Sons of the Soil by Honoré de Balzac (little readers .TXT) 📖

there by projecting points of the stone, which was mostly black. A band of cement, in which no stones were allowed to show, surrounded each window with a sort of frame, where time had made some slight, capricious cracks, such as appear on plastered ceilings. The outer blinds, of a clumsy pattern, were noticeable for their color, which was dragon-green. A few mosses grew among the slates of the roof. The type is that of Burgundian homesteads; the traveller will see thousands like it when visiting this part of France.

A double door opened upon a passage, half-way down which was the well of the staircase. By the entrance was the door of a large room with three windows looking out upon the square. The kitchen, built behind and beneath the staircase, was lighted from the courtyard, which was neatly paved with cobble-stones and entered by a porte-cochere. Such was the ground-floor. The first floor contained three bedrooms, above them a small attic chamber.

A wood-shed, a coach-house, and a stable adjoined the kitchen, and formed two sides of a square around the courtyard. Above these rather flimsy buildings were lofts containing hay and grain, a fruit-room, and one servant's-chamber.

A poultry-yard, the stable, and a pigsty faced the house across the courtyard.

The garden, about an acre in size and enclosed by walls, was a true priest's garden; that is, it was full of wall-fruit and fruit-trees, grape-arbors, gravel-paths, closely trimmed box-trees, and square vegetable patches, made rich with the manure from the stable.

Within, the large room, panelled in wainscot, was hung with old tapestry. The walnut furniture, brown with age and covered with stuffs embroidered in needle-work, was in keeping with the wainscot and with the ceiling, which was also panelled. The latter had three projecting beams, but these were painted, and between them the space was plastered. The mantel, also in walnut, surmounted by a mirror in the most grotesque frame, had no other ornament than two brass eggs standing on a marble base, each of which opened in the middle; the upper half when turned over showed a socket for a candle. These candlesticks for two lights, festooned with chains (an invention of the reign of Louis XV.), were becoming rare. On a green and gold bracket fastened to the wall opposite to the window was a common but excellent clock. The curtains, which squeaked upon their rods, were at least fifty years old; their material, of cotton in a square pattern like that of mattresses, alternately pink and white, came from the Indies. A sideboard and dinner-table completed the equipment of the room, which was kept with extreme nicety.

At the corner of the fireplace was an immense sofa, Rigou's especial seat. In the angle, above a little "bonheur du jour," which served him as a desk, and hanging to a common screw, was a pair of bellows, the origin of Rigou's fortune.

From this succinct description, in style like that of an auction sale, it will be easy to imagine that the bedrooms of Monsieur and Madame Rigou were limited to mere necessaries; yet it would be a mistake to suppose that such parsimony affected the essential excellence of those necessaries. For instance, the most fastidious of women would have slept well in Rigou's bed, with fine linen sheets, excellent mattresses, made luxurious by a feather-bed (doubtless bought for some abbe by a pious female parishioner) and protected from draughts by thick curtains. All the rest of Rigou's belongings were made comfortable for his use, as we shall see.

In the first place, he had reduced his wife, who could neither read, write, nor cipher, to absolute obedience. After having ruled her deceased master, the poor creature was now the servant of her husband; she cooked and did the washing, with very little help from a pretty girl named Annette, who was nineteen years old and as much a slave to Rigou as her mistress, and whose wages were thirty francs a year.

Tall, thin, and withered, Madame Rigou, a woman with a yellow face red about the cheek-bones, her head always wrapped in a colored handkerchief, and wearing the same dress all the year round, did not leave the house for two hours in a month's time, but kept herself in exercise by doing the hard work of a devoted servant. The keenest observer could not have found a trace of the fine figure, the Rubens coloring, the splendid lines, the superb teeth, the virginal eyes which first drew the attention of the Abbe Niseron to the young girl. The birth of her only daughter, Madame Soudry, Jr., had blighted her complexion, decayed her teeth, dimmed her eyes, and even caused the dropping of their lashes. It almost seemed as if the finger of God had fallen upon the wife of the priest. Like all well-to-do country house-wives, she liked to see her closets full of silk gowns, made and unmade, and jewels and laces which did her no good and only excited the sin of envy and a desire for her death in the minds of all the young women who served Rigou. She was one of those beings, half-woman, half-animal, who are born to live by instinct. This ex-beautiful Arsene was disinterested; and the bequest left to her by the late Abbe Niseron would be inexplicable were it not for the curious circumstance which prompted it, and which we give here for the edification of the vast tribe of expectant heirs.

Madame Niseron, the wife of the old republican sexton, always paid the greatest attention to her husband's uncle, the priest of Blangy; the forty or fifty thousand francs soon to be inherited from the old man of seventy would put the family of his only nephew into a condition of affluence which she impatiently awaited, for besides her only son (the father of La Pechina) Madame Niseron had a charming little daughter, lively and innocent,--one of those beings that seem perfected only because they are to die, which she did at the age of fourteen from "pale color," the popular name for chlorosis among the peasantry. The darling of the parsonage, where the child fluttered about her great uncle the abbe as she did in her home, bringing clouds and sunshine with her, she grew to love Mademoiselle Arsene, the pretty servant whom the old abbe engaged in 1789. Arsene was the niece of his housekeeper, whose place the girl took by request of the latter on her deathbed.

In 1791, just about the time that the Abbe Niseron offered his house as an asylum to Rigou and his brother Jean, the little girl played one of her mischievous but innocent tricks. She was playing with Arsene and some other children at a game which consists in hiding an object which the rest seek, and crying out, "You burn!" or "You freeze!" according as the searchers approach or leave the hidden article. Little Genevieve took it into her head to hide the bellows in Arsene's bed. The bellows could not be found, and the game came to an end; Genevieve was taken home by her mother and forgot to put the bellows back on the nail. Arsene and her aunt searched more than a week for them; then they stopped searching and managed to do without them, the old abbe blowing his fire with an air-cane made in the days when air-canes were the fashion,--a fashion which was no doubt introduced by some courtier of the reign of Henri III. At last, about a month before her death, the housekeeper, after a dinner at which the Abbe Mouchon, the Niseron family, and the curate of Soulanges were present, returned to her jeremiades about the loss of the bellows.

"Why! they've been these two weeks in Arsene's bed!" cried the little one, with a peal of laughter. "Great lazy thing! if she had taken the trouble to make her bed she would have found them."

As it was 1791 everybody laughed; but a dead silence succeeded the laugh.

"There is nothing laughable in that," said the housekeeper; "since I have been ill Arsene sleeps in my room."

In spite of this explanation the Abbe Niseron looked thunderbolts at Madame Niseron and his nephew, thinking they were plotting mischief against him. The housekeeper died. Rigou contrived to work up the abbe's resentment to such a pitch that he made a will disinheriting Jean-Francois Niseron in favor of Arsene Pichard.

In 1823 Rigou, perhaps out of a sense of gratitude, still blew the fire with an air-cane, and left the bellows hanging to the screw.

Madame Niseron, idolizing her daughter, did not long survive her. Mother and child died in 1794. The old abbe, too, was dead, and citizen Rigou took charge of Arsene's affairs by marrying her. A former convert in the monastery, attached to Rigou as a dog is to his master, became the groom, gardener, herdsman, valet, and steward of the sensual Harpagon. Arsene Rigou, the daughter, married in 1821 without dowry to the prosecuting-attorney, inheriting something of her mother's rather vulgar beauty, together with the crafty mind of her father.

Now about sixty-seven years of age, Rigou had never been ill in his life, and nothing seemed able to lessen his aggressively good health. Tall, lean, with brown circles round his eyes, the lids of which were nearly black, any one who saw him of a morning, when as he dressed he exposed the wrinkled, red, and granulated skin of his neck, would have compared him to a condor,--all the more because his long nose, sharp at the tip, increased the likeness by its sanguineous color. His head, partly bald, would have frightened phrenologists by the shape of its skull, which was like an ass's backbone, an indication of despotic will. His grayish eyes, half-covered by filmy, red-veined lids, were predestined to aid hypocrisy. Two scanty locks of hair of an undecided color overhung the large ears, which were long and without rim, a sure sign of cruelty, but cruelty of the moral nature only, unless where it means actual insanity. The mouth, very broad, with thin lips, indicated a sturdy eater and a determined drinker by the drop of its corners, which turned downward like two commas, from which drooled gravy when he ate and saliva when he talked. Heliogabalus must have been like this.

His dress, which never varied, consisted of a long blue surtout with a military collar, a black cravat, with waistcoat and trousers of black cloth. His shoes, very thick soled, had iron nails outside, and inside woollen linings knit by his wife in the winter evenings. Annette and her mistress also knit the master's stockings. Rigou's name was Gregoire.

Though this sketch gives some idea of the man's character, no one can imagine the point to which, in his private and unthwarted life, the ex-Benedictine had pushed the science of selfishness, good living, and sensuality. In the first place, he dined alone, waited upon by his wife and Annette, who themselves dined with Jean in the kitchen, while the master digested his meal and disposed of his wine as he read "the news."

In the country the special names of journals are never mentioned; they are all called by the general name of "the news."

Rigou's dinner, like his breakfast and supper, was always of choice delicacies, cooked with the art which distinguishes a priest's housekeeper from all other cooks. Madame Rigou made the butter herself twice a week. Cream was a concomitant of many sauces. The vegetables came at a jump, as it were, from their frames to the saucepan. Parisians, who are accustomed to eat the fruits of the earth after they have had a second ripening in the sun of a city, infected by the air of