The Project Gutenberg Etext of A Romance of Youth by Francois Coppee, v1 #45 in our series The French Immortals Crowned by the French Academy #1 in our series by Francois Coppee
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Title: A Romance of Youth, v1
Author: Francois Coppee
Release Date: April, 2003 [Etext #3958]
[Yes, we are about one year ahead of schedule]
[The actual date this file first posted = 09/16/01]
Edition: 10
Language: English
The Project Gutenberg Etext of A Romance of Youth by Francois Coppee, v1
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A ROMANCE OF YOUTH
By FRANCOIS COPPEE
With a Preface by JOSE DE HEREDIA, of the French Academy
FRANCOIS COPPEE
FRANCOIS EDOUARD JOACHIM COPPEE was born in Paris, January 12, 1842. His father was a minor 'employe' in the French War Office; and, as the family consisted of six the parents, three daughters, and a son (the subject of this essay)—the early years of the poet were not spent in great luxury. After the father's death, the young man himself entered the governmental office with its monotonous work. In the evening he studied hard at St. Genevieve Library. He made rhymes, had them even printed (Le Reliquaire, 1866); but the public remained indifferent until 1869, when his comedy in verse, 'Le Passant', appeared. From this period dates the reputation of Coppee—he woke up one morning a "celebrated man."
Like many of his countrymen, he is a poet, a dramatist, a novelist, and a writer of fiction. He was elected to the French Academy in 1884. Smooth shaven, of placid figure, with pensive eyes, the hair brushed back regularly, the head of an artist, Coppee can be seen any day looking over the display of the Parisian secondhand booksellers on the Quai Malaquais; at home on the writing-desk, a page of carefully prepared manuscript, yet sometimes covered by cigarette-ashes; upon the wall, sketches by Jules Lefebvre and Jules Breton; a little in the distance, the gaunt form of his attentive sister and companion, Annette, occupied with household cares, ever fearful of disturbing him. Within this tranquil domicile can be heard the noise of the Parisian faubourg with its thousand different dins; the bustle of the street; the clatter of a factory; the voice of the workshop; the cries of the pedlers intermingled with the chimes of the bells of a near-by convent-a confusing buzzing noise, which the author, however, seems to enjoy; for Coppee is Parisian by birth, Parisian by education, a Parisian of the Parisians.
If as a poet we contemplate him, Coppee belongs to the group commonly called "Parnassiens"—not the Romantic School, the sentimental lyric effusion of Lamartine, Hugo, or De Musset! When the poetical lute was laid aside by the triad of 1830, it was taken up by men of quite different stamp, of even opposed tendencies. Observation of exterior matters was now greatly adhered to in poetry; it became especially descriptive and scientific; the aim of every poet was now to render most exactly, even minutely, the impressions received, or faithfully to translate into artistic language a thesis of philosophy, a discovery of science. With such a poetical doctrine, you will easily understand the importance which the "naturalistic form" henceforth assumed.
Coppee, however, is not only a maker of verses, he is an artist and a poet. Every poem seems to have sprung from a genuine inspiration. When he sings, it is because he has something to sing about, and the result is that his poetry is nearly always interesting. Moreover, he respects the limits of his art; for while his friend and contemporary, M. Sully- Prudhomme, goes astray habitually into philosophical speculation, and his immortal senior, Victor Hugo, often declaims, if one may venture to say so, in a manner which is tedious, Coppee sticks rigorously to what may be called the proper regions of poetry.
Francois Coppee is not one of those superb high priests disdainful of the throng: he is the poet of the "humble," and in his work, 'Les Humbles', he paints with a sincere emotion his profound sympathy for the sorrows, the miseries, and the sacrifices of the meek. Again, in his 'Grave des Forgerons, Le Naufrage, and L'Epave', all poems of great extension and universal reputation, he treats of simple existences, of unknown unfortunates, and of sacrifices which the daily papers do not record. The coloring and designing are precise, even if the tone be somewhat sombre, and nobody will deny that Coppee most fully possesses the technique of French poetry.
But Francois Coppee is known to fame as a prosewriter, too. His 'Contes en prose' and his 'Vingt Contes Nouveaux' are gracefully and artistically told; scarcely one of the 'contes' fails to have a moral motive. The stories are short and naturally slight; some, indeed, incline rather to the essay than to the story, but each has that enthralling interest which justifies its existence. Coppee possesses preeminently the gift of presenting concrete fact rather than abstraction. A sketch, for instance, is the first tale written by him, 'Une Idylle pendant le Seige' (1875). In a novel we require strong characterization, great grasp of character, and the novelist should show us the human heart and intellect in full play and activity. In 1875 appeared also 'Olivier', followed by 'L'Exilee (1876); Recits et Elegies (1878); Vingt Contes Nouveaux (1883); and Toute une Jeunesse', mainly an autobiography, crowned by acclaim by the Academy. 'Le Coupable' was published in 1897. Finally, in 1898, appeared 'La Bonne Souffrance'. In the last-mentioned work it would seem that the poet, just recovering from a severe malady, has returned to the dogmas of the Catholic Church, wherefrom he, like so many of his contemporaries, had become estranged when a youth. The poems of 1902, 'Dans la Priere et dans la Lutte', tend to confirm the correctness of this view.
Thanks to the juvenile Sarah Bernhardt, Coppee became, as before mentioned, like Byron, celebrated in one night. This happened through the performance of 'Le Passant'.
As interludes to the plays there are "occasional" theatrical pieces, written for the fiftieth anniversary of the performance of 'Hernani' or the two-hundredth anniversary of the foundation of the "Comedie Francaise." This is a wide field, indeed, which M. Coppee has cultivated to various purposes.
Take Coppee's works in their sum and totality, and the world-decree is that he is an artist, and an admirable one. He plays upon his instrument with all power and grace. But he is no mere virtuoso. There is something in him beyond the executant. Of Malibran, Alfred de Musset says, most beautifully, that she had that "voice of the heart which alone has power to reach the heart." Here, also, behind the skilful player on language, the deft manipulator of rhyme and rhythm, the graceful and earnest writer, one feels the beating of a human heart. One feels that he is giving us personal impressions of life and its joys and sorrows; that his imagination is powerful because it is genuinely his own; that the flowers of his fancy spring spontaneously from the soil. Nor can I regard it as aught but an added grace that the strings of his instrument should vibrate so readily to what is beautiful and unselfish and delicate in human feeling. JOSE DE HEREDIA de l'Academie Francaise.
A ROMANCE OF YOUTH
CHAPTER I
ON THE BALCONY
As far back as Amedee Violette can remember, he sees himself in an infant's cap upon a fifth-floor balcony covered with convolvulus; the child was very small, and the balcony seemed very large to him. Amedee had received for a birthday present a box of water-colors, with which he was sprawled out upon an old rug, earnestly intent upon his work of coloring the woodcuts in an odd volume of the 'Magasin Pittoresque', and wetting his brush from time to time in his mouth. The neighbors in the next apartment had a right to one-half of the balcony. Some one in there was playing upon the piano Marcailhou's Indiana Waltz, which was all the rage at that time. Any man, born about the year 1845, who does not feel the tears of homesickness rise to his eyes as he turns over the pages of an old number of the 'Magasin Pittoresque', or who hears some one play upon an old piano Marcailhou's Indiana Waltz, is not endowed with much sensibility.
When the child was tired of putting the "flesh color" upon the faces of all the persons in the engravings, he got up and went to peep through the railings of the balustrade. He saw extending before him, from right to left, with a graceful curve, the Rue Notre-Dame-des-Champs, one of the quietest streets in the Luxembourg quarter, then only half built up. The branches of the trees spread over the wooden fences, which enclosed gardens so silent and tranquil that passers by could hear the birds singing in their cages.
It was a September afternoon, with a broad expanse of pure sky across which large clouds, like mountains of silver, moved in majestic slowness.
Suddenly a soft voice called him:
"Amedee, your father will return from the office soon. We must wash your hands before we sit down to the table, my darling."
His mother came out upon the balcony for him. His mother; his dear mother, whom he knew for so short a time! It needs an effort for him to call her to mind now, his memories are so indistinct. She was so modest and pretty, so pale, and with such charming blue eyes, always carrying her head on one side, as if the weight of her lovely chestnut hair was too heavy for her to bear, and smiling the sweet, tired smile of those who have not long to live! She made his toilette, kissed him upon his forehead, after brushing his hair. Then she laid their modest table, which was always decorated with a pretty vase of flowers. Soon the father entered. He was one of those mild, unpretentious men who let everybody run over them.
He tried to be gay when he entered his own house. He raised his little boy aloft with one arm, before kissing him, exclaiming, "Houp la!" A moment later he kissed his young wife and held her close to him, tenderly, as he asked, with an anxious look:
"Have you coughed much to-day?"
She always replied, hanging her head like a child who tells an untruth,
"No, not very much."
The father would then put on an old coat—the one he took off was not very new. Amedee was then seated in a high chair before his mug, and the young mother, going into the kitchen, would bring in the supper. After opening his napkin, the father would brush back behind his ear with his hand a long lock on the right side, that always fell into his eyes.
"Is there too much of a breeze this evening? you afraid to go out upon the balcony, Lucie? Put a shawl on, then," said M. Violette, while his wife was pouring the water remaining in the carafe upon a box where some nasturtiums were growing.
"No, Paul, I am sure—take Amedee down from his chair, and let us go out upon the balcony."
It was cool upon this high balcony. The sun had set, and now the great clouds resembled mountains of gold, and a fresh odor came up from the surrounding gardens.
"Good-evening, Monsieur Violette," suddenly said a cordial voice. "What a fine evening!"
It was their neighbor, M. Gerard, an engraver, who had also come to take breath upon his end of the balcony, having spent the entire day bent over his work. He was large and bald-headed, with a good-natured face, a red beard sprinkled with white hairs, and he wore a short, loose coat. As he spoke he lighted his clay pipe, the bowl of which represented Abd-el- Kader's face, very much colored, save the eyes and turban, which were of white enamel.
The engraver's wife, a dumpy little woman with merry eyes, soon joined her husband, pushing before her two little girls; one, the smaller of the two, was two years younger than Amedee; the other was ten years old, and already had a wise little air. She was the pianist who practised one hour a day Marcailhou's Indiana Waltz.
The children chattered through the trellis that divided the balcony in two parts. Louise, the elder of the girls, knew how to read, and told the two little ones very beautiful stories: Joseph sold by his brethren; Robinson Crusoe discovering the footprints of human beings.
Amedee, who now has gray hair upon his temples, can still remember the chills that ran down his back at the moment when the wolf, hidden under coverings and the grandmother's cap, said, with a gnashing of teeth, to little Red Riding Hood: "All the better to eat you with, my child."
It was almost dark then upon the terrace. It was all delightfully terrible!
During this time the two families, in their respective parts of the balcony, were talking familiarly together. The Violettes were quiet people, and preferred rather to listen to their neighbors than to talk themselves, making brief replies for politeness' sake—"Ah!" "Is it possible?" "You are right."
The Gerards liked to talk. Madame Gerard, who was a good housekeeper, discussed questions of domestic economy; telling, for example, how she had been out that day, and had seen, upon the Rue du Bac, some merino: "A very good bargain, I assure you, Madame, and very wide!" Or perhaps the engraver, who was a simple politician, after the fashion of 1848, would declare that we must accept the Republic, "Oh, not the red-hot, you know, but the true, the real one!" Or he would wish that Cavaignac had been elected President at the September balloting; although he himself was then engraving—one must live, after all—a portrait of Prince Louis Napoleon, destined for the electoral platform. M. and Madame Violette let them talk; perhaps even they did not always pay attention to the conversation. When it was dark they held each other's hands and gazed at the stars.
These lovely, cool, autumnal evenings, upon the balcony, under the starry heavens, are the most distant of all Amedee's memories. Then there was a break in his memory, like a book with several leaves torn out, after which he recalls many sad days.
Winter had come, and they no longer spent their evenings upon the balcony. One could see nothing now through the windows but a dull, gray sky. Amedee's mother was ill and always remained in her bed. When he was installed near the bed, before a little table, cutting out with scissors the hussars from a sheet of Epinal, his poor mamma almost frightened him, as she leaned her elbow upon the pillow and gazed at him so long and so sadly, while her thin white hands restlessly pushed back her beautiful, disordered hair, and two red hectic spots burned under her cheekbones.
It was not she who now came to take him from his bed in the morning, but an old woman in a short jacket, who did not kiss him, and who smelled horribly of snuff.
His father, too, did not pay much attention to him now. When he returned in the evening from the office he
M. Violette, more nervous than ever, and continually throwing back the rebellious lock behind his ear, would accompany the doctor to the door and stop there to talk with him. Then Amedee's mother would call to him, and he would climb upon the bed, where she would gaze at him with her bright eyes and press him to her breast, saying, in a sad tone, as if she pitied him: "My poor little Medee! My poor little Medee!" Why was it? What did it all mean?
His father would return with a forced smile which was pitiful to see.
"Well, what did the doctor say?"
"Oh, nothing, nothing! You are much better. Only, my poor Lucie, we must put on another blister to-night."
Oh, how monotonous and slow these days were to the little Amedee, near the drowsy invalid, in the close room smelling of drugs, where only the old snuff-taker entered once an hour to bring a cup of tea or put charcoal upon the fire!
Sometimes their neighbor, Madame Gerard, would come to inquire after the sick lady.
"Still very feeble, my good Madame Gerard," his mother would respond.
"Ah, I am beginning to get discouraged."
But Madame Gerard would not let her be despondent.
"You see, Madame Violette, it is this horrible, endless winter. It is almost March now; they are already selling boxes of primroses in little carts on the sidewalks. You will surely be better as soon as the sun shines. If you like, I will take little Amedee back with me to play with my little girls. It will amuse the child."
So it happened that the good neighbor kept the child every afternoon, and he became very fond of the little Gerard children.
Four little rooms, that is all; but with a quantity of old, picturesque furniture; engravings, casts, and pictures painted by comrades were on the walls; the doors were always open, and the children could always play where they liked, chase each other through the apartments or pillage them. In the drawing-room, which had been transformed into a work-room, the artist sat upon a high stool, point in hand; the light from a curtainless window, sifting through the transparent paper, made the worthy man's skull shine as he leaned over his copper plate. He worked hard all day; with an expensive house and two girls to bring up, it was necessary. In spite of his advanced opinions, he continued to engrave his Prince Louis—"A rogue who is trying to juggle us out of a Republic." At the very most, he stopped only two or three times a day to smoke his Abu-el-Kader. Nothing distracted him from his work; not even the little ones, who, tired of playing their piece for four hands upon the piano, would organize, with Amedee, a game of hide-and-seek close by their father, behind the old Empire sofa ornamented with bronze lions' heads. But Madame Gerard, in her kitchen, where she was always cooking something good for dinner, sometimes thought they made too great an uproar. Then Maria, a real hoyden, in trying to catch her sister, would push an old armchair against a Renaissance chest and make all the Rouen crockery tremble.
"Now then, now then, children!" exclaimed Madame Gerard, from the depths of her lair, from which escaped a delicious odor of bacon. "Let your father have a little quiet, and go and play in the dining-room."
They obeyed; for there they could move chairs as they liked, build houses of them, and play at making calls. Did ever anybody have such wild ideas at five years of age as this Maria? She took the arm of Amedee, whom she called her little husband, and went to call upon her sister and show her her little child, a pasteboard doll with a large head, wrapped up in a napkin.
"As you see, Madame, it is a boy."
"What do you intend to make of him when he grows up?" asked Louise, who lent herself complacently to the play, for she was ten years old and quite a young lady, if you please.
"Why, Madame," replied Maria, gravely, "he will be a soldier."
At that moment the engraver, who had left his bench to stretch his legs a little and to light his Abd-el-Kader for the third time, came and stood at the threshold of his room. Madame Gerard, reassured as to the state of her stew, which was slowly cooking—and oh, how good it smelled in the kitchen!—entered the dining-room. Both looked at the children, so comical and so graceful, as they made their little grimaces! Then the husband glanced at his wife, and the wife at the husband, and both burst out into hearty laughter.
There never was any laughter in the apartment of the Violettes. It was cough! cough! cough! almost to suffocation, almost to death! This gentle young woman with the heavy hair was about to die! When the beautiful starry evenings should come again, she would no longer linger on the balcony, or press her husband's hand as they gazed at the stars. Little Amedee did not understand it; but he felt a vague terror of something dreadful happening in the house. Everything alarmed him now. He was afraid of the old woman who smelled of snuff, and who, when she dressed him in the morning, looked at him with a pitying air; he was afraid of the doctor, who climbed the five flights of stairs twice a day now, and left a whiff of perfume behind him; afraid of his father, who did not go to his office any more, whose beard was often three days old, and who feverishly paced the little parlor, tossing back with a distracted gesture the lock of hair behind his ear. He was afraid of his mother, alas! of his mother, whom he had seen that evening, by the light from the night-lamp, buried in the pillows, her delicate nose and chin thrown up, and who did not seem to recognize him, in spite of her wide-open eyes, when his father took her child in his arms and leaned over her with him that he might kiss her cold forehead covered with sweat!
At last the terrible day arrived, a day that Amedee never will forget, although he was then a very small child.
What awakened him that morning was his father's embrace as he came and took him from his bed. His father's eyes were wild and bloodshot from so much crying. Why was their neighbor, M. Gerard, there so early in the morning, and with great tears rolling down his cheeks too? He kept beside M. Violette, as if watching him, and patted him upon the back affectionately, saying:
"Now then, my poor friend! Have courage, courage!"
But the poor friend had no more. He let M. Gerard take the child from him, and then his head fell like a dead person's upon the good engraver's shoulder, and he began to weep with heavy sobs that shook his whole body.
"Mamma! See mamma!" cried the little Amedee, full of terror.
Alas! he never will see her again! At the Gerards, where they carried him and the kind neighbor dressed him, they told him that his mother had gone for a long time, a very long time; that he must love his papa very much and think only of him; and other things that he could not understand and dared not ask the meaning of, but which filled him with consternation.
It was strange! The engraver and his wife busied themselves entirely with him, watching him every moment. The little ones, too, treated him in a singular, almost respectful manner. What had caused such a change? Louise did not open her piano, and when little Maria wished to take her "menagerie" from
After breakfast Madame Gerard put on her hat and shawl and went out, taking Amedee with her. They got into a carriage that took them through streets that the child did not know, across a bridge in the middle of which stood a large brass horseman, with his head crowned with laurel, and stopped before a large house and entered with the crowd, where a very agile and rapid young man put some black clothes on Amedee.
On their return the child found his father seated at the dining-room table with M. Gerard, and both of them were writing addresses upon large sheets of paper bordered with black. M. Violette was not crying, but his face showed deep lines of grief, and he let his lock of hair fall over his right eye.
At the sight of little Amedee, in his black clothes, he uttered a groan, and arose, staggering like a drunken man, bursting into tears again.
Oh, no! he never will forget that day, nor the horrible next day, when Madame Gerard came and dressed him in the morning in his black clothes, while he listened to the noise of heavy feet and blows from a hammer in the next room. He suddenly remembered that he had not seen his mother since two days before.
"Mamma! I want to see mamma!"
It was necessary then to try to make him understand the truth. Madame Gerard repeated to him that he ought to be very wise and good, and try to console his father, who had much to grieve him; for his mother had gone away forever; that she was in heaven.
In heaven! heaven is very high up and far off. If his mother was in heaven, what was it that those porters dressed in black carried away in the heavy box that they knocked at every turn of the staircase? What did that solemn carriage, which he followed through all the rain, quickening his childish steps, with his little hand tightly clasped in his father's, carry away? What did they bury in that hole, from which an odor of freshly dug earth was emitted—in that hole surrounded by men in black, and from which his father turned away his head in horror? What was it that they hid in this ditch, in this garden full of crosses and stone urns, where the newly budded trees shone in the March sun after the shower, large drops of water still falling from their branches like tears?
His mother was in heaven! On the evening of that dreadful day Amedee dared not ask to "see mamma" when he was seated before his father at the table, where, for a long time, the old woman in a short jacket had placed only two plates. The poor widower, who had just wiped his eyes with his napkin, had put upon one of the plates a little meat cut up in bits for Amedee. He was very pale, and as Amedee sat in his high chair, he asked himself whether he should recognize his mother's sweet, caressing look, some day, in one of those stars that she loved to watch, seated upon the balcony on cool September nights, pressing her husband's hand in the darkness.
CHAPTER II
SAD CHANGES
Trees are like men; there are some that have no luck. A genuinely unfortunate tree was the poor sycamore which grew in the playground of an institution for boys on the Rue de la Grande-Chaumiere, directed by M. Batifol.
Chance might just as well have made it grow upon the banks of a river, upon some pretty bluff, where it might have seen the boats pass; or, better still, upon the mall in some garrison village, where it could have had the pleasure of listening twice a week to military music. But, no! it was written in the book of fate that this unlucky sycamore should lose its bark every summer, as a serpent changes its skin, and should scatter the ground with its dead leaves at the first frost, in the playground of the Batifol institution, which was a place without any distractions.
This solitary tree, which was like any other sycamore, middle-aged and without any singularities, ought to have had the painful feeling that it served in a measure to deceive the public. In fact, upon the advertisement of the Batifol institution (Cours du lycee Henri IV. Preparation au baccalaureat et aux ecoles de l'Etat), one read these fallacious words, "There is a garden;" when in reality it was only a vulgar court graveled with stones from the river, with a paved gutter in which one could gather half a dozen of lost marbles, a broken top, and a certain number of shoe-nails, and after recreation hours still more. This solitary sycamore was supposed to justify the illusion and fiction of the garden promised in the advertisement; but as trees certainly have common sense, this one should have been conscious that it was not a garden of itself.
It was a very unjust fate for an inoffensive tree which never had harmed anybody; only expanding, at one side of the gymnasium portico, in a perfect rectangle formed by a prison wall, bristling with the glass of broken bottles, and by three buildings of distressing similarity, showing, above the numerous doors on the ground floor, inscriptions which merely to read induced a yawn: Hall 1, Hall 2, Hall 3, Hall 4, Stairway A, Stairway B, Entrance to the Dormitories, Dining-room, Laboratory.
The poor sycamore was dying of ennui in this dismal place. Its only happy seasons—the recreation hours, when the court echoed with the shouts and the laughter of the boys—were spoiled for it by the sight of two or three pupils who were punished by being made to stand at the foot of its trunk. Parisian birds, who are not fastidious, rarely lighted upon the tree, and never built their nests there. It might even be imagined that this disenchanted tree, when the wind agitated its foliage, would charitably say, "Believe me! the place is good for nothing. Go and make love elsewhere!"
In the shade of this sycamore, planted under an unlucky star, the greater part of Amedee's infancy was passed.
M. Violette was an employe of the Ministry, and was obliged to work seven hours a day, one or two hours of which were devoted to going wearily through a bundle of probably superfluous papers and documents. The rest of the time was given to other occupations as varied as they were intellectual; such as yawning, filing his nails, talking about his chiefs, groaning over the slowness of promotion, cooking a potato or a sausage in the stove for his luncheon, reading the newspaper down to the editor's signature, and advertisements in which some country cure expresses his artless gratitude at being cured at last of an obstinate disease. In recompense for this daily captivity, M. Violette received, at the end of the month, a sum exactly sufficient to secure his household soup and beef, with a few vegetables.
In order that his son might attain such a distinguished position, M. Violette's father, a watch-maker in Chartres, had sacrificed everything, and died penniless. The Silvio Pellico official, during these exasperating and tiresome hours, sometimes regretted not having simply succeeded his father. He could see himself, in imagination, in the light little shop near the cathedral, with a magnifying-glass fixed in his eye, ready to inspect some farmer's old "turnip," and suspended over his bench thirty silver and gold watches left by farmers the week before, who would profit by the next market-day to come and get them, all going together with a merry tick. It may be questioned whether a trade as low as this would have been fitting for a young man of education, a Bachelor of Arts, crammed with Greek roots and quotations, able to prove the existence of God, and to recite without hesitation the dates of the reigns of Nabonassar and of Nabopolassar. This watch-maker, this simple artisan, understood modern genius better. This modest shopkeeper acted
At all events, M. Violette was a widower now, and being busy all day was very much embarrassed with the care of his little son. His neighbors, the Gerards, were very kind to Amedee, and continued to keep him with them all the afternoon. This state of affairs could not always continue, and M. Violette hesitated to abuse his worthy friends' kindness in that way.
However, Amedee gave them little trouble, and Mamma Gerard loved him as if he were her own. The orphan was now inseparable from little Maria, a perfect little witch, who became prettier every day. The engraver, having found in a cupboard the old bearskin cap which he had worn as a grenadier in the National Guard, a headdress that had been suppressed since '98, gave it to the children. What a magnificent plaything it was, and how well calculated to excite their imagination! It was immediately transformed in their minds into a frightfully large and ferocious bear, which they chased through the apartment, lying in wait for it behind armchairs, striking at it with sticks, and puffing out their little cheeks with all their might to say "Boum!" imitating the report of a gun. This hunting diversion completed the destruction of the old furniture. Tranquil in the midst of the joyous uproar and disorder, the engraver was busily at work finishing off the broad ribbon of the Legion of Honor, and the large bullion epaulettes of the Prince President, whom, as a suspicious republican and foreseeing the 'coup d'etat', he detested with all his heart.
"Truly, Monsieur Violette," said Mother Gerard to the employe, when he came for his little son upon his return from the office, and excused himself for the trouble that the child must give his neighbors, "truly, I assure you, he does not disturb us in the least. Wait a little before you send him to school. He is very quiet, and if Maria did not excite him so—upon my word, she is more of a boy than he—your Amedee would always be looking at the pictures. My Louise hears him read every day two pages in the Moral Tales, and yesterday he amused Gerard by telling him the story of the grateful elephant. He can go to school later—wait a little."
But M. Violette had decided to send Amedee to M. Batifol's. "Oh, yes, as a day scholar, of course! It is so convenient; not two steps' distance. This will not prevent little Amedee from seeing his friends often. He is nearly seven years old, and very backward; he hardly knows how to make his letters. One can not begin with children too soon," and much more to the same effect.
This was the reason why, one fine spring day, M. Violette was ushered into M. Batifol's office, who, the servant said, would be there directly.
M. Batifol's office was hideous. In the three bookcases which the master of the house—a snob and a greedy schoolmaster—never opened, were some of those books that one can buy upon the quays by the running yard; for example, Laharpe's Cours de Litterature, and an endless edition of Rollin, whose tediousness seems to ooze out through their bindings. The cylindrical office-table, one of those masterpieces of veneered mahogany which the Faubourg St. Antoine still keeps the secret of making, was surmounted by a globe of the world.
Suddenly, through the open window, little Amedee saw the sycamore in the yard. A young blackbird, who did not know the place, came and perched for an instant only upon one of its branches.
We may fancy the tree saying to it:
"What are you doing here? The Luxembourg is only a short distance from here, and is charming. Children are there, making mud-pies, nurses upon the seats chattering with the military, lovers promenading, holding hands. Go there, you simpleton!"
The blackbird flew away, and the university tree, once more solitary and alone, drooped its dispirited leaves. Amedee, in his confused childish desire for information, was just ready to ask why this sycamore looked so morose, when the door opened and M. Batifol appeared. The master of the school had a severe aspect, in spite of his almost indecorous name. He resembled a hippopotamus clothed in an ample black coat. He entered slowly and bowed in a dignified way to M. Violette, then seated himself in a leather armchair before his papers, and, taking off his velvet skull-cap, revealed such a voluminous round, yellow baldness that little Amedee compared it with terror to the globe on the top of his desk.
It was just the same thing! These two round balls were twins! There was even upon M. Batifol's cranium an eruption of little red pimples, grouped almost exactly like an archipelago in the Pacific Ocean.
"Whom have I the honor—?" asked the schoolmaster, in an unctuous voice, an excellent voice for proclaiming names at the distribution of prizes.
M. Violette was not a brave man. It was very foolish, but when the senior clerk called him into his office to do some work, he was always seized with a sort of stammering and shaking of the limbs. A person so imposing as M. Batifol was not calculated to give him assurance. Amedee was timid, too, like his father, and while the child, frightened by the resemblance of the sphere to M. Batifol's bald head, was already trembling, M. Violette, much agitated, was trying to think of something to say, consequently, he said nothing of any account. However, he ended by repeating almost the same things he had said to Mamma Gerard: "My son is nearly seven years old, and very backward, etc."
The teacher appeared to listen to M. Violette with benevolent interest, inclining his geographical cranium every few seconds. In reality, he was observing and judging his visitors. The father's scanty overcoat, the rather pale face of the little boy, all betokened poverty. It simply meant a day scholar at thirty francs a month, nothing more. So M. Batifol shortened the "speech" that under like circumstances he addressed to his new pupils.
He would take charge of his "young friend" (thirty francs a month, that is understood, and the child will bring his own luncheon in a little basket) who would first be placed in an elementary class. Certain fathers prefer, and they have reason to do so, that their sons should be half-boarders, with a healthful and abundant repast at noon. But M. Batifol did not insist upon it. His young friend would then be placed in the infant class, at first; but he would be prepared there at once, 'ab ovo', one day to receive lessons in this University of France, 'alma parens' (instruction in foreign languages not included in the ordinary price, naturally), which by daily study, competition between scholars (accomplishments, such as dancing, music, and fencing, to be paid for separately; that goes without saying) prepare children for social life, and make men and citizens of them.
M. Violette contented himself with the day school at thirty francs, and for a good reason. The affair was settled. Early the next morning Amedee would enter the "ninth preparatory."
"Give me your hand, my young friend," said the master, as father and son arose
Amedee reached out his hand, and M. Batifol took it in his, which was so heavy, large, and cold that the child shivered at the contact, and fancied he was touching a leg of mutton of six or seven pounds' weight, freshly killed, and sent from the butcher's.
Finally they left. Early the next morning, Amedee, provided with a little basket, in which the old snuff-taker had put a little bottle of red wine, and some sliced veal, and jam tarts, presented himself at the boarding-school, to be prepared without delay for the teaching of the 'alma parens'.
The hippopotamus clothed in black did not take off his skullcap this time, to the child's great regret, for he wished to assure himself if the degrees of latitude and longitude were checked off in squares on M. Batifol's cranium as they were on the terrestrial globe. He conducted his pupil to his class at once and presented him to the master.
"Here is a new day scholar, Monsieur Tavernier. You will find out how far advanced he is in reading and writing, if you please." M. Tavernier was a tall young man with a sallow complexion, a bachelor who, had he been living like his late father, a sergeant of the gendarmes, in a pretty house surrounded by apple trees and green grass, would not, perhaps, have had that 'papier-mache' appearance, and would not have been dressed at eight o'clock in the morning in a black coat of the kind we see hanging in the Morgue. M. Tavernier received the newcomer with a sickly smile, which disappeared as soon as M. Batifol left the room.
"Go and take your place in that empty seat there, in the third row," said
M. Tavernier, in an indifferent tone.
He deigned, however, to conduct Amedee to the seat which he was to occupy. Amedee's neighbor, one of the future citizens preparing for social life—several with patches upon their trousers—had been naughty enough to bring into class a handful of cockchafers. He was punished by a quarter of an hour's standing up, which he did soon after, sulking at the foot of the sycamore-tree in the large court.
"You will soon see what a cur he is," whispered the pupil in disgrace; as soon as the teacher had returned to his seat.
M. Tavernier struck his ruler on the edge of his chair, and, having reestablished silence, invited pupil Godard to recite his lesson.
Pupil Godard, who was a chubby-faced fellow with sleepy eyes, rose automatically and in one single stream, like a running tap, recited, without stopping to take breath, "The Wolf and the Lamb," rolling off La Fontaine's fable like the thread from a bobbin run by steam.
"The-strongest-reason-is-always-the-best-and-we-will-prove-it-at-once-a- lamb-was-quenching-his-thirst-in-a-stream-of-pure-running-water—"
Suddenly Godard was confused, he hesitated. The machine had been badly oiled. Something obstructed the bobbin.
"In-a-stream-of-pure-running-water-in-a stream—"
Then he stopped short, the tap was closed. Godard did not know his lesson, and he, too, was condemned to remain on guard under the sycamore during recess.
After pupil Godard came pupil Grosdidier; then Blanc, then Moreau (Gaston), then Moreau (Ernest), then Malepert; then another, and another, who babbled with the same intelligence and volubility, with the same piping voice, this cruel and wonderful fable. It was as irritating and monotonous as a fine rain. All the pupils in the "ninth preparatory" were disgusted for fifteen years, at least, with this most exquisite of French poems.
Little Amedee wanted to cry; he listened with stupefaction blended with fright as the scholars by turns unwound their bobbins. To think that to-morrow he must do the same! He never would be able. M. Tavernier frightened him very much, too. The yellow-complexioned usher, seated nonchalantly in his armchair, was not without pretension; in spite of his black coat with the "take-me-out-of-pawn" air, polished his nails, and only opened his mouth at times to utter a reprimand or pronounce sentence of punishment.
This was school, then! Amedee recalled the pleasant reading-lessons that the eldest of the Gerards had given him—that good Louise, so wise and serious and only ten years old, pointing out his letters to him in a picture alphabet with a knitting-needle, always so patient and kind. The child was overcome at the very first with a disgust for school, and gazed through the window which lighted the room at the noiselessly moving, large, indented leaves of the melancholy sycamore.
CHAPTER III
PAPA AND MAMMA GERARD
One, two, three years rolled by without anything very remarkable happening to the inhabitants of the fifth story.
The quarter had not changed, and it still had the appearance of a suburban faubourg. They had just erected, within gunshot of the house where the Violettes and Gerards lived, a large five-story building, upon whose roof still trembled in the wind the masons' withered bouquets. But that was all. In front of them, on the lot "For Sale," enclosed by rotten boards, where one could always see tufts of nettles and a goat tied to a stake, and upon the high wall above which by the end of April the lilacs hung in their perfumed clusters, the rains had not effaced this brutal declaration of love, scraped with a knife in the plaster: "When Melie wishes she can have me," and signed "Eugene."
Three years had passed, and little Amedee had grown a trifle. At that time a child born in the centre of Paris—for example, in the labyrinth of infected streets about the Halles—would have grown up without having any idea of the change of seasons other than by the state of the temperature and the narrow strip of sky which he could see by raising his head. Even today certain poor children—the poor never budge from their hiding-places—learn of the arrival of winter only by the odor of roasted chestnuts; of spring, by the boxes of gilly-flowers in the fruiterer's stall; of summer, by the water-carts passing, and of autumn, by the heaps of oyster-shells at the doors of wine-shops. The broad sky, with its confused shapes of cloud architecture, the burning gold of the setting sun behind the masses of trees, the enchanting stillness of moonlight upon the river, all these grand and magnificent spectacles are for the delight of those who live in suburban quarters, or play there sometimes. The sons of people who work in buttons and jet spend their infancy playing on staircases that smell of lead, or in courts that resemble wells, and do not suspect that nature exists. At the outside they suspect that nature may exist when they see the horses on Palm Sunday decorated with bits of boxwood behind each ear. What matters it, after all, if the child has imagination? A star reflected in a gutter will reveal to him an immense nocturnal poem; and he will breathe all the intoxication of summer in the full-blown rose which the grisette from the next house lets fall from her hair.
Amedee had had the good fortune of being born in that delicious and melancholy suburb of Paris which had not yet become "Haussmannized," and was full of wild and charming nooks.
His father, the widower, could not be consoled, and tried to wear out his grief in long promenades, going out on clear evenings, holding his little boy by the hand, toward the more solitary places. They followed those fine boulevards, formerly in the suburbs, where there were giant elms, planted in the time of Louis XIV, ditches full of grass, ruined palisades, showing through their opening market-gardens where melons glistened in the rays of the setting sun. Both were silent; the father lost in reveries, Amedee absorbed in the confused dreams of a
Sometimes they would pass a public-house painted in a sinister wine- color; or else a garden hedged in by acacias, at the fork of two roads, with arbors and a sign consisting of a very small windmill at the end of a pole, turning in the fresh evening breeze. It was almost country; the grass grew upon the sidewalks, springing up in the road between the broken pavements. A poppy flashed here and there upon the tops of the low walls. They met very few people; now and then some poor person, a woman in a cap dragging along a crying child, a workman burdened with his tools, a belated invalid, and sometimes in the middle. of the sidewalk, in a cloud of dust, a flock of exhausted sheep, bleating desperately, and nipped in the legs by dogs hurrying them toward the abattoir. The father and son would walk straight ahead until it was dark under the trees; then they would retrace their steps, the sharp air stinging their faces. Those ancient hanging street-lamps, the tragic lanterns of the time of the Terror, were suspended at long intervals in the avenue, mingling their dismal twinkle with the pale gleams of the green twilight sky.
These sorrowful promenades with his melancholy companion would commonly end a tiresome day at Batifol's school. Amedee was now in the "seventh," and knew already that the phrase, "the will of God," could not be turned into Latin by 'bonitas divina', and that the word 'cornu' was not declinable. These long, silent hours spent at his school-desk, or beside a person absorbed in grief, might have become fatal to the child's disposition, had it not been for his good friends, the Gerards. He went to see them as often as he was able, a spare hour now and then, and most of the day on Thursdays. The engraver's house was always full of good- nature and gayety, and Amedee felt comfortable and really happy there.
The good Gerards, besides their Louise and Maria, to say nothing of Amedee, whom they looked upon as one of the family, had now taken charge of a fourth child, a little girl, named Rosine, who was precisely the same age as their youngest.
This was the way it happened. Above the Gerards, in one of the mansards upon the sixth floor, lived a printer named Combarieu, with his wife or mistress—the concierge did not know which, nor did it matter much. The woman had just deserted him, leaving a child of eight years. One could expect nothing better of a creature who, according to the concierge, fed her husband upon pork-butcher's meat, to spare herself the trouble of getting dinner, and passed the entire day with uncombed hair, in a dressing-sacque, reading novels, and telling her fortune with cards. The grocer's daughter declared she had met her one evening, at a dancing- hall, seated with a fireman before a salad-bowl full of wine, prepared in the French fashion.
During the day Combarieu, although a red-hot Republican, sent his little girl to the Sisters; but he went out every evening with a mysterious air and left the child alone. The concierge even uttered in a low voice, with the romantic admiration which that class of people have for conspirators, the terrible word "secret society," and asserted that the printer had a musket concealed under his straw bed.
These revelations were of a nature to excite M. Gerard's sympathy in favor of his neighbor, for the coup d'etat and the proclamation of the Empire had irritated him very much. Had it not been his melancholy duty to engrave, the day after the second of December—he must feed his family first of all—a Bonapartist allegory entitled, "The Uncle and the Nephew," where one saw France extending its hand to Napoleon I and Prince Louis, while soaring above the group was an eagle with spreading wings, holding in one of his claws the cross of the Legion of Honor?
One day the engraver asked his wife, as he lighted his pipe—he had given up Abd-el-Kader and smoked now a Barbes—if they ought not to interest themselves a little in the abandoned child. It needed nothing more to arouse the good woman, who had already said more than once: "What a pity!" as she saw little Rosine waiting for her father in the lodge of the concierge, asleep in a chair before the stove. She coaxed the child to play with her children. Rosine was very pretty, with bright eyes, a droll little Parisian nose, and a mass of straw-colored curly hair escaping from her cap. The little rogue let fly quite often some gutter expression, such as "Hang it!" or "Tol-derol-dol!" at which Madame Gerard would exclaim, "What do I hear, Mademoiselle?" but she was intelligent and soon corrected herself.
One Sunday morning, Combarieu, having learned of their kindness to his child, made a visit to thank them.
Very dark, with a livid complexion, all hair and beard, and trying to look like the head of Jesus Christ, in his long black blouse he embodied the type of a club conspirator, a representative of the workingmen. A Freemason, probably; a solemn drunkard, who became intoxicated oftener on big words than on native wine, and spoke in a loud, pretentious voice, gazing before him with large, stupid eyes swimming in a sort of ecstasy; his whole person made one think of a boozy preacher. He immediately inspired the engraver with respect, and dazzled him by the fascination which the audacious exert over the timid. M. Gerard thought he discerned in Combarieu one of those superior men whom a cruel fate had caused to be born among the lower class and in whom poverty had stifled genius.
Enlightened as to the artist's political preferences by the bowl of his pipe, Combarieu complacently eulogized himself. Upon his own admission he had at first been foolish enough to dream of a universal brotherhood, a holy alliance of the people. He had even written poems which he had published himself, notably an "Ode to Poland," and an "Epistle to Beranger," which latter had evoked an autograph letter from the illustrious song-writer. But he was no longer such a simpleton.
"When one has seen what we have seen during June, and on the second of December, there is no longer any question of sentiment." Here the engraver, as a hospitable host, brought a bottle of wine and two glasses. "No, Monsieur Gerard, I thank you, I take nothing between my meals. The workingmen have been deceived too often, and at the next election we shall not let the bourgeoisie strangle the Republic." (M. Gerard had now uncorked the bottle.) "Only a finger! Enough! Enough! simply so as not to refuse you. While waiting, let us prepare ourselves. Just now the Eastern question muddles us, and behold 'Badinguet,'—[A nickname given to Napoleon III.]—with a big affair upon his hands. You have some wine here that is worth drinking. If he loses one battle he is done for. One glass more? Ah! you make me depart from my usual custom—absolutely done for. But this time we shall keep our eyes open. No half measures! We will return to the great methods of 'ninety-three—the Committee of Public Safety, the Law of Suspects, the Revolutionary Tribunal, every damned one of them! and, if it is necessary, a permanent guillotine! To your good health!"
So much energy frightened Father Gerard a little; for in spite of his Barbes pipe-bowl he was not a genuine red-hot Republican. He dared not protest, however, and blushed a little as he thought that the night before an editor had proposed to him to engrave a portrait of the new Empress, very decollete, and showing her famous shoulders, and that he had not said No; for his daughters