: thin limp muslin curtains that decline to draw; stiff mahogany chairs covered with yellow Utrecht velvet; a tall secretaire in a dark corner; an oval buhl-table set in tawdry ormolu, islanded in the centre of a poor but gaudy Scotch carpet; and but one other table of dull walnut-wood, standing clothless before a sofa to match the chairs; the eternal ormolu clock flanked by the two eternal ormolu candelabra on the dreary mantelpiece. Some of this garniture had been removed, others softened into cheeriness and comfort. The room somehow or other—thanks partly to a very moderate expenditure in pretty twills with pretty borders, gracefully simple table-covers, with one or two additional small tables and easy-chairs, two simple vases filled with flowers; thanks still more to a nameless skill in re-arrangement, and the disposal of the slight knick-knacks and well-bound volumes, which, even in travelling, women who have cultivated the pleasures of taste carry about