A Prince of Bohemia, by Honore de Balzac

“My dear friend,” said Mme. de la Baudraye, drawing a pile of manuscript from beneath her sofa cushion, “will you pardon me in our present straits for making a short story of something which you told me a few weeks ago?”

“Anything is fair in these times. Have you not seen writers serving up their own hearts to the public, or very often their mistress’ hearts when invention fails? We are coming to this, dear; we shall go in quest of adventures, not so much for the pleasure of them as for the sake of having the story to tell afterwards.”

“After all, you and the Marquise de Rochefide have paid the rent, and I do not think, from the way things are going here, that I ever pay yours.”

“Who knows? Perhaps the same good luck that befell Mme. de Rochefide may come to you.”

“Well,” says she, “have you found those letters of which you spoke yesterday? You said that you could not tell me all about him without them?”

“It is your turn to speak; I am listening like a child when his mother begins the tale of Le Grand Serpentin Vert.”

“I count the young man in question in that group of our acquaintances which we are wont to style our friends. He comes of a good family; he is a man of infinite parts and ill-luck, full of excellent dispositions and most charming conversation; young as he is, he is seen much, and while awaiting better things, he dwells in Bohemia. Bohemianism, which by rights should be called the doctrine of the Boulevard des Italiens, finds its recruits among young men between twenty and thirty, all of them men of genius in their way, little known, it is true, as yet, but sure of recognition one day, and when that day comes, of great distinction. They are distinguished as it is at carnival time, when their exuberant wit, repressed for the rest of the year, finds a vent in more or less ingenious buffoonery.

“What times we live in! What an irrational central power which allows such tremendous energies to run to waste! There are diplomatists in Bohemia quite capable of overturning Russia’s designs, if they but felt the power of France at their backs. There are writers, administrators, soldiers, and artists in Bohemia; every faculty, every kind of brain is represented there. Bohemia is a microcosm. If the Czar would buy Bohemia for a score of millions and set its population down in Odessa—always supposing that they consented to leave the asphalt of the boulevards—Odessa would be Paris with the year. In Bohemia, you find the flower doomed to wither and come to nothing; the flower of the wonderful young manhood of France, so sought after by Napoleon and Louis XIV., so neglected for the last thirty years by the modern Gerontocracy that is blighting everything else—that splendid young manhood of whom a witness so little prejudiced as Professor Tissot wrote, ‘On all sides the Emperor employed a younger generation in every way worthy of him; in his councils, in the general administration, in negotiations bristling with difficulties or full of danger, in the government of conquered countries; and in all places Youth responded to his demands upon it. Young men were for Napoleon the missi hominici of Charlemagne.’

“The word Bohemia tells you everything. Bohemia has nothing and lives upon what it has. Hope is its religion; faith (in oneself) its creed; and charity is supposed to be its budget. All these young men are greater than their misfortune; they are under the feet of Fortune, yet more than equal to Fate. Always ready to mount and ride an if, witty as a feuilleton, blithe as only those can be that are deep in debt and drink deep to match, and finally—for here I come to my point—hot lovers and what lovers! Picture to yourself Lovelace, and Henri Quatre, and the Regent, and Werther, and Saint-Preux, and Rene, and the Marechal de Richelieu—think of all these in a single man, and you will have some idea of their way of love. What lovers! Eclectic of all things in love, they will serve up a passion to a woman’s order; their hearts are like a bill of fare in a restaurant. Perhaps they have never read Stendhal’s De l’Amour, but unconsciously they put it in practice. They have by heart their chapters—Love-Taste, Love-Passion, Love-Caprice, Love-Crystalized, and more than all, Love-Transient. All is good in their eyes. They invented the burlesque axiom, ‘In the sight of man, all women are equal.’ The actual text is more vigorously worded, but as in my opinion the spirit is false, I do not stand nice upon the letter.

“My friend, madame, is named Gabriel Jean Anne Victor Benjamin George Ferdinand Charles Edward Rusticoli, Comte de la Palferine. The Rusticolis came to France with Catherine de Medici, having been ousted about that time from their infinitesimal Tuscan sovereignty. They are distantly related to the house of Este, and connected by marriage to the Guises. On the day of Saint-Bartholomew they slew a goodly number of Protestants, and Charles IX. bestowed the hand of the heiress of the Comte de la Palferine upon the Rusticoli of that time. The Comte, however, being a part of the confiscated lands of the Duke of Savoy, was repurchased by Henri IV. when that great king so far blundered as to restore the fief; and in exchange, the Rusticoli—who had borne arms long before the Medici bore them to-wit, argent a cross flory azure (the cross flower-de-luced by letters patent granted by Charles IX.), and a count’s coronet, with two peasants for supporters with the motto IN HOC SIGNO VINCIMUS—the Rusticoli, I repeat, retained their title, and received a couple of offices under the crown with the government of a province.

“From the time of the Valois till the reign of Richelieu, as it may be called, the Rusticoli played a most illustrious part; under Louis XIV. their glory waned somewhat, under Louis XV. it went out altogether. My friend’s grandfather wasted all that was left to the once brilliant house with Mlle. Laguerre, whom he first discovered, and brought into fashion before Bouret’s time. Charles Edward’s own father was an officer without any fortune in 1789. The Revolution came to his assistance; he had the sense to drop his title, and became plain Rusticoli. Among other deeds, M. Rusticoli married a wife during the war in Italy, a Capponi, a goddaughter of the Countess of Albany (hence La Palferine’s final names). Rusticoli was one of the best colonels in the army. The Emperor made him a commander of the Legion of Honor and a count. His spine was slightly curved, and his son was wont to say of him laughingly that he was un comte refait (contrefait).

“General Count Rusticoli, for he became a brigadier-general at Ratisbon and a general of the division on the field of Wagram, died at Vienna almost immediately after his promotion, or his name and ability would sooner or later have brought him the marshal’s baton. Under the Restoration he would certainly have repaired the fortunes of a great and noble family so brilliant even as far back as 1100, centuries before they took the French title—for the Rusticoli had given a pope to the church and twice revolutionized the kingdom of Naples—so illustrious again under the Valois; so dexterous in the days of the Fronde, that obstinate Frondeurs though they were, they still existed through the reign of Louis XIV. Mazarin favored them; there was the Tuscan strain in them still, and he recognized it.

“Today, when Charles Edward de la Palferine’s name is mentioned, not three persons in a hundred know the history of his house. But the Bourbons have actually left a Foix-Grailly to live by his easel.

“Ah, if you but knew how brilliantly Charles Edward accepts his obscure position! how he scoffs at the bourgeois of 1830! What Attic salt in his wit! He would be the king of Bohemia, if Bohemia would endure a king. His verve is inexhaustible. To him we owe a map of the country and the names of the seven castles which Nodier could not discover.”

“The one thing wanting in one of the cleverest skits of our time,” said the Marquise.

“You can form your own opinion of La Palferine from a few characteristic touches,” continued Nathan. “He once came upon a friend of his, a fellow-Bohemian, involved in a dispute on the boulevard with a bourgeois who chose to consider himself affronted. To the modern powers that be, Bohemia is insolent in the extreme. There was talk of calling one another out.

“‘One moment,’ interposed La Palferine, as much Lauzun for the occasion as Lauzun himself could have been. ‘One moment. Monsieur was born, I suppose?’

“‘One moment, my dear fellow,’ interrupted La Palferine. ‘There are the Trigaudins. Are you one of them?’

“‘No? Then you are one of the new dukes of Gaeta, I suppose, of imperial creation? No? Oh, well, how can you expect my friend to cross swords with you when he will be secretary of an embassy and ambassador some day, and you will owe him respect? Godin! the thing is non-existent! You are a nonentity, Godin. My friend cannot be expected to beat the air! When one is somebody, one cannot fight with a nobody! Come, my dear fellow—good-day.’

“Another day La Palferine was walking with a friend who flung his cigar end in the face of a passer-by. The recipient had the bad taste to resent this.

“‘You have stood your antagonist’s fire,’ said the young Count, ‘the witnesses declare that honor is satisfied.’

“La Palferine owed his tailor a thousand francs, and the man instead of going himself sent his assistant to ask for the money. The assistant found the unfortunate debtor up six pairs of stairs at the back of a yard at the further end of the Faubourg du Roule. The room was unfurnished save for a bed (such a bed!), a table, and such a table! La Palferine heard the preposterous demand—‘A demand which I should qualify as illegal,’ he said when he told us the story, ‘made, as it was, at seven o’clock in the morning.’

“‘Go,’ he answered, with the gesture and attitude of a Mirabeau, ‘tell your master in what condition you find me.’

“The assistant apologized and withdrew. La Palferine, seeing the young man on the landing, rose in the attire celebrated in verse in Britannicus to add, ‘Remark the stairs! Pay particular attention to the stairs; do not forget to tell him about the stairs!’

“In every position into which chance has thrown La Palferine, he has never failed to rise to the occasion. All that he does is witty and never in bad taste; always and in everything he displays the genius of Rivarol, the polished subtlety of the old French noble. It was he who told that delicious anecdote of a friend of Laffitte the banker. A national fund had been started to give back to Laffitte the mansion in which the Revolution of 1830 was brewed, and this friend appeared at the offices of the fund with, ‘Here are five francs, give me a hundred sous change!’—A caricature was made of it.—It was once La Palferine’s misfortune, in judicial style, to make a young girl a mother. The girl, not a very simple innocent, confessed all to her mother, a respectable matron, who hurried forthwith to La Palferine and asked what he meant to do.

“She collapsed, but three or four years later she returned to the charge, still persisting in her inquiry, ‘What did La Palferine mean to do?’

“‘Well, madame,’ returned he, ‘when the child is seven years old, an age at which a boy ought to pass out of women’s hands’—an indication of entire agreement on the mother’s part—‘if the child is really mine’—another gesture of assent—‘if there is a striking likeness, if he bids fair to be a gentleman, if I can recognize in him my turn of mind, and more particularly the Rusticoli air; then, oh—ah!’—a new movement from the matron—‘on my word and honor, I will make him a cornet of—sugar-plums!’

“All this, if you will permit me to make use of the phraseology employed by M. Sainte-Beuve for his biographies of obscurities—all this, I repeat, is the playful and sprightly yet already somewhat decadent side of a strong race. It smacks rather of the Parc-aux-Cerfs than of the Hotel de Rambouillet. It is a race of the strong rather than of the sweet; I incline to lay a little debauchery to its charge, and more than I should wish in brilliant and generous natures; it is gallantry after the fashion of the Marechal de Richelieu, high spirits and frolic carried rather too far; perhaps we may see in it the outrances of another age, the Eighteenth Century pushed to extremes; it harks back to the Musketeers; it is an exploit stolen from Champcenetz; nay, such light-hearted inconstancy takes us back to the festooned and ornate period of the old court of the Valois. In an age as moral as the present, we are bound to regard audacity of this kind sternly; still, at the same time that ‘cornet of sugar-plums’ may serve to warn young girls of the perils of lingering where fancies, more charming than chastened, come thickly from the first; on the rosy flowery unguarded slopes, where trespasses ripen into errors full of equivocal effervescence, into too palpitating issues. The anecdote puts La Palferine’s genius before you in all its vivacity and completeness. He realizes Pascal’s entre-deux, he comprehends the whole scale between tenderness and pitilessness, and, like Epaminondas, he is equally great in extremes. And not merely so, his epigram stamps the epoch; the accoucheur is a modern innovation. All the refinements of modern civilization are summed up in the phrase. It is monumental.”

“Look here, my dear Nathan, what farrago of nonsense is this?” asked the Marquise in bewilderment.

“Madame la Marquise,” returned Nathan, “you do not know the value of these ‘precious’ phrases; I am talking Sainte-Beuve, the new kind of French.—I resume. Walking one day arm in arm with a friend along the boulevard, he was accosted by a ferocious creditor, who inquired:

“Remark the difficulty of the position. Talleyrand, in similar circumstances, had already replied, ‘You are very inquisitive, my dear fellow!’ To imitate the inimitable great man was out of the question.—La Palferine, generous as Buckingham, could not bear to be caught empty-handed. One day when he had nothing to give a little Savoyard chimney-sweeper, he dipped a hand into a barrel of grapes in a grocer’s doorway and filled the child’s cap from it. The little one ate away at his grapes; the grocer began by laughing, and ended by holding out his hand.

“‘Oh, fie! monsieur,’ said La Palferine, ‘your left hand ought not to know what my right hand doth.’

“With his adventurous courage, he never refuses any odds, but there is wit in his bravado. In the Passage de l’Opera he chanced to meet a man who had spoken slightingly of him, elbowed him as he passed, and then turned and jostled him a second time.

“The young man pulled out his card. La Palferine dropped it. ‘It has been carried too long in the pocket. Be good enough to give me another.’

“On the ground he received a thrust; blood was drawn; his antagonist wished to stop.

“‘I disallow the botte,’ said La Palferine, as coolly as if he had been in the fencing-saloon; then as he riposted (sending the point home this time), he added, ‘There is the right thrust, monsieur!’

“This, still following on M. Sainte-Beuve’s tracks, recalls the raffines, the fine-edged raillery of the best days of the monarchy. In this speech you discern an untrammeled but drifting life; a gaiety of imagination that deserts us when our first youth is past. The prime of the blossom is over, but there remains the dry compact seed with the germs of life in it, ready against the coming winter. Do you not see that these things are symptoms of something unsatisfied, of an unrest impossible to analyze, still less to describe, yet not incomprehensible; a something ready to break out if occasion calls into flying upleaping flame? It is the accidia of the cloister; a trace of sourness, of ferment engendered by the enforced stagnation of youthful energies, a vague, obscure melancholy.”

“That will do,” said the Marquise; “you are giving me a mental shower bath.”

“It is the early afternoon languor. If a man has nothing to do, he will sooner get into mischief than do nothing at all; this invariably happens in France. Youth at present day has two sides to it; the studious or unappreciated, and the ardent or passionne.”

“That will do!” repeated Mme. de Rochefide, with an authoritative gesture. “You are setting my nerves on edge.”

“To finish my portrait of La Palferine, I hasten to make the plunge into the gallant regions of his character, or you will not understand the peculiar genius of an admirable representative of a certain section of mischievous youth—youth strong enough, be it said, to laugh at the position in which it is put by those in power; shrewd enough to do no work, since work profiteth nothing; yet so full of life that it fastens upon pleasure—the one thing that cannot be taken away. And meanwhile a bourgeois, mercantile, and bigoted policy continues to cut off all the sluices through which so much aptitude and ability would find an outlet. Poets and men of science are not wanted.

“To give you an idea of the stupidity of the new court, I will tell you of something which happened to La Palferine. There is a sort of relieving officer on the civil list. This functionary one day discovered that La Palferine was in dire distress, drew up a report, no doubt, and brought the descendant of the Rusticolis fifty francs by way of alms. La Palferine received the visitor with perfect courtesy, and talked of various persons at court.

“‘Is it true,’ he asked, ‘that Mlle. d’Orleans contributes such and such a sum to this benevolent scheme started by her nephew? If so, it is very gracious of her.’

“Now La Palferine had a servant, a little Savoyard, aged ten, who waited on him without wages. La Palferine called him Father Anchises, and used to say, ‘I have never seen such a mixture of besotted foolishness with great intelligence; he would go through fire and water for me; he understands everything—and yet he cannot grasp the fact that I can do nothing for him.’

“Anchises was despatched to a livery stable with instructions to hire a handsome brougham with a man in livery behind it. By the time the carriage arrived below, La Palferine had skilfully piloted the conversation to the subject of the functions of his visitor, whom he has since called ‘the unmitigated misery man,’ and learned the nature of his duties and his stipend.

“At that La Palferine and a friend who happened to be with him went downstairs with the poor soul, and insisted on putting him into the carriage. It was raining in torrents. La Palferine had thought of everything. He offered to drive the official to the next house on his list; and when the almoner came down again, he found the carriage waiting for him at the door. The man in livery handed him a note written in pencil:

“He was once passionately loved by a lady of somewhat light conduct. Antonia lived in the Rue du Helder; she had seen and been seen to some extent, but at the time of her acquaintance with La Palferine she had not yet ‘an establishment.’ Antonia was not wanting in the insolence of old days, now degenerating into rudeness among women of her class. After a fortnight of unmixed bliss, she was compelled, in the interest of her civil list, to return to a less exclusive system; and La Palferine, discovering a certain lack of sincerity in her dealings with him, sent Madame Antonia a note which made her famous.

“Assuredly (to avail ourselves yet further of Sainte-Beuve’s Babylonish dialect), this far outpasses the raillery of Sterne’s Sentimental Journey; it might be Scarron without his grossness. Nay, I do not know but that Moliere in his lighter mood would not have said of it, as of Cyrano de Bergerac’s best—‘This is mine.’ Richelieu himself was not more complete when he wrote to the princess waiting for him in the Palais Royal—‘Stay there, my queen, to charm the scullion lads.’ At the same time, Charles Edward’s humor is less biting. I am not sure that this kind of wit was known among the Greeks and Romans. Plato, possibly, upon a closer inspection approaches it, but from the austere and musical side—”

“No more of that jargon,” the Marquise broke in, “in print it may be endurable; but to have it grating upon my ears is a punishment which I do not in the least deserve.”

“He first met Claudine on this wise,” continued Nathan. “It was one of the unfilled days, when Youth is a burden to itself; days when youth, reduced by the overweening presumption of Age to a condition of potential energy and dejection, emerges therefrom (like Blondet under the Restoration), either to get into mischief or to set about some colossal piece of buffoonery, half excused by the very audacity of its conception. La Palferine was sauntering, cane in hand, up and down the pavement between the Rue de Grammont and the Rue de Richelieu, when in the distance he descried a woman too elegantly dressed, covered, as he phrased it, with a great deal of portable property, too expensive and too carelessly worn for its owner to be other than a princess of the court or of the stage, it was not easy at first to say which. But after July 1830, in his opinion, there is no mistaking the indications—the princess can only be a princess of the stage.

“The Count came up and walked by her side as if she had given him an assignation. He followed her with a courteous persistence, a persistence in good taste, giving the lady from time to time, and always at the right moment, an authoritative glance, which compelled her to submit to his escort. Anybody but La Palferine would have been frozen by his reception, and disconcerted by the lady’s first efforts to rid herself of her cavalier, by her chilly air, her curt speeches; but no gravity, with all the will in the world, could hold out long against La Palferine’s jesting replies. The fair stranger went into her milliner’s shop. Charles Edward followed, took a seat, and gave his opinions and advice like a man that meant to pay. This coolness disturbed the lady. She went out.

“‘Monsieur, I am about to call upon one of my husband’s relatives, an elderly lady, Mme. de Bonfalot—’

“The pair accordingly went. Charles Edward came in with the lady, every one believed that she had brought him with her. He took part in the conversation, was lavish of his polished and brilliant wit. The visit lengthened out. That was not what he wanted.

“‘Madame,’ he said, addressing the fair stranger, ‘do not forget that your husband is waiting for us, and only allowed us a quarter of an hour.’

“Taken aback by such boldness (which, as you know, is never displeasing to you women), led captive by the conqueror’s glance, by the astute yet candid air which Charles Edward can assume when he chooses, the lady rose, took the arm of her self-constituted escort, and went downstairs, but on the threshold she stopped to speak to him.

“‘But this may turn to earnest,’ he added; ‘it only rests with you. I am the Comte de la Palferine, and I am delighted that it is in my power to lay my heart and my fortune at your feet.’

“La Palferine was at that time twenty-two years old. (This happened in 1834.) Luckily for him, he was fashionably dressed. I can paint his portrait for you in a few words. He was the living image of Louis XIII., with the same white forehead and gracious outline of the temples, the same olive skin (that Italian olive tint which turns white where the light falls on it), the brown hair worn rather long, the black ‘royale,’ the grave and melancholy expression, for La Palferine’s character and exterior were amazingly at variance.

“At the sound of the name, and the sight of its owner, something like a quiver thrilled through Claudine. La Palferine saw the vibration, and shot a glance at her out of the dark depths of almond-shaped eyes with purpled lids, and those faint lines about them which tell of pleasures as costly as painful fatigue. With those eyes upon her, she said—‘Your address?’

“‘Good-bye, madame, you are such a woman as I seek, but my fortune is far from equaling my desire——’

“He bowed, and there and then left her. Two days later, by one of the strange chances that can only happen in Paris, he had betaken himself to a money-lending wardrobe dealer to sell such of his clothing as he could spare. He was just receiving the price with an uneasy air, after long chaffering, when the stranger lady passed and recognized him.

“‘Once for all,’ cried he to the bewildered wardrobe dealer, ‘I tell you I am not going to take your trumpet!’

“He pointed to a huge, much-dinted musical instrument, hanging up outside against a background of uniforms, civil and military. Then, proudly and impetuously, he followed the lady.

“From that great day of the trumpet these two understood one another to admiration. Charles Edward’s ideas on the subject of love are as sound as possible. According to him, a man cannot love twice, there is but one love in his lifetime, but that love is a deep and shoreless sea. It may break in upon him at any time, as the grace of God found St. Paul; and a man may live sixty years and never know love. Perhaps, to quote Heine’s superb phrase, it is ‘the secret malady of the heart’—a sense of the Infinite that there is within us, together with the revelation of the ideal Beauty in its visible form. This love, in short, comprehends both the creature and creation. But so long as there is no question of this great poetical conception, the loves that cannot last can only be taken lightly, as if they were in a manner snatches of song compared with Love the epic.

“To Charles Edward the adventure brought neither the thunderbolt signal of love’s coming, nor yet that gradual revelation of an inward fairness which draws two natures by degrees more and more strongly each to each. For there are but two ways of love—love at first sight, doubtless akin to the Highland ‘second-sight,’ and that slow fusion of two natures which realizes Plato’s ‘man-woman.’ But if Charles Edward did not love, he was loved to distraction. Claudine found love made complete, body and soul; in her, in short, La Palferine awakened the one passion of her life; while for him Claudine was only a most charming mistress. The Devil himself, a most potent magician certainly, with all hell at his back, could never have changed the natures of these two unequal fires. I dare affirm that Claudine not unfrequently bored Charles Edward.

“‘Stale fish and the woman you do not love are only fit to fling out of the window after three days,’ he used to say.

“In Bohemia there is little secrecy observed over these affairs. La Palferine used to talk a good deal of Claudine; but, at the same time, none of us saw her, nor so much as knew her name. For us Claudine was almost a mythical personage. All of us acted in the same way, reconciling the requirements of our common life with the rules of good taste. Claudine, Hortense, the Baroness, the Bourgeoise, the Empress, the Spaniard, the Lioness,—these were cryptic titles which permitted us to pour out our joys, our cares, vexations, and hopes, and to communicate our discoveries. Further, none of us went. It has been shown, in Bohemia, that chance discovered the identity of the fair unknown; and at once, as by tacit convention, not one of us spoke of her again. This fact may show how far youth possesses a sense of true delicacy. How admirably certain natures of a finer clay know the limit line where jest must end, and all that host of things French covered by the slang word blague, a word which will shortly be cast out of the language (let us hope), and yet it is the only one which conveys an idea of the spirit of Bohemia.

“So we often used to joke about Claudine and the Count—‘Toujours Claudine?’ sung to the air of Toujours Gessle.—‘What are you making of Claudine?’—‘How is Claudine?’

“‘I wish you all such a mistress, for all the harm I wish you,’ La Palferine began one day. ‘No greyhound, no basset-dog, no poodle can match her in gentleness, submissiveness, and complete tenderness. There are times when I reproach myself, when I take myself to task for my hard heart. Claudine obeys with saintly sweetness. She comes to me, I tell her to go, she goes, she does not even cry till she is out in the courtyard. I refuse to see her for a whole week at a time. I tell her to come at such an hour on Tuesday; and be it midnight or six o’clock in the morning, ten o’clock, five o’clock, breakfast time, dinner time, bed time, any particularly inconvenient hour in the day—she will come, punctual to the minute, beautiful, beautifully dressed, and enchanting. And she is a married woman, with all the complications and duties of a household. The fibs that she must invent, the reasons she must find for conforming to my whims would tax the ingenuity of some of us!... Claudine never wearies; you can always count upon her. It is not love, I tell her, it is infatuation. She writes to me every day; I do not read her letters; she found that out, but still she writes. See here; there are two hundred letters in this casket. She begs me to wipe my razors on one of her letters every day, and I punctually do so. She thinks, and rightly, that the sight of her handwriting will put me in mind of her.’

“La Palferine was dressing as he told us this. I took up the letter which he was about to put to this use, read it, and kept it, as he did not ask to have it back. Here it is. I looked for it, and found it as I promised.

“There are still three more pages, you see. La Palferine allowed me to take the letter, with the traces of tears that still seemed hot upon it! Here was proof of the truth of his story. Marcas, a shy man enough with women, was in ecstacies over a second which he read in his corner before lighting his pipe with it.

“‘Why, any woman in love will write that sort of thing!’ cried La Palferine. ‘Love gives all women intelligence and style, which proves that here in France style proceeds from the matter and not from the words. See now how well this is thought out, how clear-headed sentiment is’—and with that he reads us another letter, far superior to the artificial and labored productions which we novelists write.

“One day poor Claudine heard that La Palferine was in a critical position; it was a question of meeting a bill of exchange. An unlucky idea occurred to her; she put a tolerably large sum in gold into an exquisitely embroidered purse and went to him.

“‘Who has taught you as to be so bold as to meddle with my household affairs?’ La Palferine cried angrily. ‘Mend my socks and work slippers for me, if it amuses you. So!—you will play the duchess, and you turn the story of Danae against the aristocracy.’

“He emptied the purse into his hand as he spoke, and made as though he would fling the money in her face. Claudine, in her terror, did not guess that he was joking; she shrank back, stumbled over a chair, and fell with her head against the corner of the marble chimney-piece. She thought she should have died. When she could speak, poor woman, as she lay on the bed, all that she said was, ‘I deserved it, Charles!’

“For a moment La Palferine was in despair; his anguish revived Claudine. She rejoiced in the mishap; she took advantage of her suffering to compel La Palferine to take the money and release him from an awkward position. Then followed a variation on La Fontaine’s fable, in which a man blesses the thieves that brought him a sudden impulse of tenderness from his wife. And while we are upon this subject, another saying will paint the man for you.

“Claudine went home again, made up some kind of tale as best she could to account for her bruised forehead, and fell dangerously ill. An abscess formed in the head. The doctor—Bianchon, I believe—yes, it was Bianchon—wanted to cut off her hair. The Duchesse de Berri’s hair is not more beautiful than Claudine’s; she would not hear of it, she told Bianchon in confidence that she could not allow it to be cut without leave from the Comte de Palferine. Bianchon went to Charles Edward. Charles Edward heard him with much seriousness. The doctor had explained the case at length, and showed that it was absolutely necessary to sacrifice the hair to insure the success of the operation.

“‘Cut off Claudine’s hair!’ cried he in peremptory tones. ‘No. I would sooner lose her.’

“Even now, after a lapse of four years, Bianchon still quotes that speech; we have laughed over it for half an hour together. Claudine, informed of the verdict, saw in it a proof of affections; she felt sure that she was loved. In the face of her weeping family, with her husband on his knees, she was inexorable. She kept the hair. The strength that came with the belief that she was loved came to her aid, the operation succeeded perfectly. There are stirrings of the inner life which throw all the calculations of surgery into disorder and baffle the laws of medical science.

“Claudine wrote a delicious letter to La Palferine, a letter in which the orthography was doubtful and the punctuation all to seek, to tell him of the happy result of the operation, and to add that Love was wiser than all the sciences.

“‘Now,’ said La Palferine one day, ‘what am I to do to get rid of Claudine?’

“‘Why, she is not at all troublesome; she leaves you master of your actions,’ objected we.

“‘That is true,’ returned La Palferine, ‘but I do not choose that anything shall slip into my life without my consent.’

“From that day he set himself to torment Claudine. It seemed that he held the bourgeoise, the nobody, in utter horror; nothing would satisfy him but a woman with a title. Claudine, it was true, had made progress; she had learned to dress as well as the best-dressed woman of the Faubourg Saint-Germain; she had freed her bearing of the unhallowed traces; she walked with a chastened, inimitable grace; but this was not enough. This praise of her enabled Claudine to swallow down the rest.

“But one day La Palferine said, ‘If you wish to be the mistress of one La Palferine, poor, penniless, and without prospects as he is, you ought at least to represent him worthily. You should have a carriage and liveried servants and a title. Give me all the gratifications of vanity that will never be mine in my own person. The woman whom I honor with my regard ought never to go on foot; if she is bespattered with mud, I suffer. That is how I am made. If she is mine, she must be admired of all Paris. All Paris shall envy me my good fortune. If some little whipper-snapper seeing a brilliant countess pass in her brilliant carriage shall say to himself, “Who can call such a divinity his?” and grow thoughtful—why, it will double my pleasure.’

“La Palferine owned to us that he flung this programme at Claudine’s head simply to rid himself of her. As a result he was stupefied with astonishment for the first and probably the only time in his life.

“‘Dear,’ she said, and there was a ring in her voice that betrayed the great agitation which shook her whole being, ‘it is well. All this shall be done, or I will die.’

“‘You have told me what I must do to be your mistress still,’ she added; ‘I am glad.’

“‘And then’ (La Palferine told us) ‘she went out with a little coquettish gesture like a woman that has had her way. As she stood in my garrett doorway, tall and proud, she seemed to reach the stature of an antique sibyl.’

“All this should sufficiently explain the manners and customs of the Bohemia in which the young condottiere is one of the most brilliant figures,” Nathan continued after a pause. “Now it so happened that I discovered Claudine’s identity, and could understand the appalling truth of one line which you perhaps overlooked in that letter of hers. It was on this wise.”

The Marquise, too thoughtful now for laughter, bade Nathan “Go on,” in a tone that told him plainly how deeply she had been impressed by these strange things, and even more plainly how much she was interested in La Palferine.

“In 1829, one of the most influential, steady, and clever of dramatic writers was du Bruel. His real name is unknown to the public, on the play-bills he is de Cursy. Under the Restoration he had a place in the Civil Service; and being really attached to the elder branch, he sent in his resignation bravely in 1830, and ever since has written twice as many plays to fill the deficit in his budget made by his noble conduct. At that time du Bruel was forty years old; you know the story of his life. Like many of his brethren, he bore a stage dancer an affection hard to explain, but well known in the whole world of letters. The woman, as you know, was Tullia, one of the premiers sujets of the Academie Royale de Musique. Tullia is merely a pseudonym like du Bruel’s name of de Cursy.

“For the ten years between 1817 and 1827 Tullia was in her glory on the heights of the stage of the Opera. With more beauty than education, a mediocre dancer with rather more sense than most of her class, she took no part in the virtuous reforms which ruined the corps de ballet; she continued the Guimard dynasty. She owed her ascendency, moreover, to various well-known protectors, to the Duc de Rhetore (the Due de Chaulieu’s eldest son), to the influence of a famous Superintendent of Fine Arts, and sundry diplomatists and rich foreigners. During her apogee she had a neat little house in the Rue Chauchat, and lived as Opera nymphs used to live in the old days. Du Bruel was smitten with her about the time when the Duke’s fancy came to an end in 1823. Being a mere subordinate in the Civil Service, du Bruel tolerated the Superintendent of Fine Arts, believing that he himself was really preferred. After six years this connection was almost a marriage. Tullia has always been very careful to say nothing of her family; we have a vague idea that she comes from Nanterre. One of her uncles, formerly a simple bricklayer or carpenter, is now, it is said, a very rich contractor, thanks to her influence and generous loans. This fact leaked out through du Bruel. He happened to say that Tullia would inherit a fine fortune sooner or later. The contractor was a bachelor; he had a weakness for the niece to whom he is indebted.

“In 1829 Tullia retired from the stage of her own accord. At the age of thirty she saw that she was growing somewhat stouter, and she had tried pantomime without success. Her whole art consisted in the trick of raising her skirts, after Noblet’s manner, in a pirouette which inflated them balloon-fashion and exhibited the smallest possible quantity of clothing to the pit. The aged Vestris had told her at the very beginning that this temps, well executed by a fine woman, is worth all the art imaginable. It is the chest-note C of dancing. For which reason, he said, the very greatest dancers—Camargo, Guimard, and Taglioni, all of them thin, brown, and plain—could only redeem their physical defects by their genius. Tullia, still in the height of her glory, retired before younger and cleverer dancers; she did wisely. She was an aristocrat; she had scarcely stooped below the noblesse in her liaisons; she declined to dip her ankles in the troubled waters of July. Insolent and beautiful as she was, Claudine possessed handsome souvenirs, but very little ready money; still, her jewels were magnificent, and she had as fine furniture as any one in Paris.

“On quitting the stage when she, forgotten to-day, was yet in the height of her fame, one thought possessed her—she meant du Bruel to marry her; and at the time of this story, you must understand that the marriage had taken place, but was kept a secret. How do women of her class contrive to make a man marry them after seven or eight years of intimacy? What springs do they touch? What machinery do they set in motion? But, however comical such domestic dramas may be, we are not now concerned with them. Du Bruel was secretly married; the thing was done.

“Cursy before his marriage was supposed to be a jolly companion; now and again he stayed out all night, and to some extent led the life of a Bohemian; he would unbend at a supper-party. He went out to all appearance to a rehearsal at the Opera-Comique, and found himself in some unaccountable way at Dieppe, or Baden, or Saint-Germain; he gave dinners, led the Titanic thriftless life of artists, journalists, and writers; levied his tribute on all the greenrooms of Paris; and, in short, was one of us. Finot, Lousteau, du Tillet, Desroches, Bixiou, Blondet, Couture, and des Lupeaulx tolerated him in spite of his pedantic manner and ponderous official attitude. But once married, Tullia made a slave of du Bruel. There was no help for it. He was in love with Tullia, poor devil.

“‘Tullia’ (so he said) ‘had left the stage to be his alone, to be a good and charming wife.’ And somehow Tullia managed to induce the most Puritanical members of du Bruel’s family to accept her. From the very first, before any one suspected her motives, she assiduously visited old Mme. de Bonfalot, who bored her horribly; she made handsome presents to mean old Mme. de Chisse, du Bruel’s great-aunt; she spent a summer with the latter lady, and never missed a single mass. She even went to confession, received absolution, and took the sacrament; but this, you must remember, was in the country, and under the aunt’s eyes.

“‘I shall have real aunts now, do you understand?’ she said to us when she came back in the winter.

“She was so delighted with her respectability, so glad to renounce her independence, that she found means to compass her end. She flattered the old people. She went on foot every day to sit for a couple of hours with Mme. du Bruel the elder while that lady was ill—a Maintenon’s stratagem which amazed du Bruel. And he admired his wife without criticism; he was so fast in the toils already that he did not feel his bonds.

“Claudine succeeded in making him understand that only under the elastic system of a bourgeois government, only at the bourgeois court of the Citizen-King, could a Tullia, now metamorphosed into a Mme. du Bruel, be accepted in the society which her good sense prevented her from attempting to enter. Mme. de Bonfalot, Mme. de Chisse, and Mme. du Bruel received her; she was satisfied. She took up the position of a well-conducted, simple, and virtuous woman, and never acted out of character. In three years’ time she was introduced to the friends of these ladies.

“‘And still I cannot persuade myself that young Mme. du Bruel used to display her ankles, and the rest, to all Paris, with the light of a hundred gas-jets pouring upon her,’ Mme. Anselme Popinot remarked naively.

“From this point of view, July 1830 inaugurated an era not unlike the time of the Empire, when a waiting woman was received at Court in the person of Mme. Garat, a chief-justice’s ‘lady.’ Tullia had completely broken, as you may guess, with all her old associates; of her former acquaintances, she only recognized those who could not compromise her. At the time of her marriage she had taken a very charming little hotel between a court and a garden, lavishing money on it with wild extravagance and putting the best part of her furniture and du Bruel’s into it. Everything that she thought common or ordinary was sold. To find anything comparable to her sparkling splendor, you could only look back to the days when Sophie Arnould, a Guimard, or a Duthe, in all her glory, squandered the fortunes of princes.

“How far did this sumptuous existence affect du Bruel? It is a delicate question to ask, and a still more delicate one to answer. A single incident will suffice to give you an idea of Tullia’s crotchets. Her bed-spread of Brussels lace was worth ten thousand francs. A famous actress had another like it. As soon as Claudine heard this, she allowed her cat, a splendid Angora, to sleep on the bed. That trait gives you the woman. Du Bruel dared not say a word; he was ordered to spread abroad that challenge in luxury, so that it might reach the other. Tullia was very fond of this gift from the Duc de Rhetore; but one day, five years after her marriage, she played with her cat to such purpose that the coverlet—furbelows, flounces, and all—was torn to shreds, and replaced by a sensible quilt, a quilt that was a quilt, and not a symptom of the peculiar form of insanity which drives these women to make up by an insensate luxury for the childish days when they lived on raw apples, to quote the expression of a journalist. The day when the bed-spread was torn to tatters marked a new epoch in her married life.

“Cursy was remarkable for his ferocious industry. Nobody suspects the source to which Paris owes the patch-and-powder eighteenth century vaudevilles that flooded the stage. Those thousand-and-one vaudevilles, which raised such an outcry among the feuilletonistes, were written at Mme. du Bruel’s express desire. She insisted that her husband should purchase the hotel on which she had spent so much, where she had housed five hundred thousand francs’ worth of furniture. Wherefore Tullia never enters into explanations; she understands the sovereign woman’s reason to admiration.

“‘People made a good deal of fun of Cursy,’ said she; ‘but, as a matter of fact, he found this house in the eighteenth century rouge-box, powder, puffs, and spangles. He would never have thought of it but for me,’ she added, burying herself in the cushions in her fireside corner.

“She delivered herself thus on her return from a first night. Du Bruel’s piece had succeeded, and she foresaw an avalanche of criticisms. Tullia had her At Homes. Every Monday she gave a tea-party; her society was as select as might be, and she neglected nothing that could make her house pleasant. There was a bouillotte in one room, conversation in another, and sometimes a concert (always short) in the large drawing-room. None but the most eminent artists performed in the house. Tullia had so much good sense, that she attained to the most exquisite tact, and herein, in all probability, lay the secret of her ascendency over du Bruel; at any rate, he loved her with the love which use and wont at length makes indispensable to life. Every day adds another thread to the strong, irresistible, intangible web, which enmeshes the most delicate fancies, takes captive every most transient mood, and binding them together, holds a man captive hand and foot, heart and head.

“Tullia knew Cursy well; she knew every weak point in his armor, knew also how to heal his wounds.

“A passion of this kind is inscrutable for any observer, even for a man who prides himself, as I do, on a certain expertness. It is everywhere unfathomable; the dark depths in it are darker than in any other mystery; the colors confused even in the highest lights.

“Cursy was an old playwright, jaded by the life of the theatrical world. He liked comfort; he liked a luxurious, affluent, easy existence; he enjoyed being a king in his own house; he liked to be host to a party of men of letters in a hotel resplendent with royal luxury, with carefully chosen works of art shining in the setting. Tullia allowed du Bruel to enthrone himself amid the tribe; there were plenty of journalists whom it was easy enough to catch and ensnare; and, thanks to her evening parties and a well-timed loan here and there, Cursy was not attacked too seriously—his plays succeeded. For these reasons he would not have separated from Tullia for an empire. If she had been unfaithful, he would probably have passed it over, on condition that none of his accustomed joys should be retrenched; yet, strange to say, Tullia caused him no twinges on this account. No fancy was laid to her charge; if there had been any, she certainly had been very careful of appearances.

“‘My dear fellow,’ du Bruel would say, laying down the law to us on the boulevard, ‘there is nothing like one of these women who have sown their wild oats and got over their passions. Such women as Claudine have lived their bachelor life; they have been over head and ears in pleasure, and make the most adorable wives that could be wished; they have nothing to learn, they are formed, they are not in the least prudish; they are well broken in, and indulgent. So I strongly recommend everybody to take the “remains of a racer.” I am the most fortunate man on earth.’

“‘My dear fellow,’ said the caricaturist, ‘perhaps he is right to be in the wrong.’

“About a week afterwards, du Bruel asked us to dine with him one Tuesday. That morning I went to see him on a piece of theatrical business, a case submitted to us for arbitration by the commission of dramatic authors. We were obliged to go out again; but before we started he went to Claudine’s room, knocked, as he always does, and asked for leave to enter.

“‘We live in grand style,’ said he, smiling; ‘we are free. Each is independent.’

“We were admitted. Du Bruel spoke to Claudine. ‘I have asked a few people to dinner to-day—”

“‘Just like you!’ cried she. ‘You ask people without speaking to me; I count for nothing here.—Now’ (taking me as arbitrator by a glance) ‘I ask you yourself. When a man has been so foolish as to live with a woman of my sort; for, after all, I was an opera dancer—yes, I ought always to remember that, if other people are to forget it—well, under those circumstances, a clever man seeking to raise his wife in public opinion would do his best to impose her upon the world as a remarkable woman, to justify the step he had taken by acknowledging that in some ways she was something more than ordinary women. The best way of compelling respect from others is to pay respect to her at home, and to leave her absolute mistress of the house. Well, and yet it is enough to awaken one’s vanity to see how frightened he is of seeming to listen to me. I must be in the right ten times over if he concedes a single point.’

“‘Oh, yes, yes,’ she continued quickly, in answer to this mute dissent. ‘I know all about it, du Bruel, my dear, I that have been like a queen in my house all my life till I married you. My wishes were guessed, fulfilled, and more than fulfilled. After all, I am thirty-five, and at five-and-thirty a woman cannot expect to be loved. Ah, if I were a girl of sixteen, if I had not lost something that is dearly bought at the Opera, what attention you would pay me, M. du Bruel! I feel the most supreme contempt for men who boast that they can love and grow careless and neglectful in little things as time grows on. You are short and insignificant, you see, du Bruel; you love to torment a woman; it is your only way of showing your strength. A Napoleon is ready to be swayed by the woman he loves; he loses nothing by it; but as for such as you, you believe that you are nothing apparently, you do not wish to be ruled.—Five-and-thirty, my dear boy,’ she continued, turning to me, ‘that is the clue to the riddle.—“No,” does he say again?—You know quite well that I am thirty-seven. I am very sorry, but just ask your friends to dine at the Rocher de Cancale. I could have them here, but I will not; they shall not come. And then perhaps my poor little monologue may engrave that salutary maxim, “Each is master at home,” upon your memory. That is our character,’ she added, laughing, with a return of the opera girl’s giddiness and caprice.

“‘Well, well, my dear little puss; there, there, never mind. We can manage to get on together,’ said du Bruel, and he kissed her hands, and we came away. But he was very wroth.

“The whole way from the Rue de la Victoire to the boulevard a perfect torrent of venomous words poured from his mouth like a waterfall in flood; but as the shocking language which he used on occasion was quite unfit to print, the report is necessarily inadequate.

“‘My dear fellow, I will leave that vile, shameless opera dancer, a worn-out jade that has been set spinning like a top to every operatic air; a foul hussy, an organ-grinder’s monkey! Oh, my dear boy, you have taken up with an actress; may the notion of marrying your mistress never get a hold on you. It is a torment omitted from the hell of Dante, you see. Look here! I will beat her; I will give her a thrashing; I will give it to her! Poison of my life, she sent me off like a running footman.’

“By this time we had reached the boulevard, and he had worked himself up to such a pitch of fury that the words stuck in his throat.

“‘My dear fellow, you will never know the thousand-and-one fancies that slut takes into her head. When I want to stay at home, she, forsooth, must go out; when I want to go out, she wants me to stop at home; and she spouts out arguments and accusations and reasoning and talks and talks till she drives you crazy. Right means any whim that they happen to take into their heads, and wrong means our notion. Overwhelm them with something that cuts their arguments to pieces—they hold their tongues and look at you as if you were a dead dog. My happiness indeed! I lead the life of a yard-dog; I am a perfect slave. The little happiness that I have with her costs me dear. Confound it all. I will leave her everything and take myself off to a garret. Yes, a garret and liberty. I have not dared to have my own way once in these five years.’

“But instead of going to his guests, Cursy strode up and down the boulevard between the Rue de Richelieu and the Rue du Mont Blanc, indulging in the most fearful imprecations, his unbounded language was most comical to hear. His paroxysm of fury in the street contrasted oddly with his peaceable demeanor in the house. Exercise assisted him to work off his nervous agitation and inward tempest. About two o’clock, on a sudden frantic impulse, he exclaimed:

“‘These damned females never know what they want. I will wager my head now that if I go home and tell her that I have sent to ask my friends to dine with me at the Rocher de Cancale, she will not be satisfied though she made the arrangement herself.—But she will have gone off somewhere or other. I wonder whether there is something at the bottom of all this, an assignation with some goat? No. In the bottom of her heart she loves me!’”

“Ah, madame,” said Nathan, looking keenly at her, “only women and prophets know how to turn faith to account.—Du Bruel would have me go home with him,” he continued, “and we went slowly back. It was three o’clock. Before he appeared, he heard a stir in the kitchen, saw preparations going forward, and glanced at me as he asked the cook the reason of this.

“‘Madame ordered dinner,’ said the woman. ‘Madame dressed and ordered a cab, and then she changed her mind and ordered it again for the theatre this evening.’

“We entered the house stealthily. No one was there. We went from room to room until we reached a little boudoir, and came upon Tullia in tears. She dried her eyes without affectation, and spoke to du Bruel.

“‘Send a note to the Rocher de Cancale,’ she said, ‘and ask your guests to dine here.’

“She was dressed as only women of the theatre can dress, in a simply-made gown of some dainty material, neither too costly nor too common, graceful and harmonious in outline and coloring; there was nothing conspicuous about her, nothing exaggerated—a word now dropping out of use, to be replaced by the word ‘artistic,’ used by fools as current coin. In short, Tullia looked like a gentlewoman. At thirty-seven she had reached the prime of a Frenchwoman’s beauty. At this moment the celebrated oval of her face was divinely pale; she had laid her hat aside; I could see a faint down like the bloom of fruit softening the silken contours of a cheek itself so delicate. There was a pathetic charm about her face with its double cluster of fair hair; her brilliant gray eyes were veiled by a mist of tears; her nose, delicately carved as a Roman cameo, with its quivering nostrils; her little mouth, like a child’s even now; her long queenly throat, with the veins standing out upon it; her chin, flushed for the moment by some secret despair; the pink tips of her ears, the hands that trembled under her gloves, everything about her told of violent feeling. The feverish twitching of her eyebrows betrayed her pain. She looked sublime.

“Her first words had crushed du Bruel. She looked at us both, with that penetrating, impenetrable cat-like glance which only actresses and great ladies can use. Then she held out her hand to her husband.

“‘Poor dear, you had scarcely gone before I blamed myself a thousand times over. It seemed to me that I had been horribly ungrateful. I told myself that I had been unkind.—Was I very unkind?’ she asked, turning to me.—‘Why not receive your friends? Is it not your house? Do you want to know the reason of it all? Well, I was afraid that I was not loved; and indeed I was half-way between repentance and the shame of going back. I read the newspapers, and saw that there was a first night at the Varietes, and I thought you had meant to give the dinner to a collaborator. Left to myself, I gave way, I dressed to hurry out after you—poor pet.’

“Du Bruel looked at me triumphantly, not a vestige of a recollection of his orations contra Tullia in his mind.

“Even as she uttered those bewildering sweet words, I caught sight of something in her belt, the corner of a little note thrust sidewise into it; but I did not need that indication to tell me that Tullia’s fantastic conduct was referable to occult causes. Woman, in my opinion, is the most logical of created beings, the child alone excepted. In both we behold a sublime phenomenon, the unvarying triumph of one dominant, all-excluding thought. The child’s thought changes every moment; but while it possesses him, he acts upon it with such ardor that others give way before him, fascinated by the ingenuity, the persistence of a strong desire. Woman is less changeable, but to call her capricious is a stupid insult. Whenever she acts, she is always swayed by one dominant passion; and wonderful it is to see how she makes that passion the very centre of her world.

“Tullia was irresistible; she twisted du Bruel round her fingers, the sky grew blue again, the evening was glorious. And ingenious writer of plays as he is, he never so much as saw that his wife had buried a trouble out of sight.

“‘Such is life, my dear fellow,’ he said to me, ‘ups and downs and contrasts.’

“‘That is just what I mean,’ he continued. ‘Why, but for these violent emotions, one would be bored to death! Ah! that woman has the gift of rousing me.’

“We went to the Varietes after dinner; but before we left the house I slipped into du Bruel’s room, and on a shelf among a pile of waste papers found the copy of the Petites-Affiches, in which, agreeably to the reformed law, notice of the purchase of the house was inserted. The words stared me in the face—‘At the request of Jean Francois du Bruel and Claudine Chaffaroux, his wife——’ Here was the explanation of the whole matter. I offered my arm to Claudine, and allowed the guests to descend the stairs in front of us. When we were alone—‘If I were La Palferine,’ I said, ‘I would not break an appointment.’

“Gravely she laid her finger on her lips. She leant on my arm as we went downstairs, and looked at me with almost something like happiness in her eyes because I knew La Palferine. Can you see the first idea that occurred to her? She thought of making a spy of me, but I turned her off with the light jesting talk of Bohemia.

“A month later, after a first performance of one of du Bruel’s plays, we met in the vestibule of the theatre. It was raining; I went to call a cab. We had been delayed for a few minutes, so that there were no cabs in sight. Claudine scolded du Bruel soundly; and as we rolled through the streets (for she set me down at Florine’s), she continued the quarrel with a series of most mortifying remarks.

“‘Oh, my dear fellow, she blames me for allowing you to run out for a cab, and thereupon proceeds to wish for a carriage.’

“‘As a dancer,’ said she, ‘I have never been accustomed to use my feet except on the boards. If you have any spirit, you will turn out four more plays or so in a year; you will make up your mind that succeed they must, when you think of the end in view, and that your wife will not walk in the mud. It is a shame that I should have to ask for it. You ought to have guessed my continual discomfort during the five years since I married you.’

“‘I am quite willing,’ returned du Bruel. ‘But we shall ruin ourselves.’

“‘If you run into debt,’ she said, ‘my uncle’s money will clear it off some day.’

“‘Oh! is that the way you take it?’ retorted she. ‘I have nothing more to say to you; such a speech stops my mouth.’

“Whereupon du Bruel poured out his soul in excuses and protestations of love. Not a word did she say. He took her hands, she allowed him to take them; they were like ice, like a dead woman’s hands. Tullia, you can understand, was playing to admiration the part of corpse that women can play to show you that they refuse their consent to anything and everything; that for you they are suppressing soul, spirit, and life, and regard themselves as beasts of burden. Nothing so provokes a man with a heart as this strategy. Women can only use it with those who worship them.

“She turned to me. ‘Do you suppose,’ she said scornfully, ‘that a Count would have uttered such an insult even if the thought had entered his mind? For my misfortune I have lived with dukes, ambassadors, and great lords, and I know their ways. How intolerable it makes bourgeois life! After all, a playwright is not a Rastignac nor a Rhetore——’

“Du Bruel looked ghastly at this. Two days afterwards we met in the foyer at the Opera, and took a few turns together. The conversation fell on Tullia.

“‘Do not take my ravings on the boulevard too seriously,’ said he; ‘I have a violent temper.’

“For two winters I was a tolerably frequent visitor at du Bruel’s house, and I followed Claudine’s tactics closely. She had a splendid carriage. Du Bruel entered public life; she made him abjure his Royalist opinions. He rallied himself; he took his place again in the administration; the National Guard was discreetly canvassed, du Bruel was elected major, and behaved so valorously in a street riot, that he was decorated with the rosette of an officer of the Legion of Honor. He was appointed Master of Requests and head of a department. Uncle Chaffaroux died and left his niece forty thousand francs per annum, three-fourths of his fortune. Du Bruel became a deputy; but beforehand, to save the necessity of re-election, he secured his nomination to the Council of State. He reprinted divers archaeological treatises, a couple of political pamphlets, and a statistical work, by way of pretext for his appointment to one of the obliging academies of the Institut. At this moment he is a Commander of the Legion, and (after fishing in the troubled waters of political intrigue) has quite recently been made a peer of France and a count. As yet our friend does not venture to bear his honors; his wife merely puts ‘La Comtesse du Bruel’ on her cards. The sometime playwright has the Order of Leopold, the Order of Isabella, the cross of Saint-Vladimir, second class, the Order of Civil Merit of Bavaria, the Papal Order of the Golden Spur,—all the lesser orders, in short, besides the Grand Cross.

“Three months ago Claudine drove to La Palferine’s door in her splendid carriage with its armorial bearings. Du Bruel’s grandfather was a farmer of taxes ennobled towards the end of Louis Quatorze’s reign. Cherin composed his coat-of-arms for him, so the Count’s coronet looks not amiss above a scutcheon innocent of Imperial absurdities. In this way, in the short space of three years, Claudine had carried out the programme laid down for her by the charming, light-hearted La Palferine.

“One day, just above a month ago, she climbed the miserable staircase to her lover’s lodging; climbed in her glory, dressed like a real countess of the Faubourg Saint-Germain, to our friend’s garret. La Palferine, seeing her, said, ‘You have made a peeress of yourself I know. But it is too late, Claudine; every one is talking just now about the Southern Cross, I should like it see it!’

“‘Most distinctly,’ he returned, ‘I do not wish to have a woman as ignorant as a carp for my mistress, a woman that springs like a flying fish from the green-room of the Opera to Court, for I should like to see you at the Court of the Citizen King.’

“I was struck with admiration for this indomitable love, outdoing the most ingenious marvels of fairy tales in real life—a love that would spring over a precipice to find a roc’s egg, or to gather the singing flower. I explained that the Southern Cross was a nebulous constellation even brighter than the Milky Way, arranged in the form of a cross, and that it could only be seen in southern latitudes.

“La Palferine, ferocious though he was, had tears in his eyes; but what a look there was in Claudine’s face, what a note in her voice! I have seen nothing like the thing that followed, not even in the supreme touch of a great actor’s art; nothing to compare with her movement when she saw the hard eyes softened in tears; Claudine sank upon her knees and kissed La Palferine’s pitiless hand. He raised her with his grand manner, his ‘Rusticoli air,’ as he calls it—‘There, child!’ he said, ‘I will do something for you; I will put you—in my will.’

“Well,” concluded Nathan, “I ask myself sometimes whether du Bruel is really deceived. Truly there is nothing more comic, nothing stranger than the sight of a careless young fellow ruling a married couple, his slightest whims received as law, the weightiest decisions revoked at a word from him. That dinner incident, as you can see, is repeated times without number, it interferes with important matters. Still, but for Claudine’s caprices, du Bruel would be de Cursy still, one vaudevillist among five hundred; whereas he is in the House of Peers.”

“You will change the names, I hope!” said Nathan, addressing Mme. de la Baudraye.

“I should think so! I have only set names to the masks for you. My dear Nathan,” she added in the poet’s ear, “I know another case on which the wife takes du Bruel’s place.”

“And the catastrophe?” queried Lousteau, returning just at the end of Mme. de la Baudraye’s story.

“I do not believe in catastrophes. One has to invent such good ones to show that art is quite a match for chance; and nobody reads a book twice, my friend, except for the details.”

“The Marquise de Rochefide is infatuated with Charles Edward. My story excited her curiosity.”

“Not so unhappy,” said Nathan, “for Maxime de Trailles and La Palferine have brought about a rupture between the Marquis and Mme. Schontz, and they mean to make it up between Arthur and Beatrix.”

1839 - 1845.

ADDENDUM

The following personages appear in other stories of the Human Comedy.

*** END OF THE PROJECT GUTENBERG EBOOK A PRINCE OF BOHEMIA ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

The Project Gutenberg eBook of A Prince of Bohemia

A PRINCE OF BOHEMIA

By Honore De Balzac

Translated by Clara Bell and others

A PRINCE OF BOHEMIA

ADDENDUM

A PRINCE OF BOHEMIA

1839 - 1845.

ADDENDUM

The following personages appear in other stories of the Human Comedy.

THE FULL PROJECT GUTENBERG LICENSE

The Project Gutenberg eBook of A Prince of Bohemia

A PRINCE OF BOHEMIA

By Honore De Balzac

Translated by Clara Bell and others

A PRINCE OF BOHEMIA ADDENDUM

A PRINCE OF BOHEMIA

1839 - 1845.

ADDENDUM

The following personages appear in other stories of the Human Comedy.

THE FULL PROJECT GUTENBERG LICENSE

A PRINCE OF BOHEMIA

ADDENDUM