Ferragus by Honoré de Balzac (classic books for 13 year olds TXT) 📖

letter for his master, who opened it indifferently, but as soon as his eyes had lighted on the signature he read it eagerly. The letter was as follows:--

Monsieur,--For the sake of your peace of mind as well as ours, I
take the course of writing you this letter without possessing the
advantage of being known to you; but my position, my age, and the
fear of some misfortune compel me to entreat you to show
indulgence in the trying circumstances under which our afflicted
family is placed. Monsieur Auguste de Maulincour has for the last
few days shown signs of mental derangement, and we fear that he
may trouble your happiness by fancies which he confided to
Monsieur le Vidame de Pamiers and myself during his first attack
of frenzy. We think it right, therefore, to warn you of his
malady, which is, we hope, curable; but it will have such serious
and important effects on the honor of our family and the career of
my grandson that we must rely, monsieur, on your entire
discretion.

If Monsieur le Vidame or I could have gone to see you we would not
have written. But I make no doubt that you will regard this prayer
of a mother, who begs you to destroy this letter.

Accept the assurance of my perfect consideration.

Baronne de Maulincour, _nee_ de Rieux.

"Oh! what torture!" cried Jules.

"What is it? what is in your mind?" asked his wife, exhibiting the deepest anxiety.

"I have come," he answered, slowly, as he threw her the letter, "to ask myself whether it can be you who have sent me that to avert my suspicions. Judge, therefore, what I suffer."

"Unhappy man!" said Madame Jules, letting fall the paper. "I pity him; though he has done me great harm."

"Are you aware that he has spoken to me?"

"Oh! have you been to see him, in spite of your promise?" she cried in terror.

"Clemence, our love is in danger of perishing; we stand outside of the ordinary rules of life; let us lay aside all petty considerations in presence of this great peril. Explain to me why you went out this morning. Women think they have the right to tell us little falsehoods. Sometimes they like to hide a pleasure they are preparing for us. Just now you said a word to me, by mistake, no doubt, a no for a yes."

He went into the dressing-room and brought out the bonnet.

"See," he said, "your bonnet has betrayed you; these spots are raindrops. You must, therefore, have gone out in a street cab, and these drops fell upon it as you went to find one, or as you entered or left the house where you went. But a woman can leave her own home for many innocent purposes, even after she has told her husband that she did not mean to go out. There are so many reasons for changing our plans! Caprices, whims, are they not your right? Women are not required to be consistent with themselves. You had forgotten something,--a service to render, a visit, some kind action. But nothing hinders a woman from telling her husband what she does. Can we ever blush on the breast of a friend? It is not a jealous husband who speaks to you, my Clemence; it is your lover, your friend, your brother." He flung himself passionately at her feet. "Speak, not to justify yourself, but to calm my horrible sufferings. I know that you went out. Well--what did you do? where did you go?"

"Yes, I went out, Jules," she answered in a strained voice, though her face was calm. "But ask me nothing more. Wait; have confidence; without which you will lay up for yourself terrible remorse. Jules, my Jules, trust is the virtue of love. I owe to you that I am at this moment too troubled to answer you: but I am not a false woman; I love you, and you know it."

"In the midst of all that can shake the faith of man and rouse his jealousy, for I see I am not first in your heart, I am no longer thine own self--well, Clemence, even so, I prefer to believe you, to believe that voice, to believe those eyes. If you deceive me, you deserve--"

"Ten thousand deaths!" she cried, interrupting him.

"I have never hidden a thought from you, but you--"

"Hush!" she said, "our happiness depends upon our mutual silence."

"Ha! I _will_ know all!" he exclaimed, with sudden violence.

At that moment the cries of a woman were heard,--the yelping of a shrill little voice came from the antechamber.

"I tell you I will go in!" it cried. "Yes, I shall go in; I will see her! I shall see her!"

Jules and Clemence both ran to the salon as the door from the antechamber was violently burst open. A young woman entered hastily, followed by two servants, who said to their master:--

"Monsieur, this person would come in in spite of us. We told her that madame was not at home. She answered that she knew very well madame had been out, but she saw her come in. She threatened to stay at the door of the house till she could speak to madame."

"You can go," said Monsieur Desmarets to the two men. "What do you want, mademoiselle?" he added, turning to the strange woman.

This "demoiselle" was the type of a woman who is never to be met with except in Paris. She is made in Paris, like the mud, like the pavement, like the water of the Seine, such as it becomes in Paris before human industry filters it ten times ere it enters the cut-glass decanters and sparkles pure and bright from the filth it has been. She is therefore a being who is truly original. Depicted scores of times by the painter's brush, the pencil of the caricaturist, the charcoal of the etcher, she still escapes analysis, because she cannot be caught and rendered in all her moods, like Nature, like this fantastic Paris itself. She holds to vice by one thread only, and she breaks away from it at a thousand other points of the social circumference. Besides, she lets only one trait of her character be known, and that the only one which renders her blamable; her noble virtues are hidden; she prefers to glory in her naive libertinism. Most incompletely rendered in dramas and tales where she is put upon the scene with all her poesy, she is nowhere really true but in her garret; elsewhere she is invariably calumniated or over-praised. Rich, she deteriorates; poor, she is misunderstood. She has too many vices, and too many good qualities; she is too near to pathetic asphyxiation or to a dissolute laugh; too beautiful and too hideous. She personifies Paris, to which, in the long run, she supplies the toothless portresses, washerwomen, street-sweepers, beggars, occasionally insolent countesses, admired actresses, applauded singers; she has even given, in the olden time, two quasi-queens to the monarchy. Who can grasp such a Proteus? She is all woman, less than woman, more than woman. From this vast portrait the painter of manners and morals can take but a feature here and there; the _ensemble_ is infinite.

She was a grisette of Paris; a grisette in all her glory; a grisette in a hackney-coach,--happy, young, handsome, fresh, but a grisette; a grisette with claws, scissors, impudent as a Spanish woman, snarling as a prudish English woman proclaiming her conjugal rights, coquettish as a great lady, though more frank, and ready for everything; a perfect _lionne_ in her way; issuing from the little apartment of which she had dreamed so often, with its red-calico curtains, its Utrecht velvet furniture, its tea-table, the cabinet of china with painted designs, the sofa, the little moquette carpet, the alabaster clock and candlesticks (under glass cases), the yellow bedroom, the eider-down quilt,--in short, all the domestic joys of a grisette's life; and in addition, the woman-of-all-work (a former grisette herself, now the owner of a moustache), theatre-parties, unlimited bonbons, silk dresses, bonnets to spoil,--in fact, all the felicities coveted by the grisette heart except a carriage, which only enters her imagination as a marshal's baton into the dreams of a soldier. Yes, this grisette had all these things in return for a true affection, or in spite of a true affection, as some others obtain it for an hour a day,--a sort of tax carelessly paid under the claws of an old man.

The young woman who now entered the presence of Monsieur and Madame Jules had a pair of feet so little covered by her shoes that only a slim black line was visible between the carpet and her white stockings. This peculiar foot-gear, which Parisian caricaturists have well-rendered, is a special attribute of the grisette of Paris; but she is even more distinctive to the eyes of an observer by the care with which her garments are made to adhere to her form, which they clearly define. On this occasion she was trigly dressed in a green gown, with a white chemisette, which allowed the beauty of her bust to be seen; her shawl, of Ternaux cashmere, had fallen from her shoulders, and was held by its two corners, which were twisted round her wrists. She had a delicate face, rosy cheeks, a white skin, sparkling gray eyes, a round, very promising forehead, hair carefully smoothed beneath her little bonnet, and heavy curls upon her neck.

"My name is Ida," she said, "and if that's Madame Jules to whom I have the advantage of speaking, I've come to tell her all I have in my heart against her. It is very wrong, when a woman is set up and in her furniture, as you are here, to come and take from a poor girl a man with whom I'm as good as married, morally, and who did talk of making it right by marrying me before the municipality. There's plenty of handsome young men in the world--ain't there, monsieur?--to take your fancy, without going after a man of middle age, who makes my happiness. Yah! I haven't got a fine hotel like this, but I've got my love, I have. I hate handsome men and money; I'm all heart, and--"

Madame Jules turned to her husband.

"You will allow me, monsieur, to hear no more of all this," she said, retreating to her bedroom.

"If the lady lives with you, I've made a mess of it; but I can't help that," resumed Ida. "Why does she come after Monsieur Ferragus every day?"

"You are mistaken, mademoiselle," said Jules, stupefied; "my wife is incapable--"

"Ha! so you're married, you two," said the grisette showing some surprise. "Then it's very wrong, monsieur,--isn't it?--for a woman who has the happiness of being married in legal marriage to have relations with a man like Henri--"

"Henri! who is Henri?" said Jules, taking Ida by the arm and pulling her into an adjoining room that his wife might hear no more.

"Why, Monsieur Ferragus."

"But he is dead," said Jules.

"Nonsense; I went to Franconi's with him last night, and he brought me home--as he ought. Besides, your wife can tell you about him; didn't she go there this very afternoon at three o'clock? I know she did, for I waited in the street, and saw her,--all because that good-natured fellow, Monsieur Justin, whom you know perhaps,--a