Books: Cosmopolis, v2
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Paul Bourget >> Cosmopolis, v2
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Poor and good Florent! That marriage was to him the romance of his youth
realized. He had desired it since the first week that Maitland had given
him the cordial handshake which had bound them. To live in the shadow of
his friend, become at once his brother-in-law and his ideal--he did not
dream of any other solution of his own destiny. The faults of Maitland,
developed by age, fortune, and success--we recall the triumph of his
'Femme en violet et en jeune' in the Salon of 1884--found Florent as
blind as at the epoch when they played cricket together in the fields at
Beaumont. Dorsenne very justly diagnosed there one of those hypnotisms
of admiration such as artists, great or small, often inspire around them.
But the author, who always generalized too quickly, had not comprehended
that the admirer with Florent was grafted on a friend worthy to be
painted by La Fontaine or by Balzac, the two poets of friendship, the one
in his sublime and tragic Cousin Pons, the other in that short but fine
fable, in which is this verse, one of the most tender in the French
language:
Vous metes, en dormant, un peu triste apparu.
Florent did not love Lincoln because he admired him; he admired him
because he loved him. He was not wrong in considering the painter as one
of the most gifted who had appeared for thirty years. But Lincoln would
have had neither the bold elegance of his drawing, nor the vivid strength
of coloring, nor the ingenious finesse of imagination if the other had
lent himself with less ardor to the service of the work and to the glory
of the artist. When Lincoln wanted to travel he found his brother-in-law
the most diligent of couriers. When he had need of a model he had only
to say a word for Florent to set about finding one. Did Lincoln exhibit
at Paris or London, Florent took charge of the entire proceeding--seeing
the journalists and picture dealers, composing letters of thanks for the
articles, in a handwriting so like that of the painter that the latter
had only to sign it. Lincoln desired to return to Rome. Florent had
discovered the house on the Rue Leopardi, and he settled it even before
Maitland, then in Egypt, had finished a large study begun at the moment
of the departure of the other.
Florent had, by virtue of the affection felt for his brother-in-law, come
to comprehend the paintings as well as the painter himself. These words
will be clear to those who have been around artists and who know what a
distance separates them from the most enlightened amateur. The amateur
can judge and feel. The artist only, who has wielded the implements,
knows, before a painting, how it is done, what stroke of the brush has
been given, and why; in short, the trituration of the matter by the
workman. Florent had watched Maitland work so much, he had rendered him
so many effective little services in the studio, that each of his
brother-in-law's canvases became animated to him, even to the slightest
details. When he saw them on the wall of the gallery they told him of an
intimacy which was at once his greatest joy and his greatest pride. In
short, the absorption of his personality in that of his former comrade
was so complete that it had led to this anomaly, that Dorsenne himself,
notwithstanding his indulgence for psychological singularities, had not
been able to prevent himself from finding almost monstrous: Florent was
Lincoln's brother-in-law, and he seemed to find it perfectly natural that
the latter should have adventures outside, if the emotion of those
adventures could be useful to his talent!
Perhaps this long and yet incomplete analysis will permit us the better
to comprehend what emotions agitated the young man as he reascended the
staircase of his house--of their house, Lincoln's and his--after his
unexpected dispute with Boleslas Gorka. It will attenuate, at least with
respect to him, the severity of simple minds. All passion, when
developed in the heart, has the effect of etiolating around it the vigor
of other instincts. Chapron was too fanatical a friend to be a very
equitable brother. It seemed to him very simple and very legitimate that
his sister should be at the service of the genius of Lincoln, as he
himself was. Moreover, if, since the marriage with her brother's friend,
his sister had been stirred by the tempest of a moral tragedy, Florent
did not suspect it. When had he studied Lydia, the silent, reserved
Lydia, of whom he had once for all formed an opinion, as is the almost
invariable custom of relative with relative? Those who have seen us when
young are like those who see us daily. The images which they trace of us
always reproduce what we were at a certain moment--scarcely ever what we
are. Florent considered his sister very good, because he had formerly
found her so; very gentle, because she had never resisted him; not
intelligent, because she did not seem sufficiently interested in the
painter's work; as for the suffering and secret rebellion of the
oppressed creature, crushed between his blind partiality and the
selfishness of a scornful husband, he did not even suspect them, much
less the terrible resolution of which that apparent resignation was
capable.
If he had trembled when Madame Steno began to interest herself in
Lincoln, it was solely for the work of the latter, so much the more as
for a year he had perceived not a decline but a disturbance in the
painting of that artist, too voluntary not to be unequal. Then Florent
had seen, on the other hand, the nerve of Maitland reawakened in the
warmth of that little intrigue.
The portrait of Alba promised to be a magnificent study, worthy of being
placed beside the famous 'Femme en violet et en jaune,' which those
envious of Lincoln always remembered. Moreover, the painter had finished
with unparalleled ardor two large compositions partly abandoned. In the
face of that proof of a fever of production more and more active, how
would not Florent have blessed Madame Steno, instead of cursing her, so
much the more that it sufficed him to close his eyes and to know that his
conscience was in repose when opposite his sister? He knew all, however.
The proof of it was in his shudder when Dorsenne announced to him the
clandestine arrival in Rome of Madame Steno's other lover, and one proof
still more certain, the impulse which had precipitated him upon Boleslas,
who was parleying with the servant, and now it was he who had accepted
the duel which an exasperated rival had certainly come to propose to his
dear Lincoln, and he thought only of the latter.
"He must know nothing until afterward. He would take the affair upon
himself, and I have a chance to kill him, that Gorka--to wound him, at
least. In any case, I will arrange it so that a second duel will be
rendered difficult to that lunatic.... But, first of all, let us make
sure that we have not spoken too loudly and that they have not heard
upstairs the ill-bred fellow's loud voice."
It was in such terms that he qualified his adversary of the morrow. For
very little more he would have judged Gorka unpardonable not to thank
Lincoln, who had done him the honor to supplant him in the Countess's
favor!
In the meantime, let us cast a glance at the atelier! When the friend,
devoted to complicity, but also to heroism, entered the vast room, he
could see at the first glance that he had been mistaken and that no sound
of voices had reached that peaceful retreat.
The atelier of the American painter was furnished with a harmonious
sumptuousness which real artists know how to gather around them. The
large strip of sky seen through the windows looked down upon a corner
veritably Roman--of the Rome of to-day, which attests an uninterrupted
effort toward forming a new city by the side of the old one. One could
see an angle of the old garden and the fragment of an antique building,
with a church steeple beyond. It was on a background of azure, of
verdure and of ruins, in a horizon larger and more distant, but composed
of the same elements, that was to arise the face of the young girl,
designed after the manner, so sharp and so modelled, of the 'Pier della
Francesca', with whom Maitland had been preoccupied for six months.
All great composers, of an originality more composite than genitive, have
these infatuations.
Maitland was at his easel, dressed with that correct elegance which is
the almost certain mark of Anglo-Saxon artists. With his little
varnished shoes, his fine black socks, spotted with red, his coat of
quilted silk, his light cravat and the purity of his linen, he had the
air of a gentleman who applied himself to an amateur effort, and not of
the patient and laborious worker he really was. But his canvases and his
studies, hung on all sides, among tapestries, arms and trinkets, bespoke
patient labor. It was the history of an energy bent upon the,
acquisition of a personality constantly fleeting. Maitland manifested in
a supreme degree the trait common to almost all his compatriots, even
those who came in early youth to Europe, that intense desire not to lack
civilization, which is explained by the fact that the American is a being
entirely new, endowed with an activity incomparable, and deprived of
traditional saturation. He is not born cultivated, matured, already
fashioned virtually, if one may say so, like a child of the Old World.
He can create himself at his will. With superior gifts, but gifts
entirely physical, Maitland was a self-made man of art, as his grand
father had been a self-made man of money, as his father had been a self-
made man of war. He had in his eye and in his hand two marvellous
implements for painting, and in his perseverence in developing a still
more marvellous one. He lacked constantly the something necessary and
local which gives to certain very inferior painters the inexpressible
superiority of a savor of soil. It could not be said that he was not
inventive and new, yet one experienced on seeing no matter which one of
his paintings that he was a creature of culture and of acquisition. The
scattered studies in the atelier first of all displayed the influence of
his first master, of solid and simple Bonnat. Then he had been tempted
by the English pre-Raphaelites, and a fine copy of the famous 'Song of
Love', by Burne-Jones, attested that reaction on the side of an art more
subtle, more impressed by that poetry which professional painters treat
scornfully as literary. But Lincoln was too vigorous for the languors of
such an ideal, and he quickly turned to other teachings. Spain conquered
him, and Velasquez, the colorist of so peculiar a fancy that, after a
visit to the Museum of the Prado, one carries away the idea that one has
just seen the only painting worthy of the name.
The spirit of the great Spaniard, that despotic stroke of the brush which
seems to draw the color in the groundwork of the picture, to make it
stand out in almost solid lights, his absolute absence of abstract
intentions and his newness which affects entirely to ignore the past, all
in that formula of art, suited Maitland's temperament. To him, too, he
owed his masterpiece, the 'Femme en violet et en jaune', but the restless
seeker did not adhere to that style. Italy and the Florentines next
influenced him, just those the most opposed to Velasquez; the Pollajuoli,
Andrea del Castagna, Paolo Uccello and Pier delta Francesca. Never would
one have believed that the same hand which had wielded with so free a
brush the color of the 'Femme en violet...' could be that which sketched
the contour of the portrait of Alba with so severe, so rigid a drawing.
At the moment Florent entered the studio that work so completely absorbed
the attention of the painter that he did not hear the door open any more
than did Madame Steno, who was smoking cigarettes, reclining indolently
and blissfully upon the divan, her half-closed eyes fixed upon the man
she loved. Lincoln only divined another presence by a change in Alba's
face. God! How pale she was, seated in the immobility of her pose in a
large, heraldic armchair, with a back of carved wood, her hands grasping
the arms, her mouth so bitter, her eyes so deep in their fixed glance!...
Did she divine that which she could not, however, know, that her fate was
approaching with the visitor who entered, and who, having left the studio
fifteen minutes before, had to justify his return by an excuse.
"It is I," said he. "I forgot to ask you, Lincoln, if you wish to buy
Ardea's three drawings at the price they offer."
"Why did you not tell me of it yesterday, my little Linco?" interrupted
the Countess. "I saw Peppino again this morning.... I would have from
him his lowest figure."
"That would only be lacking," replied Maitland, laughing his large laugh.
"He does not acknowledge those drawings, dear dogaresse.... They are a
part of the series of trinkets he carefully subtracted from his
creditor's inventory and put in different places. There are some at
seven or eight antiquaries', and we may expect that for the next ten
years all the cockneys of my country will be allured by this phrase,
'This is from the Palais Castagna. I have it by a little arrangement.'"
His eyes sparkled as he imitated one of the most celebrated bric-a-brac
dealers in Rome, with the incomparable art of imitation which
distinguishes all the old habitues of Parisian studios.
"At present these three drawings are at an antiquary's of Babuino, and
very authentic."
"Except when they are represented as Vincis," said Florent, "when
Leonardo was left-handed, and their hatchings are made from left to
right."
"And you think Ardea would not agree with me in it?" resumed the
Countess.
"Not even with you," said the painter. "He had the assurance last night,
when I mentioned them before him, to ask me the address in order to go to
see them."
"How did you learn their production?" questioned Madame Steno.
"Ask him," said Maitland, pointing to Chapron with the end of his brush.
"When there is a question of enriching his old Maitland's collection, he
becomes more of a merchant than the merchants themselves. They tell him
all.... Vinci or no Vinci, it is the pure Lombard style. Buy them.
I want them."
"I will go, then," replied Florent. "Countess. . . . Contessina."
He bowed to Madame Steno and her daughter. The mother bestowed upon him
her pleasantest smile. She was not one of those mistresses to whom their
lovers' intimate friends are always enemies. On the contrary, she
enveloped them in the abundant and blissful sympathy which love awoke in
her. Besides, she was too cunning not to feel that Florent approved of
her love. But, on the other hand, the intense aversion which Alba at
that moment felt toward her mother's suspected intrigues was expressed by
the formality with which she inclined her head in response to the
farewell of the young man, who was too happy to have found that the
dispute had not been heard.
"From now until to-morrow," thought he, on redescending the staircase,
"there will be no one to warn Lincoln.... The purchase of the drawings
was an invention to demonstrate my tranquillity....Now I must find two
discreet seconds."
Florent was a very deliberate man, and a man who had at his command
perfect evenness of temperament whenever it was not a question of his
enthusiastic attachment to his brother-in-law. He had the power of
observation habitual to persons whose sensitive amour propre has
frequently been wounded. He therefore deferred until later his difficult
choice and went to luncheon, as if nothing had happened, at the
restaurant where he was expected. Certainly the proprietor did not
mistrust, in replying to the questions of his guest relative to the most
recent portraits of Lenbach, that the young man, so calm, so smiling, had
on hand a duel which might cost him his life. It was only on leaving the
restaurant that Florent, after mentally reviewing ten of his older
acquaintances, resolved to make a first attempt upon Dorsenne. He
recalled the mysterious intelligence given him by the novelist, whose
sympathy for Maitland had been publicly manifested by an eloquent
article. Moreover, he believed him to be madly in love with Alba Steno.
That was one probability more in favor of his discretion.
Dorsenne would surely maintain silence with regard to a meeting in
connection with which, if it were known, the cause of the contest would
surely be mentioned. It was only too clear that Gorka and Chapron had no
real reason to quarrel and fight a duel. But at ten-thirty, that is to
say, three hours after the unreasonable altercation in the vestibule,
Florent rang at the door of Julien's apartments. The latter was at home,
busy upon the last correction of the proofs of 'Poussiere d'Idees'. His
visitor's confidence upset him to such a degree that his hands trembled
as he arranged his scattered papers. He remembered the presence of
Boleslas on that same couch, at the same time of the day, forty-eight
hours before. How the drama would progress if that madman went away in
that mood! He knew only too well that Maitland's brother-in-law had not
told him all.
"It is absurd," he cried, "it is madness, it is folly!.... You are not
going to fight about an argument such as you have related to me? You
talked at the corner of the street, you exchanged a few angry words, and
then, suddenly, seconds, a duel.... Ah, it is absurd."
"You forget that I offered him a violent insult in raising my cane to
him," interrupted Florent, "and since he demands satisfaction I must give
it to him."
"Do you believe," said the writer, "that the public will be contented
with those reasons? Do you think they will not look for the secret
motives of the duel? Do I know the story of a woman?.... You see, I ask
no questions. I rely upon what you confide in me. But the world is the
world, and you will not escape its remarks."
"It is precisely for that reason that I ask absolute discretion of you,"
replied Florent, "and for that reason that I have come to ask you to
serve me as a second.... There is no one in whom I trust as implicitly
as I do in you.... It is the only excuse for my step."
"I thank you," said Dorsenne. He hesitated a moment. Then the image of
Alba, which had haunted him since the previous day, suddenly presented
itself to his mind. He recalled the sombre anguish he had surprised in
the young girl's eyes, then her comforted glance when her mother smiled
at once upon Gorka and Maitland. He recalled the anonymous letter and
the mysterious hatred which impended over Madame Steno. If the quarrel
between Boleslas and Florent became known, there was no doubt that it
would be said generally that Florent was fighting for his brother-in-law
on account of the Countess. No doubt, too, that the report would reach
the poor Contessina. It was sufficient to cause the writer to reply:
"Very well! I accept. I will serve you. Do not thank me. We are
losing valuable time. You will require another second. Of whom have you
thought?"
"Of no one," returned Florent. "I confess I have counted on you to aid
me."
"Let us make a list," said Julien. "It is the best way, and then cross
off the names."
Dorsenne wrote down a number of their acquaintances, and they indeed
crossed them off, according to his expression, so effectually that after
a minute examination they had rejected all of them. They were then as
much perplexed as ever, when suddenly Dorsenne's eyes brightened, he
uttered a slight exclamation, and said brusquely:
"What an idea! But it is an idea!.... Do you know the Marquis de
Montfanon?" he asked Florent.
"He with one arm?" replied the latter. "I saw him once with reference
to a monument I put up at Saint Louis des Francais."
"He told me of it," said Dorsenne. "For one of your relatives, was it
not?"
"Oh, a distant cousin," replied Florent; "one Captain Chapron, killed in
'forty-nine in the trenches before Rome."
"Now, to our business," cried Dorsenne, rubbing his hands. "It is
Montfanon who must be your second. First of all, he is an experienced
duellist, while I have never been on the ground. That is very important.
You know the celebrated saying: 'It is neither swords nor pistols which
kill; it is the seconds.'.... And then if the matter has to be arranged,
he will have more prestige than your servant."
"It is impossible," said Florent; "Marquis de Montfanon.... He will
never consent. I do not exist for him."
"That is my affair," cried Dorsenne. "Let me take the necessary steps in
my own name, and then if he agrees you can make it in yours.... Only we
have no time to lose. Do not leave your house until six o'clock. By
that time I shall know upon what to depend."
If, at first, the novelist had felt great confidence in the issue of his
strange attempt with reference to his old friend, that confidence changed
to absolute apprehension when he found himself, half an hour later, at
the house which Marquis Claude Francois occupied in one of the oldest
parts of Rome, from which location he could obtain an admirable view of
the Forum. How many times had Julien come, in the past six months, to
that Marquis who dived constantly in the sentiment of the past, to gaze
upon the tragical and grand panorama of the historical scene! At the
voice of the recluse, the broken columns rose, the ruined temples were
rebuilt, the triumphal view was cleared from its mist. He talked, and
the formidable epopee of the Roman legend was evoked, interpreted by the
fervent Christian in that mystical and providential sense, which all,
indeed, proclaims in that spot, where the Mamertine prison relates the
trial of St. Peter, where the portico of the temple of Faustine serves
as a pediment to the Church of St. Laurent, where Ste.-Marie-Liberatrice
rises upon the site of the Temple of Vesta--'Sancta Maria, libera nos a
poenis inferni'--Montfanon always added when he spoke of it, and he
pointed out the Arch of Titus, which tells of the fulfilment of the
prophecies of Our Lord against Jerusalem, while, opposite, the groves
reveal the out lines of a nunnery upon the ruins of the dwellings of the
Caesars. And, at the extreme end, the Coliseum recalls to mind the
ninety thousand spectators come to see the martyrs suffer.
Such were the sights where lived the former pontifical zouave, and, on
ringing the bell of the third etage, Julien said to himself: "I am a
simpleton to come to propose to such a man what I have to propose. Yet
it is not to be a second in an ordinary duel, but simply to prevent an
adventure which might cost the lives of two men in the first place, then
the honor of Madame Steno, and, lastly, the peace of mind of three
innocent persons, Madame Gorka, Madame Maitland and my little friend
Alba.... He alone has sufficient authority to arrange all. It will be
an act of charity, like any other.... I hope he is at home," he
concluded, hearing the footstep of the servant, who recognized the
visitor and who anticipated all questions.
"The Marquis went out this morning before eight o'clock. He will not
return until dinner-time."
"Do you know where he has gone?"
"To hear mass in a catacomb, and to be present at a procession," replied
the footman, who took Dorsenne's card, adding: "The Trappists of Saint
Calixtus certainly know where the Marquis is.... He lunched with them."
"We shall see," said the young man to himself, somewhat disappointed.
His carriage rolled in the direction of Porte St. Sebastien, near which
was the catacomb and the humble dwelling contiguous to it--the last
morsel of the Papal domains kept by the poor monks. "Montfanon will have
taken communion this morning," thought he, "and at the very word duel he
will listen to nothing more. However, the matter must be arranged; it
must be.... What would I not give to know the truth of the scene between
Gorka and Florent? By what strange and diabolical ricochet did the
Palatine hit upon the latter when his business was with the brother-in-
law?.... Will he be angry that I am his adversary's second?.... Bah!...
After our conversation of the other day our friendship is ended....
Good, I am already at the little church of 'Domine, quo vadis.'--[Lord,
whither art thou going?"]-- I might say to myself: 'Juliane, quo vadis?'
'To perform an act a little better than the majority of my actions,' I
might reply."
That impressionable soul which vibrated at the slightest contact was
touched by the souvenir of one of the innumerable pious legends which
nineteen centuries of Catholicism have suspended at all the corners of
Rome and its surrounding districts. He recalled the touching story of
St. Peter flying from persecution and meeting our Lord: "Lord, whither
art thou going?" asked the apostle. "To be crucified a second time,"
replied the Saviour, and Peter was ashamed of his weakness and returned
to martyrdom. Montfanon himself had related that episode to the
novelist, who again began to reflect upon the Marquis's character and the
best means of approaching him. He forgot to glance at the vast solitude
of the Roman suburbs before him, and so deep was his reverie that he
almost passed unheeded the object of his search. Another disappointment
awaited him at the first point in his voyage of exploration.
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