Artists' Wives by Alphonse Daudet (books to read to improve english txt) 📕
- Author: Alphonse Daudet
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Unfortunately, shortly after this, she in her turn fell ill. She came back one day from her lessons, shivering, wet, and fevered. Inflammation of the lungs set in; from the first her case was serious, and soon—the doctor told me—hopeless. My despair was maddening. Then I thought only of soothing her last moments. The family she loved so well, of which she was so proud, I would bring to her deathbed. Without letting her know, I first wrote to her sister at Saint-Germain, and I went off at once myself to her uncle, the Chief Rabbi. I hardly remember at what unreasonable hour I reached his house. Great catastrophes throw such a confusion into life and upset every detail. I fancy the good Rabbi was dining. He came out into the hall, wondering and amazed, to speak to me.
"Monsieur," I said to him, "there are moments when all hatred must cease."
He turned his venerable face towards me with a bewildered look.
I resumed:
"Your niece is dying!"
"My niece! But I have no niece; you are mistaken."
"Oh, Sir! I implore you, lay aside all foolish family rancour. I am speaking of Madame Deloche, the wife of Captain——"
"I do not know Madame Deloche. You are mistaken, my son, I assure you."
And he gently pushed me toward the door, taking me for a hoaxer or a madman. I must in fact have appeared very odd. What I heard was so unexpected, so terrible. She had lied to me then. Wherefore?
Suddenly an idea flashed across me. I directed the cabman to drive me to the address of one of those pupils of whom she had so often spoken to me, the daughter of a well-known banker.
I inquired of the servant: "Madame Deloche?"
"There is no one here of that name."
"Yes, I know that. It is a lady who gives music lessons to your young ladies."
"We have no young ladies here, not even a piano. I don't know what you mean."
And he angrily shut the door in my face.
I made no further inquiries. I felt sure of meeting with the same answer, the same disappointment. On my return to our little house, they gave me a letter with the postmark of Saint-Germain. I opened it, instinctively guessing the contents. The Chief Ranger also had no knowledge of Madame Deloche. Moreover he had neither wife nor child.
This was the last blow. Thus for five years each of her words had been a lie. A thousand jealous thoughts took possession of me, and madly, hardly knowing what I was about, I entered the room in which she was dying. All the questions that were torturing me burst forth over that bed of suffering: "Why did you go to Saint-Germain on Sundays? Where did you spend your days? Where did you spend that night? Come, answer me." And I bent over her, seeking in the depths of her still proud and beautiful eyes answers that I awaited with anguish; but she remained mute and impassive.
I resumed, trembling with rage: "You never gave any lessons. I have been everywhere. Nobody knows you. Whence came that money, those laces, those jewels?" She threw me a glance full of despairing sadness, and that was all. In truth, I ought to have spared her, and allowed her to die in peace. But I had loved her too well. My jealousy was stronger than my pity. I continued: "For five years you have deceived me, lying to me every day, every hour. You knew my whole life, and I knew nothing of yours. Nothing, not even your name. For it is not yours, is it, the name you bear? Ah liar! liar! What, she is going to die, and I do not even know by what name to call her! Come, tell me who you are? Whence come you? Why did you intrude into my life? Speak! Tell me something!"
Vain efforts! Instead of answering, she with difficulty turned her face to the wall, as though she feared that her last glance might betray her secret. And thus the unhappy creature died! Died without a word, liar to the last.
THE COMTESSE IRMA.
"M. Charles d'Athis, literary man, has the honour to inform you of the birth of his son Robert.
"The child is doing well."
Some dozen years ago, all literary and artistic Paris received this little note on the glossiest of paper, embossed with the arms of the Counts of d'Athis-Mons, of whom the last Charles d'Athis had—while still young—succeeded in making for himself a genuine reputation as a poet.
"The child is doing well." And the mother? Of her there was no mention in the note. Every one knew her but too well. She was the daughter of an old poacher of Seine et Oise; a quondam model, named Irma Salle, whose portrait had figured in every exhibition, as the original had in every studio. Her low forehead, lip curled like an antique, this chance return of the peasant's face to primitive lines—a turkey herd with Greek features—the slightly tanned skin common to all whose childhood is spent in the open air, giving to fair hair reflections of pale silkiness, adorned this minx with a kind of wild originality, completed by a pair of magnificently green eyes, burning beneath heavy eyebrows.
One night, on leaving a bal de l'Opéra, d'Athis had taken her to sup with him, and though this was two years ago, the supper still continued. But, whereas Irma had become completely a part of the poet's life, this intimation of the child's birth, curt and haughty as it was, sufficiently indicated how little she was considered by him. And in truth, in this temporary household, the woman was scarcely more than a housekeeper, showing in the management of the gentleman-poet's house the hard shrewdness of her dual nature of peasant and courtesan; and endeavouring, at no matter what price, to render herself indispensable.
Too rustic, and too stupid to understand anything of d'Athis' genius, of those fine verses, fashionable and refined, which made of him a sort of Parisian Tennyson, she nevertheless understood how to bend to all his whims, and be silent under his contempt; as if in the depths of that peasant nature lurked something of the boor's humble admiration for his lord. The birth of the child only served to accentuate her unimportance in the house.
When the dowager Comtesse d'Athis-Mons, the mother of the poet, a distinguished and very great lady, learned that a grandson was born to her, a sweet little Vicomte, duly recognized and authenticated by the author of his being,* she was seized with a wish to see and kiss the child. It was, to be sure, a rather bitter reflection for the former reader to Queen Marie-Amélie to think that the heir of such a great name should have such a mother; but, keeping strictly to the terms of the billets de faire pari the venerable lady could forget that the creature existed.
* According to French law, an unmarried man recognizing his illegitimate child, thereby confers on him all the rights of a legitimate one, including both title and fortune.
When she went to see the child out at nurse, she chose the days on which she would be sure not to meet any one; she admired him, spoilt him, took him to her heart, worshipped him with that grandmotherly adoration which is the last love of a woman's life, giving her an excuse for living a few years longer in order to see the little ones springing up and growing around her. Then when the baby Vicomte was a little bigger and returned to live with his father and mother, a treaty was made, for the Comtesse could not give up her beloved visits; at the sound of the grandmother's ring, Irma humbly and silently disappeared, or else the child was taken to his grandmother's house, and thus spoilt by his two mothers. He loved them equally, somewhat astonished to feel in the warmth of their caresses, a kind of exclusive-ness, a wish to monopolize. D'Athis, careless of everything but his verses, absorbed by his growing fame, was content to adore his little Robert, to talk of him to everyone and to imagine that the child belonged to him, and him only. This illusion did not last.
"I should like to see you married," his mother said to him one day.
"Yes, but how about the child?" "Don't worry yourself about that. I have picked out for you a young girl of good family but poor, who adores you. I have introduced Robert to her, and they are already great friends. Besides, the first year I will keep the darling with me. Afterwards, we shall see."
"And—the mother?" hesitated the poet, reddening a little, for it was the first time that he had spoken of Irma to his mother.
"Pooh!" replied the old dowager, laughing, "we will settle something handsome on her, and I am quite sure she will soon be married also. The bourgeois of Paris is not particular."
That very evening, d'Athis, who had never been desperately in love with his mistress, spoke to her of these arrangements and found her as usual—submissive and apparently docile to his will. But the next day, when he returned home, he found that mother and child had flown. Finally, they were discovered in a wretched hut on the borders of the Forest of Rambouillet, with Irma's father; and when the poet arrived he found his son, his young prince, in his velvet and lace, jumping on the old poacher's knee, playing with his pipe, running after the hens, delighted to shake his fair curls in the fresh air. D'Athis, though much upset by emotion, pretended to laugh the affair off, and wished at once to take his fugitives home with him. But Irma did not see the matter in the same light. She had been dismissed; she took her child with her. What more natural? Nothing short of the poet's promise that he would give up all thoughts of marriage decided her to return. Moreover, she made her own conditions. It had been too long forgotten that she was Robert's mother. Always to disappear and hide whenever Madame d'Athis appeared, was no longer possible for her. The child was growing too old for her to be exposed to such humiliations before him. It was therefore agreed that as Madame d'Athis had refused to be brought into contact with her son's mistress, she should no longer go to his house, but that the child should be brought to her every day.
Then began for the old grandmother a regular torture. Every day fresh pretexts were made to keep the child away; he had coughed, it was too cold, it was raining. Then came his walks, rides, gymnastic exercises. The poor old lady never saw her grandson. At first she tried complaining to d'Athis; but women alone have the secret of carrying on these little warfares. Their ruses remain invisible, like the hidden stitches which catch back the folds and laces of their dress. The poet could see nothing of
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