THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES HONOUK 1)K BAI-ZAC (In Ills working garb.l FaoNTiBPiKCE— Volume One. THE HdlMAN GOMCBY BEING THE BEST NOVELS FROM THE "COMEDIE HUMAINE" OF HONORE DE BALZAC THE PURSE COUSIN PONS WHY THE ATHEIST PRAYED THE MYSTERY OF LA GRANDE BRETECHE ALBERT SAVARUS THE HOUSE OF THE TENNIS- PLAYING CAT A TRAGEDY BY THE SEA MODESTE MIGNON ILLUSTRATED WITH SIXTEEN ENGMYINGS ON WOOD FKOM THE BEST FRENC][ EDITION WITH AN INTRODUCTION DESCRIPTIVE OF THE AUTHOR's STUPENDOUS AND BRILLIANT WORK BY JULIUS CHAMBERS IN THREE V0LaMES-V0l2aME 0NE New York : PETER FENELON COLLIER. Copyright, 1893, By Peteb Fenelox Collier All rights reserved. Contents of Volume One. INTRODUCTION—" LA CoMEDiE HuMAiNE " AND ITS Ethical Puepose 5 2 SCENES OF PRIVATE LIFE. ' PAGE Y" 1— THE PURSE 17 Wi 2— COUSIN PONS 34 8— WHY THE ATHEIST PRAYED 217 4— MYSTERY OP LA GRANDE BR^TECHE 826 5-ALBERT SAVARUS 237 6— HOUSE OP THE TENNIS-PLAYING CAT 297 7— A TRAGEDY BY THE SEA 328 8— MODESTE MIGNON 335 LIST OF ILLUSTRATIONS. Frontispiece— Honors de Balzac (in his working garb). COUSIN PONS: La Cibot and Ri5;monencq. SCHMUCKE AND PONS— " The flaneurs of the quarter had nick-named them 'The Pair of Nut-Crackers.' " THE HOUSE OF THE TENNIS-PLAYING CAT: M. GuiLLAUME—The Typical Merchant. (Drawn by Meissonier.) (3) INTRODUCTION. BALZAC AND THE COMEDY OF LIFE. " The magnitude of a plan that embraces at once a study and criticism of society, an analysis of its evils, and a discussion of its principles, justifies me, I think, in giving to my work the title under which it will appear — 'The Human Comedy.' It, is ambitious, I grant you. But do I not succeed ? Here is the work ; let the public judge." — Balzac, in the original Preface to the Coviplete Edition of his Works. Paris, July, IS42. HoNORE DE Balzac, like Horace, had an excellent opinion of his own work, and never was chary of expressing it. The scheme was too ambitious to be completed in the short span of one life, and he, de- spite his remarkable energy, failed to fully realize his hopes. His character bristled with eccentricities, and his career \vas a tissue of contradictions. He was a wild spendthrift, but his appreciation of the value of money in constructing plots, and his skill at financiering — in fiction — are shown in many of his novels.* One thing may be said of him without fear of contradiction : he was a defender of the home ; he believed it to be the source of all good, as well as the nest of human misery — the nurserj^ of unhappiness. From an ethical point of view, Balzac's morals are faultless. He was a realist, as Erail Zola is to-day ; but with a refine- ment of imagination and a facility of mental analysis that Zola does not pos- sess. He hated vulgarity and crime, and made it so odious that several of his most disagreeable books might be issued as re- ligious tracts. A score of biographies of Balzac have been issued, but the editor of the present edition would recommend * Examples, for instance, "Eugenie Grandet," "Cesar Birotteau," "The Marriage Contract," and " Gaudissart II." the one written by Theophile Gautier, the only man of Balzac's day beside Victor Hugo large enough in brain and repu- tation to write the life of The Master of the Modern Novel. Gautier's biography was written after Balzac's death, and wiiile it is eulogistic, it is fair and justly critical. In outlining the scope of the wonderful series of books to which Balzac himself refers in the preface to the original edi- tion, quoted above, it is proper to explain exactly what Balzac undertook. He had written and published about thirty novels before he attracted attention ; and it was not until 1827 that he conceived the idea of a great work that should dissect the human heart as a demonstrator uses the scalpel in a lecture room. He planned a series of one hundred stories, which he classified under tlie eight great heads : — Scenes from Private, Provincial, Parisian, Political, Military and Country Life, with Philosophical and Analytical Studies. Of these, the Scenes from Politi- cal, Military and Country Life were in- complete at the 'time of the author's death. The one hundred novels of this series were written in the twenty years between* 1827 and 1847. Balzac had a general idea of the plan upon which he was building liis great structure, and wrote the stories in whatever order best (5) INTRODUCTION. suited his mercurial temperament. The final classiflcalion which they were to take in "The Human Comedy " bore no relation whatever to the order in which the}- were produced. During some of the yeai's he worked witli superhuman enersry, turning out as many as six or eight com- plete novels, while in other years he would be satisfied with two or three. We cannot do better than to give at this stage a complete list of the novels composing this work; and, in addition, we have added to thcur names the date of original publication, whenever obtainable, to indicate the order in which the books appeared. It lias been deemed best to quote the original French titles : — PLAN OF " LA COMfiDIE HUMAINE." Scenes FROM Private Life:— L.aMaison duChat- qui-pelotte (1839), Le Bal de Sceaux (1829). La Bourse (1832), La Vendetta (1830), Madame Firmi- ani (1831). Una Double Famille (1830), La Paix du Menage (1839), La Fausse Maltresse (1843), Etude de fenime (1830), Autre etude de femme (1830), La Grande Breteche (1830), Albert Savarus (1843), Memoire.s de Deux Jeunes Mariees (1841), Une Fille d'Eve (1838), La Fomme de Trente Ans (1835), La Femme abandonnee (1832), La Grenadiere (1832), Le Message (1833), Gobseck (1830), Le Contrat de Mariage (1835), Un Debut dans la Vie (1842), Modeste Mignon (1844), Beatrix (1844), Honorine (1843), Le Colonel Chabert (1832), La Messe de I'Athee (1886), L'Interdictioa (1836), Pierre Grassou (1839). Scenes from Provincial Life : — Ursule Mirouet (1841), Eugenie Grandet (1833); Les Celibataires :— Pierrette (1839), Le Cure de Tours (1839), and Un Menage de Gargon (1842) ; Les Parisiens en Pro- vince : — L'illustre GauJissart (1832), Muse du De- partement ; Les Rivalites : — La Vieille Fille (1830), Le Cabinet des Antiques (1837) ; Le Lys dans la Vallee (1835); Illusions Perdues : — Les Deux Poetes, Un grand Homme de Province a Paris, 1st and 2d parts. Eve et David (all in 1843). Scenes from Parisian Life :— Esther Heureuse, A combien I'aniour revient aux Vieillards, Ou menent les mauvais Chemins (all in 1843) ; La Derniure Incarnation de Vautrin, Un Prince de la Boheme (1845). Un Homme d'affaires (184.5), Gaudissart II. (1844). Les Comediens sans le Savoir (1840), Histoir des Treize. Ferragus (1833), Duc-hesse de Langeais (1834), Fille aux veux d'Or (1834), Le Pere Goriot (1834). Cesar* Bu-otteau (1887). LaMaisonNucingen (1837), Les Secrets de la Princesse de Cadignan (1839). Les Employes, Sarrasine (1830), Facino Cane (1836), Les Parents pauvres : — La Cousine Bette (1846), and Le Cousin Pons (1846). Scenes from Political Life : — Une Tenebreuse Affaire (1841). Un Episode sous la Terreur (1831), L'Envers de I'Histoire Contemporaine (1845), Ma- dame de la Clianterie, L'luitie. Z. Marcas (1840), le Depute d'Arcis. Scenes from Military Life :— Les Cliouans (1837), and Une Passion dans le desert (1832). Scenes from Country Life :— Le Medecin de Campagn (1833), Le Cure de Village (1845), and Les Paysans (1847). PHiLOSOPmcAL Stijdies :— La Peau de Chagrin (1830), La Recherche de TAbsolu (1834), Christ en Flandre(1831), Melmoth reconcilie (1835), Le Chef- d'oeuvre inconnu (1832), L'Enfant Maudit (1836), Gambara (1837), Massimilla Doni (1839), Les Ma- rana (1832), Adieu (1830), Le Requisitionnaire (1831), El Verdugo, Un Drame au bord de la nier (1834), L'Auberge Rouge (1831), L'Elixir de Longue Vie (1830), Maitre Cornelius (1831), Sur Catherine de Medicis (1838), Le Martyr Calviniste, La Confi- dence des Ruggieri, Les deux Reves, Louis Lambert (1833), Les Proscrits (1831), and Seraphita (1833). Analytical Studies :— Physiologie du Mariage (1829), and Petites Miseres de la vie Conjugale. From tliese eight great classes we have selected six, and from each of these six sub-divisions have taken one or more novels. It is unnecessary to say that the choice had to be made with great care, because there are blemishes in some of the works that render them undesir- able for translation. " The Human Com- edy " contains very little humor^ — if we except "A Start in Life," in which are the author's own experiences in a law- yer's office, " The Illustrious Gaudissart" and '-The Old Maid." Rather does it deal with avarice, covetousness and pas- sion, than the tender emotions of human life. Indeed, this masterpiece of human ingenuity contains more tragedy than comedj'. We can only attempt a few words in relation to each of the stories comprising this stupendous work, covering, in its sev- eral editions, from twenty to fifty-three volumes. " The House of the Tennis- Playing Cat" we reprint. "The Ball at Sceaux " is quite well known, the scene being laid at the quaint little vil- lage among the hills, thirty miles from Paris, now reached over tlie crookedest railroad in France. Parisians of to-day INTRODUCTION. visit the place on Sundays, and remember it chiefly because of the Restaurant Rob- inson, where dinners are served in little booths, hig-h among- the tree-tops. " The Purse " is one of the most charming little bits of innocence and nature in all Balzac. Wc have chosen to begin these volumes with it, and we think the touch of hu- manity that permeates it will justify its selection as the opening chapter in " The Human Comedy." " A Double Family," the next novel in the series, is constructed along the lines made familiar by a host of other writers, but contains so many objectionable feat- ures that it is omitted. The plot may be outlined, however : — One family is legitimate, tlie other illegitimate. The father is a man of integrity, and after- ward becomes a distinguished jurist. Balzac shows distinctly how this man was driven from his home by the harsh- ness and coldness of his wife ; and, true to his ethical purity, he also makes it clear that tlie new love was more un- worthy of him than the first. The climax is reached when one of the natu- ral sons, who is accused of a serious crime, is brought before one of the legiti- mate sons, sitting as a legal functionary. The father appears boldly in court c^nd confesses his shame and humiliation. From a French point of view, the novel is supposed to inculcate a highly moral lesson, and the skill with which this story is handled is wonderful. Caroline, the real hero of this tale, is drawn as on a steel plate — so carefully that not a line is wanting. " Why tlie Atheist Prayed " is remark- able because in it is told the eai-ly life of the great surgeon, Bianchon, who reap- pears in so many subsequent volumes. For this reason it has been inserted ahead of its order as fixed by the author. "A Second Study of Woman" contains a striking dissertation on the decadence of great families and the disappearance of the society grande ' dame after the Revolution of July, with an etching, made in Balzac's most characteristic style, of the type of woman who suc- ceeded her. " The Mystery of La Grande Breteche," an old chateau on the banks of the river Loir, is a bit of condensed horror. Like "A Piece of an Ass's Skin," it may be described as a fantasy and an improba- bilitj', such as Poe and Hoffmann delight- ed to write. Candidly, we do not think these tales ought to be in this series at all, as, with these two exceptions, Balzac deals with the real and moves his charac- ters about in the living current of human life. Of course we do not forg-et " Ursule Mirouet," who, as tlie first of the provin- cial heroines, gives lier name to a " goody- good}'^ " story, such as Richardson might have composed, and forms the background for a conventional ghost storj'. There is no incongruity in the introduction of ghosts into novels depicting human suffer- ing or struggle. To again take up the chain, as Balzac laid it down, we reach "Albert Savarus," which we have reprinted in full. It con- tains one of those descriptions of country- town society in which Balzac shone to such great advantage, and the hero and heroine form two very strong figures for an analytical mind such as the author's. Incidentally, it introduces a charming de- scription of life at the Grande Chartreuse, probabh' the most famous monastery in the world. The next novel in the series is "The History of Two Marriages "—a story of two brides, each the exact an- tithesis of the other, though educated in the same convent. The style is defective, because Balzac does not show as a master in dealing with story-telling by corre- spondence. The letters of these young women cover reams of paper in some instances — an error of fact that cannot be overlooked. The book is interesting, just as a case of St. Vitus's dance might be. One of the ladies is perfectly lovable, and the other is utterly detestable. "A Daughter of Eve " relates how a man of the world and a loving husband rescues his young wife from a false position, and saves a scandal through great tact and cleverness. Passing rapidly over the five short stories that follow, we come to "The Marriage Contract," interest in which 8 INTnODUCTlOX. contors aho>it the preparation of the anti- nuptial obli.uations by two notaries, one of the old and the other of the new school. In this stoi-y Balzac shows the results of liis leg-al training-, and more especially of his irksome clerical duties in a notary's office. The interests of the about-to-he husband serioush* conflict with those of his intended bride, and the young- notary, who appears for the young girl's mother (she having dissipated her daughter's fortune), prepares a cunningly baited de- ception for the bridegroom, which is only f(3iled by the sagacity of the old and ex- perienced notary. After the w^edding, a system of impoverishment begins at once, and the husband is eventually shorn like a lamb. "A Start in Life " further dis- closes the tricks of the legal profession, and is, in several respects, the most hu- morous of all the books that Balzac has ■written. A young man begins life vith thoroughly developed vanity, of which he is eventually cured by heroic treatment. It twice proves his ruin in business, but he is finally induced to enter the army, wherein he attains distinction. "Modeste Mignon " is as near an ap- proach to the English idea of a novel as it would be possible for any Frenchman to write. It is purely and simply a love tale. Mignon might be Susan Jane Jones. She dwells with her blind mother in the strictest seclusion at Havre. Her father is abroad seeking his fortune, and .she takes advantage of the blindness of her mother to fall in love with Canalis, a celebrated poet, whose verses are the fad of the day, but whose face she never has seen, except in a shop-window litho- graph. She sends him a letter under an assumed name and gets disagreeably en- tangled. Canalis hands the first letter over to his private secretary to answer. The young man conducts the correspond- ence with Mignon in his master's name, eventually falls in love with the girl, who finds in the sham poet a far more at- tractive person than the real one proves to be, when she Ilnally beholds him. Just as the embarrassment is becoming criti- cal, Mignon 's father opportunely returns to Havre, rescues her, and the story ends pleasantly with the marriage of the "soft" young girl and the rather too experienced secretary. Of " Beatri.K " very little need be said. Its whole atniosphere is unreal and de- ceptive. In many respects it is so com- plicated that it is almost impossible to disentangle the several threads of the story. The book is redeemed by one of Balzac's marvel ously clever word paint- ings of a corner of Brittany, unvisited by strangers prior to the advent of rail- roads. The tone of the book, however, is thoroughly unworthy of the great author. " Honorine " is a dainty bit of domestic drama of true Parisian character. Briefly, it is the storj'' of a husband who, although deserted by a heartless and unworthy wife years before the tale opens, and herself forsaken in turn, watches over the erring woman and secretly provides for every want of hers. It is the stoi-y of a love that could not be destroyed by cruelty or deception. Its weak point is that the honorable and sagacious hus- band attempts to woo the frivolous wo- man back to him by deputy, employing a messenger who is utterly' unworthy- of his confidence. He is successful, and the repentant wife dies at peace. " Colonel Chabert "is in many respects a chef d'oeuvre. It ought to be univer- sally known, though it is very painful and sad. He is the French Colonel Newcome, and it is no disparagement of Thackeray to say that Chabert rises to a loftier pinnacle of self-sacrificing manhood than does his hero. The magnanimous English- man gives up fortune and friends from an exaggerated point of honor and calmly goes to die in an almshouse ; Balzac's hero not onlj' sacrifices all these, but name, fame and personal identity, because of an infamous woman, whose conduct had literally' disgusted him with life. In this book we have the picture of an honest and skillful lawyer, who appears in many scenes in "The Human Comedy " under the name of Derville. The fate of poor Chabert extorts from Derville the re- markable comment : "There exists," says he, " in society three men who cannot possibly esteem the world : the priest. INTRODUCTION. the doctor and the lawyer. They wear black, perhaps, because they are in mourn- ing for all the virtues and for all the illu- sions." With this comment of an old lawyer upon the three great professions, we may pass to a consideration of the Scenes from Provincial Life, the second grand sub-division of "'The Human Comedy," which, Balzac says, "represent theage of passion, scheming, self-interest and am- bition." Of "Ursule Mirouet " we have alreadj^ spoken. Ursule is an orphan, adopted by Dr. ilinorel, of Nemours, an amiable old man, with the serious moral defect that he has absolutely no religion whatever. From this condition of con- firmed atheism he is converted by his ward, just as he would be in a Sunday- school book. On the doctor's death, a will which was supposed to be in exist- ence, providing for her maintenance, can- not be found because it has been secreted by one of the heirs. At this point the gentle-hearted doctor's shade appears to Ursule and reveals the contemptible con- duct of the thief, after which the law makes things easy for the young girl. Incidentally, Ursule is beloved of a very charming young man, and they get mar- ried after the fortune is found and "live happily forever after." The fact that the book is dedicated by Balzac to his niece would seem to indicate that it is intended for the consumption of young ladies. The really admirable passages in the book are found in those portions de- picting the greediness and the avarice of the relatives of the amiable old doctor to possess themselves of portions of his es- tate. The next novel in the series is the famous and immortal " Eugenie Gran- det," which we reprint in full. Much that is sad and painful might be omitted without sacrificing the beauty of the story. The heartless character of the miserly husband and father is brought out with a painful fullness that makes it in places very disti'essing reading ; but the pictures of the Grandet household can never be foi'gotten. As a cap-sheaf to these two stories, which have both been sad in several ways, we have "Pierrette." She is a young woman of angelic beauty and saintliness, adopted by two horrible people, an old bachelor and an old maid, brother and sister. Though thej' are her cousins, they neglect her, persecute her, and finally do her to death. " Pierrette " was dedicated to the wealthy Russian lady. Countess Eva de Hanska, who in 1850 became Balzac's wife. After com- pleting this story it seems quite natural to study the sufferings of " The Cure of Tours," who is only one priest worried b^' another with de^^lish ingenuit3'. From this point, the ground clears and becomes brighter. In ••'A Bachelor's Es- tablishment " we see a rich old imbecile completely under the thumb of a pert and pretty young housekeeper. Strange to say, the interest in the storj' centers wholly in the family of the bachelor's sister. Agathe Bridau, a thoroughly virtuous and amiable woman, is a widow and the mother of two sons. The elder, Philippe, is an officer of the Imperial Guards, and a thoroughly developed blackguard ; the younger is a simple-minded artist and an affectionate son. Of course, anybody who has studied life need not be told that Phillipe is the mother's favorite. Her heart goes out to him whenever he is accused of wrong- doing, and she finds a ready explanation for all his waywardness. After ruining his mother, robbing his brother, and causing the death of his aunt, he is put under police surveillance for five j'ears because of his connection with a Bona- partist plot. From that point he de- velops into a thoroughly hardened villain. He eventually becomes a personage of distinction and very rich, when he natu- rally evolves the ingratitude that has been latent in his character from the beginning, cuts his mother and brother, and forsakes his wretched wife. True to his ethical instincts, Balzac punishes the scapegrace by giving him a miserable death in Algeria. Now for a gleam of real comedy. ■■ The Illustrious Gaudissart " is the -stctim of a hoax, and we extract manj'^ a hearty laugh at his expense. The scene of "The Muse of the Department" might be laid in Washington, where there are many of 10 INTRODUCTION. the frail sisterhood who resemble the heroine of this story. She is not a trag'ic muse, but a verj' naug-litj- one. " The Old Maid " is decidedly in a comic vein. An English critic has very truthfully said that this storj- is " worthy of being the joint production of Stern and Swift, for it combines the naive droller^' of the first with the caustic cj'nicism of the second." The hero, the Chevalier de Valois, boasts of an enormous nose, wears diamond ear- rings, stuffs his ears with wool, and gives the most careful attention to his toilet, in the vain hope of persuading- the maiden lad3' to become his wife ; but when she refuses him, peremptorily, lie goes to pieces like the Deacon's one horse shaj'. Madame Cormon, though she is an old maid, is good, simple, and hot-blooded, and longs ardently for a husband ; but she is so absurdly ignorant that she becomes utterly distrustful of mankind, and defeats her own purpose bj- her suspicion. An old maid of another sort appears in "The Cabinet of Antiques." This lady is a patrician who has remained single in order to devote herself to the orphan son of her brother ; but the young scapegrace commits iovgery, is arrested at Alengon, where the scene of the storj^ is laid. An old notary again saves the honor of the family, and the French sj^stem of juris- diction is again gone into at much too great length. A fact which Balzac al- ways delighted to dwell upon; namely, that it made very little difference to a lawyer whether his client was guilty or innocent, is brought out. In this case the guilt or innocence of tlie party ac- cused had very little to do with his fate, the influence he was able to bring to bear deciding it. A thing of real beauty is " The Lilj^ of the Valley." Its author pronounces it " one of the most highly finished stones of the edifice." It deals with the old struggle between love and duty in the breast of a beautiful but unhappy woman. Duty and virtue are ever victorious, al- though death finallj' enables the heroine to triumph. Madame de Mortsauf is a model of purity, though a conjugal mar- tyr, and her portrait is painted with pathos and power. We now reach the " Lost Illusions," 2)resented in two sub-divisions. It is the longest, the most varied, and most com- pletely' elaborated work from Balzac's jicn. Indeed, several critics have spoken of it as an epitome of the entire "Human Comedy." The four longest stories as- sociated under this head would make a library' in themselves. Briefly, this is the story of Lucien, a poet of Angouleme, whose Bunthorn-like genius and manly beauty are supported by the money of his sister Eve, the daughter of a poor widow but the wife of a rich printer, named David. Sechard, David's father, was nn ignorant, drunken, miserly old publisher, who sold his business to his son, a talent- ed, modest and amiable young man, on very harsh terms. David believes in Lu- cien, foresees his greatness and willingly assists in the scheme to exploit him. The young and handsome poet is patronized by Madame de Bargeton, a great ladj' of the neighborhood, who is naturally bored by the country folk and longs for some idol upon which to lavish her enthusiasm. The relations between the poet and the lady are wholly proper ; but the country people are censorious and start a scandal. One of the distinguished citizens, overheard by the husband of madame, is called out and shot in a duel. After this, of course, the atmosphere becomes too warm for the great lady, and she removes to her house in Paris, taking the poet witli her. Thus the scene shifts from the country to the French metropolis. The disillusionment of the poet now begins. He finds that Madame de Bargeton is not what his fancy had painted her. Though an ex- ceedingly proper and modest woman in the country, in the city she develops en- tirely different phases of character. An old flame of hers soon separates her from Lucien. The poet observes that his ideal woman is lean, faded and gawky ; the lady likewise discovers that her ideal genius is awkward, ill-bred and badly dressed. Thrown overboard by his pa- troness, the luckless poet finds it impos- sible to secure a publisher for his sonnets. IXTRODUCTION. 11 He tries several methods of earning- a liv- ing- when he finds that poetry will not secure it for liim, and, among others, journalism. The way in which Balzac writes about Parisian journalism is enough to sicken any reader with it as a vocation. Disclosures in 1892 reg-ard- ing tlie Panama Canal scandal indicate that the Paris press is as corrupt to-day as in Balzac's time. Balzac had pre- tended to edit one or two papers and magazines, but it is very doubtful if he ever did any executive newspaper work. He had no scruples about monej'-get- ting, and, like many another amateur in journalism and law, saw a rich field for the blackmailer's art. According- to Bal- zac, any man who ventured into the news- paper profession in Paris was utterh' lost to honor, honesty and self-respect. Im- mediatel}' Lucien has attained a footing- on a newspaper, he starts out as a black- mailer and begins to lampoon his former patroness and Monsieur Chatelet, her new infatuation. He flirts with the g-reat act- resses of the day, and cuts his former pro- tector in public ; but his rise is like the flight of a rocket : he soars for a time among the clouds of adulation and then falls like a stick, extinguished. What else was to have been expected ? It is the same way in America. Lucien loses his footing- in the newspaper business, as he deserves to, is insulted by a former friend, challenges him and is despei'ately wounded in a duel ; he suffers from penur3- and despair, and finally returns to Ang-ou- leme on foot. The love story of David and Eve, which is used to g-arnish the ^eater tale, is far more attractive than that of Lucien. It is impossible to out- line it, but Lucien is the cause of much suffering- to both of them, and eventu- ally brings financial ruin upon David, his brother-in-law. It is impossible, of course, to give any idea of the life and soul which Balzac imparts to this bare outline. The w^eakness of Lucien, the un- failing- love of Eve, the sincei'C devotion of David, the miserly craftiness of the old printer, and the frivolity of Madame de Bargeton, supply the human intei'est in this work. In the two books that follow, and which are utterly unworthy of Balzac, we find one of the greatest characters in "The Human Comedj*." We refer to "The terrible A^autrin." He is the antithesis in French fiction of Jean Valgean, the hero of " Les Miserables," the master- piece of Victor Hugo. Vautrin, known under several aliases, is a convict who masquerades in the guise of a priest. He crosses the plane of several other novels in the series, memorable among which is "Pere Goriot." This terrible character is really the hero of the two books that follow " Lost Illusions." Fall- ing into the hands of the police eventually-, Vautrin chooses to serve the law against which he can no longer successfully con- tend, and instead of the chief of a gang of robbers he becomes the Chief of Police. We can imagine how Balzac must have chuckled to himself, and how his chubby cheeks must have shaken as he lunged at the municipality with such a master-stroke of irony ! A splendid opportunitj' to utilize the services of Vautrin occurs in " The His- tory of the Thirteen," which demonstrates the possibHitj' of a cabal of men carrying out their own purposes in utter defiance of the law. New York under the fast set led by Jim Fisk between the j-ears 1865 and 1871 (when he was killed) furnishes a picture quite similar in color to that in " The Girl with the Golden Eyes." New Yorkers who had shuddered at the wan- tonness and dissipation of the Pai'isians, revolted against that era and rejoiced that the fall of its figure-head ended. the orgies of the period. Of the Scenes from Parisian, or City, Life, we have reprinted enough to show their wonderful beauty and variety. This division of the work sounds every depth of social horror, exalts e\erj^ human virtue, and deals in an utterly' reckless, though very attractive, manner with the whims, ambitions, malice and sordidness of humanity. As a critic of mankiud Bal- zac is remorseless ! When a woman was bad in Balzac's eyes, she was capable of anything ; no meanness that brought re- venge, no treachery that deprived a rival 12 INTRODUCTION. of a lover, no depravity that insured social success was to be hesitated at. " Pere Goriot" (or "Old Pop Goriot," as the arg-ot of the cheap boarding--house where he lived would have had it.) was the in- carnation of fatherhood, as understood by the Balzacian mind. His might be another name for Lear, moving- in a lower ethical atmosphere, actuated by the same paternal love and without personal ambi- tion. This story, strangely enough, was given a wrong place in the series by the author, because in the point of date we make therein our first acquaintance with Vautrin ; we also meet Dr. Bianchon, the noble - hearted physician, and M. Kastignac. Some of these names have been encountered through many of the preceding stories. At least, this book should have been placed by Balzac before the "Lost Illusions." Having despoiled himself of all his property for the benefit of his two worthless daughters, poor old Goriot is left to die tilone in a garret. The way in which Balzac wrings the chords of human sympathy for the friend- k^ss old man is even more masterly than Shakespeare's treatment of the same situa- tion under the names of Lear, Began, and Goneril. There is no Cordelia in this tale. We reprint " Cesar Birotteau," a story of the champion of shop-keeping honor. The full title of this very re- markable story is "The Grandeur and the Decadence of Cesar Birotteau." Bir- otteau was a manufacturer of jjerfumery and rose to great wealth, the climax of his social elevation being a ball, which is minutely described ; after that event his descent to penury and utter wretchedness follow fast and fearfully. The mental sutfej-ings that the honest old tradesman endured are depicted with photographic accuracy. The book ends happily, how- ever, by the paj-ment of Birotteau"s debts, and his resumption of active life. When this occurs, his joj' is more extravagant than was his grief. It kills him. We have included the mystery of " Facino Cane " in this class for the same reason, doubtless, that Balzac did — not because it is a Parisian story but merel3- because it is related in a cafe of that city. Out the noxious quagmire of the "Cousin Betty" (which we dare not reproduce) appears the flg'ure of a true and much- abused wife, but the rest of the tale, al- though one of the most popular in France, exposes the social corruptions as merci- lessly as does Zola in " La Teri-e." "Cousin Pons" has been frequently, translated ; it is moral and quite interest- ing. We have included it in these vol- umes among the Scenes from Private Life because of several characters therein who make their fii-ct appearance in this story. "A Mysterious Affair," with which the Scenes in Political Life open, contains one of Balzac's most remarkable heroines, Laui'ence de Cinq Cygne. Not only is she beautiful but she is courageous. Though thoroughly womanly in her heroism, she is masculine in her endui-ance. She is a sort of Jean d'Acre in society. The whole ■^tory is decidedly tragic, but full of pathos rather than hori'or. In " The Wrong Side of Contemporaneous History " Bal- zac again exalts virtue — "plain virtue," as he calls it — in the person of Mademoi- selle de Chanterie, in many ways the most sublime woman in "The Human Comedy. " Unliappy as a wife, wretched as a mother, persecuted by everybody, apparently for- gotten by God, she never despairs of man or doubts the Almighty ; she sinks her own miserj' in the divine mission of char- ity. " Z. Marcas " is a curious little story, the chief interest in which to Americans will grow out of the fact that Balzac dis- covered the name on a sign during one of his midnight walks, rushed home and wrote the story at one sitting out of the phantasmagoria that the name had con- jured up. The Scenes from Militars- Life, which we reprint in full, consist of one splendid story and a fragment. Balzac's declared intention to complete that portion of his woi'k was unfortunately prevented by death. " Les Chouans " is a story of the revolution in the Vendee, and is filled with incidents of ^that semi-barbaric struggle. We reprint Mr. George Saintsbury's mas- terly translation. The blind devotion of the ignorant but frantically loyal peas- ants is wonderfully portrayed, together INTRODUCTION. 13 with the chivalrous heroism of the Royal- ist chieftain. When we remember that Balzac was a Monarchist who would have enjoyed tlie era of Louis XIV., we cannot wonder at his frequent exultation of the Royalists at the expense of the Repub- licans. A passionate and exciting- love intrigue is interwoven with the Vendean war, which in many ways relieves it of its horrors. The " Passion in the Desert " is a mere fragment, and we reprint it only on account of its weirdness and its abso- lute originalitj'. Balzac refers to the storj' as that of " A Frenchman in Egypt." We have inserted "Doomed to Live," an episode of the Peninsular War, in this division. Li the Scenes of Countrj'- Life, which, Balzac declares, represent the evening of life, we have three tales, of which "The Country Doctor" is the first. It is really a long and rather dull essay on philanthrop3' and good local government, illustrated by the historj'^ of the conver- sion of a wretched village into a busy, thriving and populous distinct bj' the benevolence and energy of the country doctor. "The Cure of the Village" is somewhat similar in idea but more com- plicated, and is rendered verj' readable by the introduction of a mysterious crime. "The Peasantry," which completes the Scenes of Country Life, is in many ways remarkable. We have reprinted it in full. A very rich landed proprietor, the Count Montcornet, who dwells upon an extensive estate, has incurred the jealousy of the surrounding peasantry. Thej' unite in a concerted plot to drive hiui out of their counti'y and to secure the sub-division of his immense domain. The count is an old soldier of Napoleon, and, as may be imagined, is not disposed to surrender readily. He makes a long and gallant fight, in which he is always in the right, but the insidious and secret methods em- ployed by his antagonists are such that he is finally defeated, robbed and cast out upon the world a wanderer. The peasantry stop at no means to secure their ends. The insatiable greed of the richer class of peasants is drawn with an etcher's art. So graphic is the narra- tive that it suggests in the reader's mind the picture of the count in the center of a great web, surrounded by a host of vi- cious and remorseless spiders intent upon his destruction. M. Gaboreau imitated this story in "La Clique d'Or." There is more instruction in " The Peasantry " than in anj' other one volume in " The Human Comedy." It was the author's last work, and is really the climax of his scheme. The Philosophical and Analytical studies that follow are mere epilogues. " The Bit of Ass's Skin " has been before re- ferred to. It is a story of the Poe order, something like this: — A young man, about to commit suicide, becomes pos- sessed of a talisman that will gratify every wish, but at each exercise of de- sire the piece of ass's skin, which serves as a talisman, contracts, and as it shrinks so does his life. He accepts the conditions very much as Faust made his compact with the devil. Being on the verge of the grave, anjiihing that bettered his condition seemed welcome. The talis- man proves to be a gift from the Evil One, and its recipient goes the same way as his famous predecessor in the realm of fiction. He grows to love life, and as the shagreen shrinks smaller and smaller he struggles against his fate, like a poor wretch strapped in the electric chair at Sing Sing. The fact that the story is an impossibility condemns it as a part of "The Human Comedy." The "Rtv searches into the Absolute" errs on the opposite side of simplicity and is wanting in romantic interest. It is full of meta- physics, and deals with a search for the philosopher's stone. The book has often been translated and is so well known that we do not feel justified in reproducing it in these volumes. Marguerite Claes, daugh- ter of the monomaniac, is a fine specimen of filial love. We reprint four of the shorter stories in this sub-division, though we have taken the liberty of inserting them among the six other divisions. "Louis Lambert" is a Swedenborgian rhapsody, chiefly interesting as an ex- ample of Balzac's varied study and wide range of I'eading. 14 INTRODUCTION. The Analytical studies deal with the miseries of married life, and they are so un-American in treatment that they would have no interest whatever to our readers. Balzac regarded the marriage state as one of constant antagonism, and believed that the feud always existed, open or hidden. In America, marriage is re- garded as a sacred and beautiful institu- tion, sanctioned of God and blessed by man, and we cannot understand the phases of French life in which love- matches are rare and marriage is a matter of convenience and arbitration. In the running review, which we have here concluded, of Balzac's Comedy of Human Life, we believe we have shown the stupendous scope of the work, the great variety of topics and characters treated, and have, in a measure, at least, combated the prevalent opinion that Bal- zac was essentially an immoral writer. He found French society in a very dis- organized condition, and he wrote of it as he found it. Like a Napoleon in the field of letters, he rose from the social disintegration that followed the Revo- lution, and he described the French people as they w'ere, always leaning to the side of monarchy because he sincerely believed that the stronger the govern- ment the more secure the individual. He was an industrious workman and, as one of his most severe critics said of him, "was too laborious a slave to the pen. to find time to be personally immoral." The ti'anslations have been made by Mr. George Saintsbury, the distinguished English scholar and critic ; E. P. Robins, Mrs. Frederick M. Dey, Mrs. B. M. Sher- man, and the editor. The publisher and editor of this edition of Balzac take pride in sa^-iiig that it does not contain a word that can do harm, and they have great pleasure in bringing to the acquaintance of many thousand American readers this Shakespeare of prose fiction, whose imperishable name will grow brighter with each new century. Julius Chambers. New York, January 1, 1893. THE AUTHOR'S LIFE. HoNORE DE Balzac was born at Tours on the 20lh of May, 1799. There was no authority for the aristocratic de in his name. He inserted it himself. He was a dreaming and solitary child, refusing to play with his two sisters, and taking no notice of the toys that were given him. There was one exception ; he would spend hours in a sort of ecstasy playing on a violin, the strains he produced, discordant to others, sounding to him divine melo- dies. This passion for music he retained all his life ; two of his philosophic studies on the subject, "Gambara" and "Mas- similla Doni," are among his most delicate work. His faculty for reading showed it- self at the age of five, when he read the Holy Scriptures with absorbing interest. He possessed himself with great rapidity of the contents of every book that fell into his hands. Science, philosophy, and religion were his principal study, and he even read dictionaries from end to end. He was sent to the Oratorian College at Vendome ; while there, at the age of eleven, he w^rote a treatise on the Will, which his teacher, with the true instinct of a schoolmaster, burned. He would also contrive to be punished in the lock-up, in order to devote himself at leisure to the books he preferred. To his reminiscences of these days are due his marvelous pro- duction, " Louis Lambert." His memory retained the minutest details, consequently this excessive reading produced a sort of congestion in an undeveloped brain. At the age of fourteen he was apparent]}' so stupefied that it was necessary to remove hiui from school. Yet he already had glimpses of his futui'e fame. "You will see," he once said to his sisters, "some day I shall be famous." INTRODUCTION. 15 About this time, in 1813, the family re- moved to Paris, where young- Balzac was sent to a well-known "pensionnat." At the age of eighteen he received the diplo- mas of bachelor and of licentiate of let- ters, and then went through the courses of law at the Sorbonne and the College of France, simultaneously. Meanwhile, in obedience to his parents, he worked in the office of an advocate, and afterward of a notary. As he was completing his twenty-first year, his parents required him to adopt the profession of a notary' ; this he abso- lutely refused to do, declaring that he had long made up his mind to be an author. " Do you know," said his father, " that in literature if a man is not a master he is a mere 'hack ' ? " " Then I will be a master," said he. Finding it impossible to move him, his parents returned to the country, leaving him with a very small allowance alone in Paris. His way of life and his privations at this time are graphically' described in his let- ters to his favorite sister Laure, afterward Madame de Surville. His first garret was in the Rue de Lesdiguieres. He frequently did not go out for weeks at a time farther than the nearest grocer, and that only in order to buy coffee, which he consumed at night while he read or wrote. He had scarcely any fire, even in winter, and very • little to eat. From the hard life that he led at this time he contracted a tendency' to violent attacks of toothache, recurring all through his life. His first literary production was a drama called " Cromwell," which he read to a company of friends ; they pronounced it wortliless. After this he published, chiefly under fictitious names, about thirty novels, ten of which are now included un- der the title "Works of Youth." • At the age of twenty-five, as his pen did not bring in sufficient to keep him, he resolved to make enough by other means to enable him to write as ho willed. He borrowed funds from an old college friend, and started a publishing business, but owing to lack of interest with the book- sellers it failed. His friend, not discour- aged, lent him more money, and his father, pleased that he was starting on another career, added thirtj' thousand francs. With this capital he opened a printing-house in the Rue Marais-Saint- Germain, where he set up twelve presses and a type foundry. Under his direction the most assiduous labor was expended on every part of the establishment. Soon after, the severe laws of the Restoration restricting the liberty of the press were enacted, and ruined the undertaking. He was thus forced to return to litera- ture, not only in order to live, but to pay the debts which he had contracted in trade. He was overburdened with debt until the last year of his life. Among the books in his library was one bound like his own works, bearing the title "La Tragedie Humaine; " it contained an ac- count of his expenditures. In 1827 he published, under the editor- ship of a kindly "libraire," Monsieur Levavasseur, the first book that was well received, "Les Chouans." He now de- voted himself entirely to the work of his life — a history of the manners of his time. As Dante has followed the development of God's counsels in the " Commedia, " called by posterity "divine," so Balzac has laboriously analyzed the machinery of human society in his " Comedie Hu- manie." Nor did his literary work end with this vast idea ; he started at least two reviews, was the author of numerous articles, four dramas, and many grotesque tales after the manner of his great coun- tryman Rabelais. These last are col- lected in three volumes under the title of "The Droll Stories." The care and labor which he expended on his works was immense. He wrote the outline of his story down the middle of a very wide sheet of paper, filled it in both sides with additions, and then sent it to be printed. This method he repeated until he was satisfied. It is known that the proofs of one of his stories ("Pier- rette ") were thus corrected seventeen times ; the cost of correction amounted to three or four hundred francs more than was realized by the sale of the book. His mode of working was the despair of the 16 INTRODUCTION. compositors, who used to stipulate in their agreements that they should never be kept at work on Monsieur de Balzac's manuscripts for more than two hours at a time. His characters were to him, as they become to his readers, living realities. " Come," said he one day at his sister's when the conversation had turned on the doings of some acquaintances or political personages, " let us now talk about real people and real sorrows ; let us talk of 'Eugenie Grandet,'" and he proceeded to discuss the lovely characters in " La Comedie Humaine." The number of per- sons in that great work amounts to five thousand, many of them appearing or referred to again and again in different stories. In person Balzac was handsome, strong, and healthy ; his capacity for enduring fatigue enormous. The portrait used in this volume is from the first complete Paris edition of " The Human Comedy." Though he was continually harassed by bis creditors, a moment of joy made him forget weeks of anxiety. The charm of his personality and his persuasiveness were so extraordinary that he induced men of sober judgment to consent to the wildest schemes. These he was perpctu- aUj^ occupied in inventing in order to get rich ; now it was the finding of the great Mogul's jewel, now it was a mine or the cultivation of opium in Corsica, now it was the discovery of perpetual motion, and now a plan for destroying the credit of the German banking-houses. It is re- markable that two of his schemes actu- TkWy made the fortune of persons to whom he incautiously intrusted them. He was a man easily deceived and incapable of deception. In 1834 he became a candidate for the Academic. This enlightened institution rejected him Avith the excuse that his affairs were not in a flourishing state. There could scarcely be a more startling example of the futility of State establish- ments for the encouragement of literature or art. The anecdotes told of Balzac are count- less. A recent volume entitled " An Englishman in Paris" is larded with them. His strange appearance and un- usual habits have made his personality attractive and familiar. During the time that he was writing a story he used to go to bed at half-past five, after his dinner, and got up at eleven or twelve. Then, clad in the monastic habit which he had adopted as a dressing-gown, he wrote until nine in the morning. When he was not writing he frequentlj' spent the night walking about Paris or in the country, just as Dickens walked about London and the Kentish hills. In the year 1850 his dreams of wealth were realized ; he married a rich Russian lady, the Countess Eva de Hanska, to whom he had dedicated "Pierrette" ten years before. But close on the heels of riches came death. Feeling his strength fail him he hurried to Paris, and died there four months after his marriage, in the same year, 1850. In religious opinion he was a pro- nounced Catholic ; in politics a depided Monarchist. This greatest writer of modern fiction in any language has been little known to Americans. SCENES OF PRIVATE LIFE. I. THE PURSE. There is a delicious moment for minds given to expansion — the moment when night exists not yet, and day exists no long-er; when the glimmering t^\'ilight casts over every object its soft tints or its fantastic reflections, and invites a reverie vagxiely wedded with the play of light and shade . The silence which almost always reigns at this instant renders it more particularly dear to the artist, who, collecting his thoughts, places himself at some paces from his work, on which he can labor no longer, and criticises it, growing enraptured with the subject, whose true significance flashes then on the inner eye of genius. He who has not stood pensive by the side of a friend dur- ing this moment of poetic dreams, can with difficulty comprehend its unspeaka- ble privileges. Favored by the clair obscur, the material means emploj^ed by art to produce the effect of realities disappear entirely. If it is a picture, the personages represented seem to walk and talk; the shade becomes shadow, the light daylight, the flesh is alive, the eyes move, the blood rims in the veins, and the dress stuffs ghsten. Imagination comes to the aid of every detail and sees only the beauties of the work. At this hour illusion reigns despotically, to be dis- pelled, perhaps, by nightfall. Is not illusion a sort of mental night which we people with visions ? Then, illusion spreads her wings ; she carries off the soul into a world of fancies, a world fertile in volup- tuous caprices, and where the artist for- gets the world positive, yesterday and tc-morrow, the future, everything, even to his troubles, hght and heavy. At this magic hour, a j'oung painter — a man of talent, who followed his art for the sake of art alone — had mounted on the double ladder he made use of to paint a large, tall picture, almost finished. There, criticising and admiring himself in good faith, floating on the current of his thoughts, he sank into one of those meditations which enchant and exalt the soul, caressing and consoling it. His reverie doubtless lasted long. Night fell. Whether he had intended to come off the ladder, or whether he had made an im- prudent movement, fancying himself on the floor — for the result did not permit him to have a very clear idea of the cause of his accident — he fell. His head struck on a stool ; he lost consciousness, and re- mained without movement during a lapse of time whose duration was unknown to him. A soft voice awoke him from the species of torpor in which he was plunged. As soon as he reopened his eyes, the sight of a bright hglit made him quickly shut them again ; but through the veil which enveloped his senses, he could hear the whispering of two women, and feel two young, two timid hands, on which his head reposed. He soon regained con- sciousness, and was able to perceive, by the glimmer of one of those old lamps called o double courant d'air, the most delicious young girl's head he had ever seen — one of these heads which often pass (17) 18 THE HUMAN COMEDY. for a caprice of the pencil, but which sud- denly realized for him those theories of ideal beauty each artist creates for him- self, and from which he derives his talent. The countenance of the unknown belonged, so to speak, to the fine and delicate type of the school of Prudhon, and possessed also the poetry with which Gii'odet en- dows his fancy portraits. The freshness of the temples, the regularity of the eye- brows, the purity of the outlines, the chastity strong'lj^ stamped on every feat- ure of this countenance, made of the young girl a perfect creature. Her figure was slight and supple ; the contour was deli- cate. Her dress, plain and clean, an- nounced neither riches nor poverty. On coming to himself, the painter expressed his admiration by a look of surprise, and murmured some confused thanks. He found his forehead bound with a handker- cliief, and recognized, notwithstanding the peculiar odor of an atelier, the strong smell of ether, doubtless used to restore him from his swoon ; and at length he saw an old woman, who looked like a marquise of the ancien regime, and was holding the lamp and giving directions to the young unknown. " Sir," replied the young girl to one of the inquiries made by the painter during the moment in which he was still a prey to all the confusion of ideas produced by his fall, " my mother and I heard the noise of your fall on the floor, and we thought we distinguished a groan. The sUence which succeeded alarmed us, and we made haste up. Finding the key in the door, we fortunately ventured in, and found you stretched on the ground with- out motion. My mother went to get everything necessary to make a bandage and restore you. You are wounded on the forehead — ^there. Do you feel it ? " "Yes, now," said he. "Oh, it will be nothing," put in the old mother. " Your head, luckily, struck against this model." "1 feel infinitely better," replied the painter. " I only want a cab to return home. The portier will go and fetch me one." He wanted to reiterate his thanks to the two unknown; but at every speech the old lady interrupted him with, " Take care you put on some leeches to-morrow, sir, or have yourself bled ; take some medi- cine; take care of yourself. Falls are dangerous." The young girl glanced stealthily at the painter and at the pictures in the atelier. Her countenance and her looks revealed a perfect modesty ; her curiosity was rather absence of mind , and her eyes seemed to express that interest which women take, with such graceful impul- siveness, in all our misfortunes. The two unknown seemed to forget the painter's works in the presence' of tlie painter's sufferings. When he had reassured them as to his state, they left, after examining him with a solicitude cquallj^ devoid of obtrusivencss and familiarity, without asking anj' indiscreet questions, or seek- ing to inspire him with a desire to become acquainted with them. Their actions were marked with an exquisite simplicity and good taste. Their manners, noble yet simple, produced at first little effect on the painter ; but afterward, when he was thinking- over all the circumstances of this event, he was much struck by them. Oil arriving at the floor below that on which the atelier of the painter was sit- uated, the old lady exclaimed softly, " Adelaide, you have left the door open." " It was to come to my assistance," replied the painter, with a smile of grati- tude. "You came down just now, mother," answered the young girl, blushing. "Shall we accompany you to the bot- tom ? " said the mother to the painter. " The staircase is dark." "Thank you, madame, I am much better." • " Take hold of the banister." The two women remained on the mat to light the young man, listening to the sound of his footsteps. In order to explain how attractive and unexpected this scene was to the painter, we must add that he had been only a few days installed in his atelier at the top of this house, situated in the darkest and THE PURSE. 19 muddiest part of the Rue de Suresnes, almost in front of the Church of the Madeleine, a few steps frona his apart- ments, which were in the Rue des Champs Elysees. The celebrity he had acquired by his talents having rendered him one of the artists dearest to France, he was just getting- beyond the reach of want, and enjoying, to use his own ex- pression, his last privations. Instead of going to work in one of those ateliers situated near the barriers, whose moder- ate rent had formerly been in proportion to the modesty of his earnings, he had satisfied a wish of daily recurrence by saving himself a long walk and a loss of time become more precious than ever to him. Nobody in the world would have in- spired more interest than Hippolj'te Schinner, if he would have consented to make himself known ; but he did not lightly disclose the secrets of his life. Ho was the idol of a poor mother who had brought him up at the price of the hard- est privations. Mademoiselle Schinner, the daughter of an Alsatian farmer, had never been married. Her tender heart had once been cruelly outraged \>y a rich man, who did not pride himself on any great delicacy in his amours. The day on which this j'oung girl, in all the splendor of her beauty and in all the pride of her life, underwent, at the expense of her heart and its fairest illusions, that disen- chantment which comes upon us so slowly and yet so sharply (for we try to post- pone as long as possible our belief in evil, and it always seems to come too suddenly) — this day was a whole age of reflections, and it was also a day of religious ideas and of resignation. She refused the alms of the man who had deceived her, renounced the world, and made her fault her pride. She gave herself up entirely to maternal love, seeking in that, instead of the enjoyments of society to which she had bidden adieu, all her pleasures. She lived by her labor, accumulating a treas- ure in her son ; and later on, one'day, one hour repaid her for all the long and slow sacrifices of her poverty'. At the last Exhibition, her son had received the cross of the Legion of Honor. The papers, unanimous in favor of an unknown tal- ent, resounded still with smcere praises. The artists themselves recognized Schin- ner as a master, and the dealers covered his pictures with gold. At five and twentj', Hippolyte Schin- ner, to whom his mother had transmitted her woman's nature, understood better than ever his position in the world. Wishing to restore his mother to the en- joyments of which society- had so long deprived her, he lived for her, hoping by dint of glory and fortune to see her, one day, happy, rich, esteemed, and sur- rounded by celebrated men. Thus, Schin- ner had chosen his friends from the most honorable and distinguished men. Par- ticular in the choice of his acquaintance, he wished still further to elevate his posi- tion, which his talent had already raised so high. Bj' forcing him to remain in solitude, the mother of great ideas, the hard work to which be had been devoted from his j'outh had allowed him to retain the simple faith which embellishes the first season of our life. His youthful mind was not unacquainted with anj' one of the thousand forms of chastity which make the young man a being apart, whose heart abounds in felicities, in poe- sies, in virgin desires, weak in the eyes of worn-out natures, but profound because they are simple. He was endowed with those soft and polished mannei's which become the mind so well, and seduce even those who cannot understand them. He was well made. His voice, which sprang from the heart, touched the noble senti- ments of other hearts, and bore witness to a true modesty by a certain candor of accent. On looking nt him, you felt your- self drawn toward him by one of those moral attractions which the savants, fort- unately, cannot analyze ; they would find in it some phenomenon of galvanism, or the action of some unknown fluid, and would regulate our sentiments by the proportions of oxygen and electricity-. These details will perhaps enable people of a bold character, and men famed for their neckties, to understand why, during the absence of the portier, whom he had 20 THE HUMAN COMEDY. sent to the bottom of the Rue de la Mad- eleine for a cab, Hippolj'te Schinner did not ask a sing-le question of the portiere about the two persons who had shown him so much good nature. But, although he only answered " Yes " and " No " to the questions, natural in such a case, which were asked him by this woman about his accident and the friendly inter- ference of the lodgers who occupied the fourth floor, he could not prevent her from obeying the instinct of a porter; she would talk to him about the two un- known, in the interests of her policy, and according to the subterranean judgment of her lodge. " Ah ! " said she, " it was, no doubt, Mademoiselle Leseigneur and her mother, who have been living here four years. We don't know yet what these ladies are. In the morning, an old charwoman, who is as deaf and talks as much as a stone wall, comes to do for them up to twelve o'clock ; in the evening, two or three old gentlemen, decorated* like you, sir — and one of them has got his carriage and servants, and is worth sixty thousand francs a year, they say — come to see them, and sometimes stop very late. Altogether they are very quiet tenants, like you, sir ; and, besides, they are eco- nomical, and live on almost nothing. Directly a letter comes, they pay for it. It's queer, sir, that the mother goes by a different name to the daughter. Ah ! when they go to the Tuileries, mademoi- selle is very smart, and never goes out without being followed by the young fel- lows; but she shuts the door in their face, and quite right too. The landlord would not allow—" The cab came up ; Hippolyte heard no more, and returned home. His mother, to whom he related his adventure, re- dressed his wound, and did not allow him to go to his atelier the next day. After a consultation, divers prescriptions were given, and Hippolyte remained three days in the house. During this seclusion, his unoccupied imagination reproduced in * Decore — wearing tlie ribbon of the Legion of Honor or some other order. lively colors, and, as it were, in frag- ments, the detaUs of the scene which followed his fainting. The profile of the young girl stood out strongly on the background of his inner vision. He saw the withered face of the mother, or felt again the hands of Adelaide ; he recalled a gesture which had not struck him at first, but whose exquisite grace was thrown into relief by recollection ; then an atti- tude, or the tone of a melodious voice embeUished by the perspective of mem- orj^, suddenly reappeared like an object which, after sinking to the bottom of the water, returns to the surface. And so, the first day he could resume work, he returned earlier to the atelier ; but the visit he was incontestibly entitled to pay his neighbors was the true cause of his haste. He had already forgotten his half-painted picture. At the moment when passion throws off its swaddling clothes, it falls into those inexpressible pleasures which those who have loved can understand. Thus, some people will know why the painter slowly mounted the stairs of the fourth floor, and will be in the secret of the palpitations which rapidly succeeded each other in his heart, the moment he saw the brown door of the modest apartments inhabited by Mademoiselle Leseigneur. This young girl, who did not bear the name of her mother, had awoke a thousand sym- pathies in the breast of the young painter ; he tried to see a similarity of position between her and himself, and endowed her with the misfortunes of his own origin. Even while at work, Hippolyte gave himself up very complacently to thoughts of love, and made a great deal of noise to compel the two ladies to think about him as he was thinking of them. He stayed very late at the atelier, dined there, and then, about seven o'clock, went down to see his neighbors. No painter of manners has dared to initiate us, perhaps from modesty, into the really curious interiors of certain Parisian existences — into the secrets of those dwellings from which issue such fresh and elegant toilets, such briUiant THE PURSE. women, who, rich out of doors, betray on all sides at home the signs of an equivocal fortune. If the picture is here too can- didly drawn, if you find it too much spun out, do not accuse the description wliich is, so to speak, incorporated with the story ; for the aspect of the apartments inhabited by his two neighbors had a great deal of influence on the sentiments and hopes of Hippolyte Schinner. The house belonged to one of those landlords in whom there exists a pro- found horror of repairs and embellish- ments, one of those men who consider tlieir position of a Parisian landlord as a trade. In the great chain of moral species, these people hold a middle place between the miser and the usurer. Opti- mists by calculation, they are all faithful to the statu quo of Austria. If you talk about moving a cupboard or a door, or opening the most necessary of ventilators, their ej-es sparkle, their bile is stirred ui>, they rear hke frightened horses. When the wind blows down some of their chim- ney-pots, they fall ill, and abstain from going to the Gymnase or the Porte St. Martin on account of repairs. Hippol_>i;e, who, on account of certain embelUsh- nients to be made in his atelier, had had gratis a comic scene with the Sieur Moli- neux, was not astonished at the dark and greasy shades, the oily tints, the spots, and other disagreeable accessories which decorated tlie wooden fittings. Besides, these stigmas of poverty are not without poetry in the eyes of an artist. Mademoiselle Leseigneur came herself to open the door. On recognizing the young painter, she bowed to him ; and at the same time, with Parisian dexterity and the presence of mind given by pride, she turned to close the door of a glazed pai'tition, tlirough which Hippolyte might have caught sight of some linen hanging on the ropes above the economical stove, an old folding-bed, the braise, the coals, the flat-irons, the filter, the crockery, and all the utensils peculiar to small establish- ments. Tolerably clean muslin curtains carefully concealed this capharnaum — a word used to designate familiarly these species of laboratories — badly lighted be- sides by a borrowed light from a neigh- boring courtyard. With the rapid glance of an artist, Hippolji;e perceived the des- tination, the fiu'niture, the general effect, and the state of this fli'st room cut in two. The honorable part, which served at once as antechamber and dining-room, was papered with an old "aurora-colored" paper, vnth a velvet border, no doubt manufactured by Reveillon, the holes and spots in which had been carefully hidden v>'ith wafers. Prints, representing the battles of Alexander by Lebrun, but in worn - out gilt frames, symmetrically adorned the walls. In the middle of this room was a solid mahogany table, of old-fashioned shape, and worn at the edges. A small stove, whose upright, unbent pipe was scarcely perceptible, stood in front of the fireplace, wliich was turned into a cupboard. By an odd con- trast, the chairs displayed some vestiges of past splendor; they were of car%-ed mahogany, but the red morocco of the seat, the gilt nails, and gimp showed scars as numerous as those of a sergeant of the Old Guard. This room served as a museum for certain things which are only met with in these sorts of amphibious households, objects without a name, par- taking at once of luxury and poverty. Among other curiosities, Hippol^'te re- marked a magnificently ornamental tele- scope, hanging above the little greenish glass which decorated the chimney-. To match this strange piece of furniture, there was a shabby buffet, pointed like mahogany — the wood of all others most difficult to imitate — between the chimney and tlie partition. But the red * and slippery floor, the little bits of shabby carpet placed before the chairs, the furni- ture, everything, shone with that labori- ous cleanliness which lends a false luster to old things, while showing up still more strongly their defects, their age, and long service. There reigned in this room an indefinable odor, resulting from the ex- halations of the capharnaxim , mixed with * In the old-fashioned houses of Paris the floors were sometimes of red tiles, and never carpeted all over. THE HUMAN COMEDY the vapors of the diningr-room and the staircase, although the window was left open and the street air stirred the muslin curtains, which were carefully drawn in order to hide the embrasure, where pre- ceding tenants had left signs of their presence in divers incrustations or spe- cies of domestic frescoes. Adelaide quickly opened the door of the other room, into which she intro- duced the painter with a certain pleas- ure. Hii)polyte, who had formerly seen in liis mother's time the same signs of indigence, remarked them with the singu- lar vivacity which characterizes the first acquisitions of memor^^ and entered, far better than another could have done, into the details of this existence. On recog- nizing the familiar objects of his infancy, this good young man felt neither con- tempt for this hidden misery, nor pride in the luxui-y he had just won for his mother. " Well, sir, I hope yon do not feel the effects of your fall," said the old mother, rising from an old-fashioned easy-chair placed at the corner of the chimney, and offering him a seat. " No, niadame. I am come to thank you for your kind offices, and particu- lai^ly mademoiselle, who heard me fall." In making this speech, stamped with the adorable stupidity which springs from the first embarrassment of real love, Hippohte looked at the young girl. Adelaide was lighting the lamp ci double courant d'air, no doubt in order to render invisible a candle stuck in a large brass candlestick, and orna- mented with some striking designs by an extraordinarj' g-uttering. She bowed slightly, went to put the candlestick in the antechamber, returned to place the lamp on the chimney, and sat down by her mother, a little behind the painter, in order to be able to look at him at her ease, while appearing- very much occu- pied with the burning up of the lamp, whose flame, damped by tlie moisture of a dull glass, sputtered and struggled with a black and badlj- cut wick. Seeing the large glass which adorned the chim- ney, Hippol^'te quickly cast his eyes on it to admire Adelaide. Thus, the little ruse of the young girl only served to em- barrass them both. Willie talking to Madame Leseigneur — for Hippolyte gave her this- name at all hazards — he examined the drawing-room, but decentl^^ and stealthily. You could scarcely see the Egyptian figures of the iron andirons in a hearth full of cinders, on which two brands tried to keep to- gether before a sham log of brick, buried as carefullj^ as the treasure of a miser. An old Aubusson carpet, much mended, much faded, and .as well-worn as a pen- sioner's coat, did not cover all'tlie floor, which struck cold to the feet. Tlie walls were ornamented with a reddish paper, representing a China silk with a yellow pattern. In the middle of the wall, op- posite the windows, the painter saw a chink and the break produced in the paper by the two doors of an alcove, in which Madame Leseigneur slept, no doubt, which were scarcely masked by a sofa placed before them. Opposite the chimney, over a mahogany chiffonier of a style not without richness and good taste, hung the portrait of a soldier of high rank, which the feeble light did not allow the painter to see distinctly, but, from what he could perceive, he fancied this frightful daub must have been painted in China. At the windows, the red silk curtains were as discolored as the red and yellow tapestry of the furniture of this double-functioned room. On the marble of the chiffonier stood a valuable mala- chite salver, containing a dozen coffee- cups magniflcentlj^ painted, and manu- factured, no doubt, at Sevres. On the mantelpiece figured the eternal clock of the empire, a warrior guiding the four horses of a chariot, whose wheel bears at every spoke the number of an hour. The wax candles in the candelabra were turned yellow b^' the smoke, and at each corner of the mantelpiece was a porcelain vase surmounted by flowers, full of dust and garnished with moss. In the middle of the room, Hippolj'te remarked a card- table all iDrepared, with some new cards on it. There was something inexpres- sibly affecting to an observer in the sight THE PURSE. 23 of this poverty painted like an old woman who tries to make her face lie. At this spectacle, every man of sense would have proposed to himself secreth", and from the beginning', this species of dilemma : either these two women are honesty it- self, or they live by intrig-ue and play. But on looking at Adelaide, a young man as pure as Schiuner would believe in the most pei'fect innocence, and attribute the incongruities of this furnishing to the most honorable causes. "My child," said the old lady to the young girl, " I am cold ; make up the fire, and give me my shawl.'' Adelaide went into the adjacent room, where, no doubt, she slept, and returned, bringing to her mother a cashmere shawl which must have cost a great deal when it was new, for the pattern was Indian; but, old, faded, and full of darns, it harmonized with the furniture. Madame Leseigneur put it on ver^' artistically, and with the tact of an old woman who wishes the truth of her words to be believ^ed. The young girl ran nimblj' to the capharmaum, and reappeared with a handful of small wood, which she threw boldlj' on the fire to make it burn up. It would be difficult to transcribe the conversation which took place between these three persons. Guided b^' the tact almost always acquired by a childhood spent in misfortune, Hippolyte carefully' avoided the least observation relative to the position of his neighbors, seeing around hiui the sj-mptoms of an embar- rassment so badly disguised. The most simple question might have been indis- creet, unless from the mouth of an old friend. Nevertheless, the painter was profoundly affected by this hidden mis- ery ; his generous heart suffered ; but, knowing how offensive any kind of pity, even the most friendly, may appear, he felt ill at ease from the discordance which existed between his thoughts and his words. The two ladies talked at first about painting, for women divine so well the secret embarrassment of a first visit ; perhaps tliey feel it themselves, and their feminine instinct furnishes them with a thousand resources for putting- an end to it. While questioning the young man about the material process of his art, and about his studies, Adelaide and her mother inspired him with courage to talk. The indefinable workings of their conver- sation, animated with benevolence, led on Hippolyte quite naturally to let fall re- marks or reflections which indicated the nature of his habits and his heart. Grief had prematurely aged the face of the old lady, doubtless handsome in its day ; but there remained nothing but the striking features, the outline — in a word, the skeleton of a countenance which, taken altogether, indicated great refinement ; much grace in the play of the eyes, which recalled the expression peculiar to the wo- men of the old court, and which no words can define. These features, so small and so refined, might just as well denote an evil disposition, and indicate feminine cun- ning and craft carried to a high degree of perversity, as reveal the delicacy of a noble mind. In fact, the feminine physiognomy is so far embarrassing to common observ- ers, that the difference between frankness and duplicity, between the spirit of in- trigue and the spirit of honor, is imper- ceptible. The man endowed with pene- trating insight divines the imperceptible shades produced hy a profile more or less bold, a dimple more or less hollow, a feat- ure more or less arched or prominent. The appreciation of these diagnostics is entirelj' in the domain of intuition, which alone can discover what everybody' is in- tei'ested in concealing. It was the same with the countenance of the old lady as with the apartments she inhabited ; it seemed as difficult to tell whether their poverty sheltered viciousness or strict pro- bity, as to decide whether the mother of Adelaide was an old coquette, accustomed to weigh everything, to calculate everj'- thing, and to sell ever\'thing, or an affec- tionate woman, full of nobility and amiable qualities. But at the age of Schinner, the first impulse of the heart is to believe in good ; and in contemplating the noble and almost disdainful brow of Adelaide, and looking into her eyes full of soul and of thought, he inhaled, so to speak, the sweet and modest perfume of virtue. 24 THE HUMAX COMEDY. In the middle of the conversation, he seized the opportunity of talking- about portraits in general, in order to luive a rig'ht to examine the frightful pastel, the colors of which had all faded, and the principal part of its surface fallen a\va3^ " You prize this picture, no doubt, for the sake of the likeness, ladies, for the drawing is hoi*rible," said he, looking at Adelaide. "It was done at Calcutta, in great haste," replied the mother in a voice of emotion. She gazed at the shapeless sketch with the profound abstraction caused by the I'ecoUections of happiness, when they awake and fall on the heart, like a be- neficent dew to whose refreshing influence we love to abandon ourselves ; but there were also in the expression of the counte- nance of the old lady the vestiges of an eternal mourning. At least, tlie painter chose thus to interpret the attitude and the phj'siognomy of his neighbor, by whose side he came and sat down. "Madame," said he, "in a very short time the colors of this pastel will liave disappeared. The portrait will exist no longer except in your memory. Where you see a face dear to 3'ou, others will perceive nothing. Will you permit me to transfer this likeness to canvas ? It will be more firmly fixed on that than it is on this paper. Allow me, as a neighbor, the pleasure of rendering yo\x this service. There are always liours in which an artist is happy to amuse himself, after his grand compositions, hy works of a less elevated chai'acter, and it will be an amusement for me to reproduce this head." The old lady heard these words with a start of joy, and Adelaide cast on the painter one of those concentrated glances which seem to be an emanation of the soul. Hippolyte wislied to attach himself to his two neighbors by some tie, and to obtain the right of mingling with their life. His offer, addressed to the warmest affections of the heart, was the onl^' one he could possibly make ; it gratified his artist's pride, and could not offend the two ladies. Madame Leseigneur accepted it without eagerness or reluctance, but with the con.scientiousness of great minds which comprehend the extent of the ties formed by such obligations, and consti- tute them a magnificent eulogj', a proof of esteem. " This uniform," said the painter, "seems to be that of a naval oniccr?" " Yes," said she ; " it is that of a post captain. Monsieur de Rouville, my hus- band, died at Batavia, of a wound received in a combat with an English vessel which he encountered on the coast of Asia. He commanded a frigate of fift^'-six guns, and thei?et;en(/ewas a ship of ninety-six. The combat was very unequal, but he de- fended himself so courag-eously that he kept it up until night enabled him to escape. When I returned to France, Bonaparte was not yet in power, and the^' refused me a pension. When I re- newed my application lately, the minister hai'shly told me tliat if the Baron de Rou- ville had emigrated, I should not have lost him : that he would doubtless have been a rear admiral by this time ; in short, his excellency' concluded by referring me to I don't know what law of forfeiture. I only took this step, to which I was urged by my friends, for the sake of my poor Ade- laide. I have alwaj^s had a repugnance to hold out my hand in the name of an affliction which deprives a woman of speech and strength. I do not like this pecuniary valuation of blood irreparably' si^illed." " Mamma, this subject of conversation always upsets 3'ou." At this remark of Adelaide's the Bar- oness Leseigneur de Rouville bowed her head and remained silent. "Sir," said the young gii-l to Hip- polyte, " I thought that a painter's work was not generally very noisy." At this question Schinner began to blush at the remembrance of the disturb- ance he had made. Adelaide did not finish, and spared him some falsehood by rising suddenly at the sound of a carriage which stopped at the door. She went into her room, and returned immediately car- rying two gilt candlesticks, holding half- burned wax-candles, which she quickly lighted ; and without waiting for the THE PURSE. 25 ringing of the bell, slie opened the door of the first room, and left the lamp there. The sound of a kiss given and received re-echoed in the heart of Hippolyte. The impatience of the j'oung man to see the person who treated Adelaide so familiarl.y was not very quickly satisfied ; the new arrivals had a whispered conversation with the 3'ouug girl, which appeared very long to him. At length Mademoiselle de Ron villa re- appeared, followed hx two men whose cos- tume, physiognomy, and aspect were a history- in themselves. The first, aged about sixty, wore one of those coats in- vented, I believe, for Louis XVIII., then reig-ning', and in which the most difficult of sumptuary problems was solved by a tailor who ought to have been immortal. This ai'tist recog-nized, assuredly, the art of transition, which was the sole genius of this politically shifting age. Is it not a rare merit to be able to judge one's epoch ? This coat, which the young men of the day may take for a myth, was neither civil nor military, and might pass by turns for military or for civil. Embi'oid- ered fleurs-de-lis ornamented the flaps of the tails; the gilt buttons were likewise fleur-de-lised. On the shoulders, two empty sti"aps demanded useless epaulets. These two military emblems looked like a petition without an address. With the old man, the button-hole of this coat, which was made of blue cloth, was adorned with several ribbons. No doubt he alwaj'S held in his hand his three-cornered hat trimmed with gold coi'd, for the snow_y locks of his powdered hair showed no trace of the pressure of a hat. He did not look more than fifty, and appeared to enjoy robust health. While pi'oclaim- ing the frank and loyal character of the old emigrants, his physiognomy also de- noted the easy and libertine manners, the gay passions and carelessness, of those mousquetaires formerl3- so celebrated in the annals of gallantry. His actions, his gait, his manners announced that he would not easily give up either his royal- ism, or his religion, or his amours. A truly fantastic figure followed this imposing voltigeur de Louis XIV. (such was the nickname given by the Bonapart- ists to these noble remains of the Mon- archy) ; but in order to paint it properly, it would have to be made the principal object of a picture in which it is only an accessory. Imagine a lean and dried-up personage, dressed like the first, but being only, so to speak, his reflection, or his shadow, if you like. The coat of the one was new ; the other's was old and faded. The powder of the hair seemed less white in the second, the gold of the fleurs-de-lis less shining, the shoulder-straps more de- spairing and more shriveled up, the intel- lect weaker, the life further advanced to- ward the fatal term, than in the first. In short, he realized the saj'ing of Rivarol about Champcenetz : " He is my moon- light." He was only the double of the other — a pale and poor double, for there existed between them the same difference - as between the first and the last impres- sion of a lithograph. This dumb old man was a mysterj' to the painter, and re- mained a constant mystery. The cheva- lier — for he was a chevalier — did not speak, and nobody spoke to him. Was he a friend, a poor relation, a man who accompanied the old gallant like an old lady's companion? Was he the medium between the dog, the parrot, and the friend ? Had he saved the fort- une, or only the life of his benefactor ? Was he the Trim of another Captain Toby ? Elsewhere, as at the Baroness de Rouville's, he always excited curiosity without ever satisfying it. Who could recollect, under the Restoration, the at- tachment which, before the Revolution, united this chevalier to his friend's wife, dead twenty years ago ? The personage who appeared the most modern of these two ancient men ad- vanced gallantly toward the Baroness de Rouville, kissed her hand, and sat down beside her. The other bowed and placed himself at a distance represented by two chaii's from his original. Ade- laide came and leaned her elbows on the back of the chair occupied bv the old gentleman, imitating, without knowing it, the attitude given by Guerin to the 26 THE HUMAN COMEDY. sister of Dido in his celebrated picture. Although the familiaritj' of the old gen- tleman was that of a father, his liberties appeared for the moment to displease the young girl. *■ Well, are you cross with me ? " said he. Then he cast on Schinner one of those oblique glances, full of shrewdness and cunning — a diplomatic glance, whose ex- pression betrayed the prudent anxietj', the polite curiosity of well-bred people, who seem to inquire, on seeing an un- known, 'Ms he one of us ? " " You see a neighbor of ours," said the old lady, pointing to Hippolyte. "This gentleman is a celebrated painter, whose name must be known to you in spite of your indifference to the arts." The gentleman noticed the ingenuity of his old friend in the omission of the name, and bowed to the j'oung man. "Cei^tainly," said he, " I have heard a great deal of his pictures at the last Ex- hibition. Talent has great privileges, sir," added he, looking at the artist's red ribbon. " This distinction, which we have to win at the price of our blood and long services, you obtain while you are young'. But all honoi's are kindred," added he, putting his hand on his cross of St. Louis. Hippolyte murmured some words of thanks, and relapsed into silence, con- tenting himself with admiring with in- creasing enthusiasm the splendid head of the young girl, "by which he was charmed. Ho soon became absorbed in this contemplation, and thought no more of the poorness of the place. For him, the face of Adelaide was encircled by a luminous atmosphere. He replied briefly to the questions addressed to him, which he fortunately' heard, thanks to a singu- lar faculty of the mind, whose ideas maj' sometimes become in a manner divided. To whom has it not happened to remain plunged in a reverie, either voluptuous or sad, and hear its voice within his breast, wliile listening to a conversation or a reading ? Admirable dualism, which often helps us to have patience with bores ! Fertile and smiling, hope spread before him a thousand thoughts of happiness, and he no longer wished to notice any- thing around him. A child, full of confl- dence, it seemed to him a shame to ana- lyze pleasure. After a certain lapse of time, lie perceived that the old lady and her daughter were playing at cards with the old gentleman. As to the latter's satellite, keeping up his character of a shadow, he stood behind his friend, ab- sorbed in his game, replying to the mute questions addressed to him hy the player by little grimaces of approval which re- plied to the interrogatory movements of the other physiognomy. "Du Halga, I always lose," said the gentlema-n. " You put out badly," replied the Baroness de Rouville. "For three months I have not won a single game of you," he returned. "Monsicnir le Comte, have j'ou the aces ? " asked the old lad3'. "Yes. One more scored," said he. "Will you let me give you my advice ?" said Adelaide. "No, no; keep in front of me. Ventre de biche ! it would be losing too much not to have j'ou in sight." At last the game came to an end. The gentleman took out his purse, and throw- ing two louis on the table, said pettishly', " Fortj;' francs — as good as gold. And, diantre! it is eleven o'clock." "It is eleven o'clock," said the silent personage, looking at the painter. The 3'oung man, hearing this last word rather more distinctly th;ni the others, bethought him that it was time to retire. Re-entering the world of ordinaiy ideas, he took advantage of an opportunity to join in the conversation, took leave of the baroness, her daughter, and the two un- known, and went away, a prey to the first delights of true love, without seeking to analyze the little incidents of the evening. The next daj', the j'oung painter ex- perienced a most violent desire to see Adelaide again. If he had listened to his passion, he would have called on his neigh- bors at six in the morning, when he came to his atelier. He had sense enough, how- ever, to wait till the afternoon. But, as THE PURSE. soon as he tliou|^hfc ho mi.ght present him- self at Madame de Rouville's, he went down ; rang- the bell, not without some strong- palpitations of the heart ; and, blushing- like a j'oung girl, timidly asked Mademoiselle Leseig-neur, who had come to open the door to him, for the portrait of the Baron de Rouville. " Come in, please," said Adelaide, who, no doubt, had heard him come down from his atelier. The painter followed her, bashful and confused, not knowing- what to say. So nujch happiness made him stupid. To see Adelaide, to listen to the rustle of her dress, after ha\'ing- longed all the morning- to be near her, after having got up a hun- dred times and said, "I will go down ! " and not going- down, was, for hun, such a rapturous existence, that such sensa- tions, too much prolong'ed, would have exhausted his senses. The heart has the singular power of putting- an extraordi- nary price upon trifles. What joy for a traveler to pick a blade of grass, an un- known leaf, if he has risked his life in the search for them ! It is the same with the trifles of love. The old lady was not in the room. When the young girl found herself alone with the paintei', she brought a chair to get down the portrait ; but, on perceiving- that she could not unhook it without putting her foot on the chiffonier, she turned to Hippolyte, and said with a blush — "I am not tall enough — will you get it?" A sentiment of modesty, proved by the expression of her countenance and the accent of her voice, was the true motive of her request ; and the young- man, so understanding it, gave her one of those intelligent looks which are the softest language of love. Seeing- that the painter had understood her, Adelaide cast down her eyes with a movement of pride, the secret of which belongs to maidens. Not finding a word to say, and almost abashed, the painter took the picture, examined it gravely by the light of the window, and went awaj', without saying- any more to Mademoiselle Leseigneur than — "1 will soon bring it you back again." During this rapid instant, they both of them experienced one of those strong agi- tations whose effects upon the mind may be compared to those caused by a stone thrown into a lake. The sweetest reflec- tions arise and succeed each other, in- definite, multiplied, and aimless, agitating the heart like the retreating circles which for a long while ruffle the water, starting from the sjjot where the stone was thrown in. Hippolj'te returned to his atelier armed with the portrait. Already his easel was provided with a canvas, a palette was charged with colors ; the brushes were cleaned, and the place and the light chosen ; and until dinner time he worked at the portrait with the ardor which artists infuse into their caprices. He re- turned the same evening to the Baroness de Rouville's, and sta^-ed from nine till eleven. Except the different subjects of conver- sation, this evening exactly resembled the previous one. The two old men ar- rived at the same time, the same game at piquet took place, the same phrases were spoken by the players, the sum lost by Adelaide's friend was as large as that lost the evening before ; only Hippolyte, grown a little bolder, ventured to talk to the young girl. Tlius passed a week, during which the sentiments of the painter and of Adelaide went through those delicious and gradual transformations which lead the mind to a perfect understanding. Thus, day by day, the look with which Adelaide wel- comed her friend became more friendly, more confiding, more gay, more frank; her voice, her manners, grew more sig- nificant and more familiar. Tii(>y both laughed and chatted, communicated their thoughts to each other, and talked about themselves with the simplicity of two children who, in the space of one day, have become as good friends as if they had known each other for three years. Schianer tried to learn piquet. Ignorant, and a perfect novice, he naturallj' made blunder on blunder ; and, like the old man, he lost nearly everj' game. With- 28 THE HUMAN COMEDY. out having' yet confided to each other their love, the two lovers knew that they belong-ed to each other. Hippol^'te took pleasure in exercising his power over his timid love. Manj^ concessions were made to him by the timid and devoted Ade- laide, "who was the dupe of those sham estrangements which the least skillful lover or tlie most simple young- girl can invent, and of which thej' avail them- selves continually, as spoiled children abuse their power over their mother's love. Thus, all familiarities soon ceased be- tween the old count and Adelaide. The young girl understood the displeasure of the painter, and the ideas hidden in the lines of his foi^ehead, in the brusk accent of the few words he uttered, when the old man kissed without ceremon^^ the hands or the cheek of Adelaide. On her side, Made- moiselle Leseigneur soon required from her lover a rigid account of his slightest actions. She was so unhappy, so uneasy when Hippolj'te did not come, she knew so well how to scold him for his absences, that tbe painter ha4 to give up visiting his friends, and went no more into so- ciety, Adelaide allowed a woman's nat- ural jealousy to show itself on learning that sometimes, after leaving Madame de Eouville's at eleven o'clock, the painter made some more visits, and appeared in the most brilliant salons of Paris. That kind of life, she told him, was bad for his health ; and then, with that profound conviction to which the accent, the actions, and the looks of a loving girl give so much power, she insisted that a man obliged to bestow on several women at once his time and the charms of his mind, could not be the subject of a very strong affection. Tlie painter was thus led on, as much by the despotism of pas- sion as by the exactions of a loving young g-irl, to live only in this little household, where everything pleased him. In short, never was love moi'e pure or more ardent. An equal faith and an equal delicacy' on each side kept this passion growing, without the help of those sacrifices by which many people seek to prove their love. There existed between them a con- tinual exchange of sensations so sweet, that they never knew which gave and which received the most. An involun- tar3' inclination kept their hearts always closely united. Tlie pi'ogress of this g-enuine sentiment was so rapid that, two months after the accident to which the painter was indebted for the happiness of knowing- Adelaide, their life had become one and the same life. In the morning, when the young girl heard footsteps above her, she could say to herself, "He is there." When Hippoh'te returned to his mother's at dinner time, he never missed coming to greet his neighbors ; and in the evening he arinved at the usual hour, with the punctuality of a lover. Thus, the most tyrannical and most exacting of women in her love could not have made the slightest reproach to the j'oung- painter ; and Adelaide tasted a boundless and un- alloyed happiness in seeing the ideal of which it is so natural to dream at her age realized to its fullest extent. The old gentleman came le.ss frequentlj', the jealous Hippolyte having replaced him of an evening at the card-table, and in his constant ill-luck with the cards. Still, in the midst of his happiness, while thinking of the disastrous situation of Madame de Rouvillc — for he had acquired more than one proof of her distress — he was seized b3'^ an annoj-ing idea. Already he had said to himself several times, on return- ing home, "What! twenty francs every evening?" And he dared not avow to himself his odious suspicions. He took two months to paint the por- trait, and when it was finished, varnished, and framed, he looked upon it as one of his best works. The Baroness de Rou- ville had not said a word more to him about it. Was it f orgetfulness or pride ? The painter did not wish to explain to himself the reason of this silence. He plotted joyously with Adelaide to put the portrait in its place during the absence of Madame de Rouville. So one day, during the walk which her mother generally took in the Tuileries, Adelaide went upstairs alone, for the first time, to the painter's studio, under the THE PURSE. 29 pretext of seeing the portrait in the fav- orable hght in which it had been painted. She remained mute and motionless, g-iven up to a delicious contemplation in which all a woman's sentiments are merged in one. Are they not all summed up in a boundless admiration for the beloved one ? When the painter, uneasy at this silence, bent forward to look at the young girl, she gave him her hand, without being able to say a word, but two tears fell from her eyes. Hippolyte took the hand, covered it with kisses, and for a moment they looked at each other in silence, both of them wishing to avow their love, but not daring. The painter kept the hand of Adelaide in his, and then a mutual warmth and a mutual emotion showed them that both their hearts beat equallj^ strongly. Too deeply agitated, the young girl withdrew herself gently from Hippo- lyte, and said, with a look full of naivete. "You will make my mother very happy." "What! your mother only? " asked he. "Oh, me? I am too happy already." The painter bent his head and kept si- lence, alarmed at the violence of the sen- timents which the accent of this speech awoke in his heart. Then, understanding, both of them, the danger of this situation, they went down and put the portrait in its place. Hippolyte dined for the first time with the baroness, who, in her emotion, and all in tears, wanted to embrace him. In the evening the old emigrant, an old com- rade of the Baron de Rouville, paid a visit to his two friends, to inform them that he had been made a vice-admiral. His ter- restrial navigations across Germany and Russia had been allowed to reckon as naval campaigns. At the sight of the portrait, he shook the painter cordially by the hand, and exclaimed — "On my honor, although my old car- case is not worth preserving, I would gladly give five hundred pistoles to see myself as well done as my old friend Rou- ville." At this proposition the baroness gave her friend a look, and smiled, while al- lowing the signs of a sudden gratitude to appear on her countenance. Hippolyte thought he could discei-n that the old ad- miral wished to offer him the price of the two portraits in paying for his own. His artist's pride, as much as his jealousj^, perhaps, took offense at this idea, and he replied — "If I painted portraits, sir, I should not have taken this one." The admiral bit his lips, and sat down to his game. The painter remained by Adelaide, who proposed a rubber at piquet, and he ac- cepted. While playing himself, he re- marked in Madame de Rouville an ardor for play which surprised him. Never be- fore had this old baroness manifested so ardent a desire to win, nor so lively a pleasure is fingering the gold pieces of the gentleman. During- the evening, evil suspicions arose to disturb the happiness of Hippolyte and inspire him with dis- trust. Did Madame de Rouville live by play, then ? Was she not plnj-ing, at this moment, to pay off some old debt, or urged by some necessity ? Perhaps she had not paid her rent. This old man ap- peared quite knowing enougli not to allow his monej^ to be filched with impunitj'. What interest attracted this rich man to this poor house ? These involuntary re- flections incited him to watch the old man and the baroness, whose airs of intelli- gence and certain oblique looks cast on Adelaide and himself displeased him. " Are thej deceivmg me ? " was for Hippolj'te a last idea, horrible and de- grading, and in which he believed exactly enough to be tortured b^' it. He wished to sta\' until after the departure of the two old men, to confirm his suspicions or to dissipate them. He took out his purse to pay Adelaide, but, carried away b}' his bitter thoughts, he put it on the table and fell into a reverie, which did not last long. Then, ashamed of his silence, he rose, re- plied to a trifling question of Madame de Rouville, and came to her side in order to be able, while chatting, to observe more closely this old countenance. He went away a prej^ to a thousand uncertainties. After having gone down a few stairs, he came back to get his foi'gotten purse. 30 THE HUMAN COMEDY. " I left my purse with you," said he to the young girl. "No," she answered, blushing. " I thought'it was there," replied he, pointing to the card-table. Asliauied, for Adelaide's sake and the baroness's, not to see it there, he looked at them witli a stupefied air which made them laugh, turned pale, and continued, feeling his waistcoat, "I was mistaken; I dare say I have got it." In one end of this purse there were fif- teen louis, and in the other some small change. The theft was so flagrant, and so impudenth' denied, that Hippolyte had no more doubt as to the morality of his neighbors. He stopped on the stairs, and got down them with difficulty ; his legs trembled, he turned giddy, he perspired, he shivered, and found himself quite un- able to walk, struggling with the frightful commotion caused by the overthrow of all his hopes. From this moment he recalled to his memory a crowd of observations, slight in appeai'ance, but which corrobo- rated his hideous suspicions, and which, by proving the reality of this last act, opened his eyes to the character and the life of these two women. Had they waited, then, until the portrait was given to steal the purse ? If planned, the robbery seemed far more odious. The painter remembered, for his misfortune, that, for two or three evenings, Adelaide, while appearing to examine with a young girl's curiosity the peculiar make of the worn-out silk netting, had probably ascertained the money con- tained in the purse while making remarks, innocent in appearance, but, no doubt, with the object of watching for the mo- ment when the sum would be large enough to be abstracted. " The old admiral has excellent reasons, perhaps, for not marrying Adelaide ; and then the baroness has tried to — " At this supposition he stopped short, and did not even finish his thought, which was demol- ished by a very just reflection. " If the baroness," he thought, "hoped to marry her daughter to me, they would not have robbed me." Then he tried, so as not to have to renounce his illusions and his love, already so deeply rooted, to find some justification in chance. " My purse must have fallen on the ground," he said to himself ; "it has caught on my chair. Perhaps I have got it; I am so forgetful." He felt himself all over, with rapid move- ments, but did not find the accursed purse. His cruel memory recalled momentarily the fatal truth. He saw distinctly his purse spread on the table ; but, doubting the theft no longer, he still made excuses for Adelaide, saying to himself that we ought not to judge the unfortunate so quickly. No doubt, thei-e was a secret in 'this action apparently so degrading. He would not admit that this proud and noble countenance was a lie. Neverthe- less, this miserable dwelling appeared to him denuded of the poesies of love, which embellishes ever>i:hing. He saw it soiled and stained, and considered it the repre- sentative of an inner life, ignoble, unoc- cupied, and vicious. Are not our senti- ments, so to say, written on the things which surround us ? The next morning, he got up without having slept. The heartache, that serious moral malady, had made enormous prog- ress in him. To lose a dreamed-of happi- ness, to renounce an entire future, is a pang much more acute than that caused by the ruin of a felicity already experi- enced, however complete it may have been. Is not hope always better than remembrance ? The meditations into which -the soul suddenly falls are then like a sea without a shore, on the bosom of which we maj' float for a moment, but in which our love must drown and perish. And it is a fearful 'death. Are not our sentiments the most brilliant part of our life ? From this partial death proceed, in certain delicate or powerful organi- zations, the awful ravages produced by hopes and passions betrayed. Thus it was with the young painter. He went out early in the morning to walk in the cool shades of the Tuileries, absorbed in his thoughts, forgetting everj'thing in the world. There, by chance, he met one of his most intimate friends, an old companion at school and in the studio, with whom he had agreed better than with a brother. THE PURSE. 31 " Well, Hippolyte, what is the matter with you?" said FraiiQols Suchet, a young sculptor, who had just obtained the grand prize, and was soon to start for Italy. " I am very unhappy," replied Hippo- lyte, gravely. "It is only a love affair that could up- set you. Money, glory, consideration — nothing else fails you." Insensibly, confidences began, and the painter avowed his love. The moment he mentioned the Rue de Suresnes, and a young girl who lived on the fourth floor — "Halt there!" cried Suchet, gayly. " It is a little girl I come to the As- sumption every morning to see, and to whom I am making love. Why, my dear fellow, we all know her. Her mother is a baroness. Do 3'ou believe in baronesses lodging on the fourth floor ? B-r-r-r ! Ah, well, you are a man of the golden age. We see the old mother here, in the avenue, every daj'. Why, she has got a face and a style that tells everything. What ! you have not guessed what she is from the way she holds her bag ? " The two friends walked about for a long time, and several young men who knew Suchet or Schinner joined them. The adventure of the painter, considered of very little importance, was related to them by the sculptor. "And he, too," said he, "has seen this little girl ! " There were observations, laughter, and jokes, innocent and stamped with the gayety familiar to artists, but which made Hippolyte suffer horribly. A cer- tain baslifulness of disposition made him ill at ease on seeing the secret of his heart treated so lightly, his passion torn into tatters ; an unknown young girl, whose life appeared so modest, subject to judg- ments, true or false, given with so much carelessness. He feigned to be moved by a spirit of contradiction ; he demanded seriously from each the proofs of his assertions, and the joking recommenced. " But, my dear fellow, have you seen the baroness's shawl?" said Suchet. " Have you followed the little one when she trots to the Assumption of a morn- ing ? " said Joseph Bridau, a young color- grinder from the atelier of Gros. ' ' Ah ! the mother possesses, among other virtues, a certain gray dress which I look upon as a tj-pe," said Bixiou, the maker of caricatures. " Listen, Hippolyte," resumed the sculp- tor. " Come here about four o'clock, and just analyze the walk of the mother and daughter. If you have any doubts after that, well, they will never make an>i;hing of you, and you will be capable of marry- ing the daughter of your porteress." A prey to the most conflictiiig senti- ments, the painter quitted his friends. Adelaide and her mother, it seemed to him, ought to be above these accusations, and he felt remorse from the bottom of his heart, for having suspected the purity of this young girl, so beautiful and so simple. He came to his studio, passed by the door of the apartments which con- tained his Adelaide, and felt a pang at the heart, in which no man is mistaken. He loved Mademoiselle de Rouville so pas- sionately that, in spite of the robbery of the purse, he adored her still. His love was like that of the ChevaUer des Grieux admiring and purifying his mistress even in the cart which takes abandoned women to prison. " Why should not my love render her the purest of all women ? Why abandon her to evil and vice, without holding out to her a friendly hand?" This mission pleased him. Love turns everything to its own advantage. Noth- ing tempts a young man more than to play the part of good genius to a woman. There is a certain something romantic in the enterprise which suits excitable dis- positions. Is it not the most comprehen- sive devotion in the most graceful and elevated form ? Is there not a grandeur in knowing that we love enough to love still when the love of others fades out and dies ? Hippolyte sat down in his studio, looked at his picture without doing anything to it, only seeing the figures through the tears that hung in his eyes, always hold- ing his brush in his hand, advancing to- ward the canvas as if to soften a tint, and 32 THE HUMAN COMEDY. not touching: it. Nig'ht surprised him in this attitude. Eoused fi'om his reverie by tlie darl^ness, he went down, met the old admiral on the staircase, g-ave him a som- ber look in bomng to him, and rushed away. He had intended to call on his neighbors, but the sight of the protector of Adelaide froze his heart and put his resolution to flight. He asked himself, for the hundredth time, what interest could attract this old man of loose man- ners, with eighty thousand li\T:'es a year, to this fourth story, where he lost about forty francs every evening. This interest he thought he could guess. The next and the following days, Hippoljiie threw him- self into hard work, to try and combat his passion by the rush of ideas and the heat of conception. He succeeded by half. Study consoled him, but without having the power to smother the memory of so many delightful hours spent with Ade- laide. One evening, on leaving his studio, he found the door of the apartments of the two ladies ajar. Some one was standing in the embrasure of the window. The position of the door and the staircase did not allow of his passing without seeing Adelaide. Ho bowed coldly, giving her a look full of indifference ; but, judging the 3'oung girl's sufferings by his own, he shuddered internally on thinking of the bitterness this look and this coldness must cast into a loving heart. To crown the sweetest liours that had ever rejoiced two pure souls by a week of disdain, and by the most profound and entire contempt ! Frightful conclusion. Perhaps the purse had been found, and perhaps every even- ing Adelaide had expected her friend. This idea, so simple and natural, caused fresh remorse to the lover ; he asked him- self whether the proofs of attachment the young girl had given him, whether the rapturous conversations impregnated with a love, which had charmed him, did not deserve at least an inquir\'— were not worth a justification. Ashamed of having resisted for a week the wishes of his heart, and feeling almost guilty on account of this combat, he called the same evening on Madame de Rouville. All his suspicions, all his evil thoughts, vanishe at the sight of the young girl, pale ano fallen away. " Ah, good Heaven ! what is the matter with you ? " he said to her, after havinj^ saluted the baroness. Adelaide answei'ed nothing, but she gave him a look full of melancholy — a sad, dejected look, which gave him pain. "You have, no doubt, been working hard," said the old ladj'. "You are altered. We are the cause of your se- clusion. That portrait has delayed some pictures of importance to 3'our reputa- tion." Hippolyte was happy to find so good an excuse for his impoliteness. "Yes," said he, "I have been very hwsy, but I have been ill." At these words, Adelaide raised her head and looked at her lover ; her anxious eyes reproached him no more. " And you supposed that we were quite indifferent to any good or bad fortune that might happen to you ? " said the old lady. "I was wrong," replied he. "Yet there are troubles which .cannot be con- fided to any one, not even to a fiiendship less recent than that witli which you honor me." " The sincerity and the strength of friendship cannot be measured by time. I have seen old friends not shed a tear for each other in misfortune," said the baroness, shaking her head. " But what is the matter with you ? " inquired the young -man of Adelaide. "Oh, nothing," replied the baroness. " Adelaide has been spending some nights in finishing a piece of ladj^'s work, and would not believe me when I told her that a day more or less was of little conse- quence." Hippolyte was not listening. On seeing these two faces, so noble and so pure, he blushed for his suspicions, and attributed the loss of his purse to some unknown accident. This evening was delicious for him, and perhaps also for her. There are some secrets that young hearts compre- hend so well ! Adelaide guessed the thoughts of Hippolyte. Without wish- THE PURSE. 33 ng to avow his faults, the painter ac- kuowled^ed them ; he returned to his mistress more loving and more affection- ate, endeavoring thus to purchase a tacit 'Jardon. Adelaide tasted a joy so perfect and so sweet, that it did not seem too dearly bought by all the torture which had so cruelly torn her heart. The veri- table harmony of their souls, that under- standing- full of magic, was nevertheless disturbed by a word from the Baroness de Rouville. " Shall we have our little game?" said she; "for my old Kerga- rouet sulks with' me." This phrase aroused all the fears of the young painter, who blushed on looking at the mother of Adelaide ; but he only saw on her face the expression of an unaf- fected good nature. No evil design de- stroyed its charm ; there was no treach- ery in its slyness ; its sharpness seemed kindly, and no remorse disturbed its calm. He sat down to the cai'd-table. Adelaide wished to share in the painter's stakes, pretending that he did not know piquet and wanted a partner. Madame de Rou- ville and her daughter made signs to each other during the game, vt^hich made Hip- polyte all the more uneasy because he was winning ; but, in the end, the last hand rendered the two lovers the debtors of the baroness. Having to get some change out of his pocket, the painter took his hands off the table, and then he saw be- fore him a purse, which Adelaide had slipped there without his notice. The poor girl was holding the old one, and, to keep herself in countenance, was looking in it for the money to pay her mother. All Hippolj^te's blood rushed so suddenly to his heart that he nearly lost conscious- ness. The new purse substituted for his, and which contained his fifteen louis, was worked in gold beads. The slides, the tassels, everything attested the good taste of Adelaide, who, without doubt, had spent her winnings on the ornaments of this charming piece of work. It was impossible to say with more delicacy that the gift of the painter could only be recompensed by a proof of affec- tion. When Hippolyte, overwhelmed with happiness, turned his eyes on Ade- laide and the baroness, he saw them trem- bling with pleasure and rejoicing- in this amiable piece of trickery. He felt himself little, mean, and foolish ; he would have liked to be able to punish himself, to tear his breast. Tears came into his eyes ; he got up, and, by an irresistible impulse, took Adelaide in his arms, pressed her to his heart, snatched a kiss, and then, with the bluntness of an artist, " I ask her of you for my wife," he cried, looking at the baroness. Adelaide turned on the painter eyes half angr^', and Madame de Kouville was trying to find an answer, when this scene was interrupted by the sound of the bell. The old vice-admiral appeared, followed by his shadow and Madame Schinner. After having divined the cause of the grief which her son vainly endeavored to hide from her, the mother of Hippolyte had made inquiries of some of her friends about Adelaide. Justly alarmed at the calumnies which hung over the young girl unknown to the Count de Kergarouet, whose name was told her by the portiere, she went to tell them to the vice-admiral, who, in his rage, would have liked, he said, to cut off the scoundrel's ears. Animated hy his indignation, the admiral confided to Madame Schinner the secret of his vol- untary losses at cards — that the pride of the baroness left him only this ingenious means of assisting her. When Madame Schinner had saluted Madame de Rouville, the latter looked at the Count de Kergarouet, the Chevalier du Halga (the old lover of the Countess de Kergarouet), Hippolyte, and Adelaide, and said, with the grace that comes from the heart, " It seems we are a familj' party to-night." BiALZAe— B 34 THE HUMAN COMEUr. tl. COUSIN PONS. A GLORIOUS RELIC OF THE EMPIRE. About three o'clock in the afternoon of a day in October, 1844, a man, whose age was about sixty (though everj' one would have taken him to be oldei'), mig-ht have been seen wending his way along the Boulevard des Italiens. His nose was in the air and his lips were pursed up, like those of a merchant who has just struck a good bargain, or of a young man leav- ing his sweetheart in high good-humor with himself. Now, at Pai-is, this eleva- tion of the nose and pursing of the lips are the strongest indications of self-satis- faction that a man can possiblj^ exhibit. So soon as those persons, who, seated on chairs, line the Boulevard des Italiens, day after day, and resign themselves to the charm of analyzing the passers-by, had caught sight of the old man in the distance, that peculiar smile, which char- acterizes the denizen of Pai-is, began to steal over their faces. 'Tis a smile that teems with irony, ridicule, or S3nnpathy, according to circumstances ; but only rare and living curiosities can summon it to the features of the Parisian, whose eyes are feasted, even to satiety, with every species of spectacle. A certain smart retort will explain the value, from an archaeological point of view, of this old fellow, and the cause of the smile which, on his appearance, flashed, echo-like, from face to face. Hyacinthe, an actor celebrated for his sallies, being asked, on a certain occasion, where he had those hats made, the mere sight of which was wont to set the play- house in a roar, replied, "I do not get them made ; I keep them." Even so, among the million actors of whom the Grand Parisian Company consists, there is full many an unconscious Hyacinthe who, retaining in his attire all the ab- surdities of some particular period, bursts upon 3'our astonished gaze, the complete personification of an epoch, as, chewing the cud of bitter grief over the treachery of some quondam friend, you are saunter- ing along, and extorts from you a burst of merriment. By preserving, in certain details of his apparel, a quixotic fidelity to the fashions of the year 1806, the pedestrian in ques- tion recalled, without being a positive caricature of, the imperial era ; and herein lies a distinction the subtilty of which lends, in the eye of a close observer, a peculiar value to apparitions of this kind. But the combination of minute details, to which we are now referring, would fail to arrest the attention of persons not en- dowed with the analj'tic power that dis- tinguishes the connoisseur in fldnerie ; and, to evoke laughter while he was still at a distance, our pedestrian must have presented some such glaring extrava- gance of garb as actors aim at in order to secure a round of applause when first they step on to the stage. And such a glaring extravagance this pedestrian did indeed exhibit. Over a greenish coat, garnished with buttons of white metal, this lean and gaunt old man wore a hazel-colored spencer ! A man with a spencer in 1844 ! Why, 'tis much the same thing as if Napoleon Bonaparte had deigned to revisit the glimpses of the sun for a couple of hours ! The spencer, as its name imports, was invented by a certain lord who wa.s, doubtless, vain of his good figure. Be- COUSIN PONS. 35 fore the peace of Amiens, the Englishman in question had solved the problem how to cover the upper part of the hoAy with- out overwhelming it beneath the weight of that hideous box-coat which is now Avearing out the remnant of its days on the backs of the old hackney-coachmen of