Villette by Charlotte Brontë (if you give a mouse a cookie read aloud TXT) 📖

FRATERNITY.

“Oubliez les Professeurs.” So said Madame Beck. Madame Beck was a wise woman, but she should not have uttered those words. To do so was a mistake. That night she should have left me calm—not excited, indifferent, not interested, isolated in my own estimation and that of others—not connected, even in idea, with this second person whom I was to forget.

Forget him? Ah! they took a sage plan to make me forget him—the wiseheads! They showed me how good he was; they made of my dear little man a stainless little hero. And then they had prated about his manner of loving. What means had I, before this day, of being certain whether he could love at all or not?

I had known him jealous, suspicious; I had seen about him certain tendernesses, fitfulnesses—a softness which came like a warm air, and a ruth which passed like early dew, dried in the heat of his irritabilities: this was all I had seen. And they, Père Silas and Modeste Maria Beck (that these two wrought in concert I could not doubt) opened up the adytum of his heart—showed me one grand love, the child of this southern nature’s youth, born so strong and perfect, that it had laughed at Death himself, despised his mean rape of matter, clung to immortal spirit, and in victory and faith, had watched beside a tomb twenty years.

This had been done—not idly: this was not a mere hollow indulgence of sentiment; he had proven his fidelity by the consecration of his best energies to an unselfish purpose, and attested it by limitless personal sacrifices: for those once dear to her he prized—he had laid down vengeance, and taken up a cross.

Now, as for Justine Marie, I knew what she was as well as if I had seen her. I knew she was well enough; there were girls like her in Madame Beck’s school—phlegmatics—pale, slow, inert, but kind-natured, neutral of evil, undistinguished for good.

If she wore angels’ wings, I knew whose poet-fancy conferred them. If her forehead shone luminous with the reflex of a halo, I knew in the fire of whose irids that circlet of holy flame had generation.

Was I, then, to be frightened by Justine Marie? Was the picture of a pale dead nun to rise, an eternal barrier? And what of the charities which absorbed his worldly goods? What of his heart sworn to virginity?

Madame Beck—Père Silas—you should not have suggested these questions. They were at once the deepest puzzle, the strongest obstruction, and the keenest stimulus, I had ever felt. For a week of nights and days I fell asleep—I dreamt, and I woke upon these two questions. In the whole world there was no answer to them, except where one dark little man stood, sat, walked, lectured, under the headpiece of a bandit bonnet-grec, and within the girth of a sorry paletôt, much be-inked, and no little adust.

After that visit to the Rue des Mages, I did want to see him again. I felt as if—knowing what I now knew—his countenance would offer a page more lucid, more interesting than ever; I felt a longing to trace in it the imprint of that primitive devotedness, the signs of that half-knightly, half-saintly chivalry which the priest’s narrative imputed to his nature. He had become my Christian hero: under that character I wanted to view him.

Nor was opportunity slow to favour; my new impressions underwent her test the next day. Yes: I was granted an interview with my “Christian hero”—an interview not very heroic, or sentimental, or biblical, but lively enough in its way.

About three o’clock of the afternoon, the peace of the first classe— safely established, as it seemed, under the serene sway of Madame Beck, who, in propriâ personâ was giving one of her orderly and useful lessons—this peace, I say, suffered a sudden fracture by the wild inburst of a paletôt.

Nobody at the moment was quieter than myself. Eased of responsibility by Madame Beck’s presence, soothed by her uniform tones, pleased and edified with her clear exposition of the subject in hand (for she taught well), I sat bent over my desk, drawing—that is, copying an elaborate line engraving, tediously working up my copy to the finish of the original, for that was my practical notion of art; and, strange to say, I took extreme pleasure in the labour, and could even produce curiously finical Chinese facsimiles of steel or mezzotint plates— things about as valuable as so many achievements in worsted-work, but I thought pretty well of them in those days.

What was the matter? My drawing, my pencils, my precious copy, gathered into one crushed-up handful, perished from before my sight; I myself appeared to be shaken or emptied out of my chair, as a solitary and withered nutmeg might be emptied out of a spice-box by an excited cook. That chair and my desk, seized by the wild paletôt, one under each sleeve, were borne afar; in a second, I followed the furniture; in two minutes they and I were fixed in the centre of the grand salle —a vast adjoining room, seldom used save for dancing and choral singing-lessons—fixed with an emphasis which seemed to prohibit the remotest hope of our ever being permitted to stir thence again.

Having partially collected my scared wits, I found myself in the presence of two men, gentlemen, I suppose I should say—one dark, the other light—one having a stiff, half-military air, and wearing a braided surtout; the other partaking, in garb and bearing, more of the careless aspect of the student or artist class: both flourishing in full magnificence of moustaches, whiskers, and imperial. M. Emanuel stood a little apart from these; his countenance and eyes expressed strong choler; he held forth his hand with his tribune gesture.

“Mademoiselle,” said he, “your business is to prove to these gentlemen that I am no liar. You will answer, to the best of your ability, such questions as they shall put. You will also write on such theme as they shall select. In their eyes, it appears, I hold the position of an unprincipled impostor. I write essays; and, with deliberate forgery, sign to them my pupils’ names, and boast of them as their work. You will disprove this charge.”

Grand ciel! Here was the show-trial, so long evaded, come on me like a thunder-clap. These two fine, braided, mustachioed, sneering personages, were none other than dandy professors of the college— Messieurs Boissec and Rochemorte—a pair of cold-blooded fops and pedants, sceptics, and scoffers. It seems that M. Paul had been rashly exhibiting something I had written—something, he had never once praised, or even mentioned, in my hearing, and which I deemed forgotten. The essay was not remarkable at all; it only seemed remarkable, compared with the average productions of foreign school-girls; in an English establishment it would have passed scarce noticed. Messieurs Boissec and Rochemorte had thought proper to question its genuineness, and insinuate a cheat; I was now to bear my testimony to the truth, and to be put to the torture of their examination.

A memorable scene ensued.

They began with classics. A dead blank. They went on to French history. I hardly knew Mérovée from Pharamond. They tried me in various ‘ologies, and still only got a shake of the head, and an unchanging “Je n’en sais rien.”

After an expressive pause, they proceeded to matters of general information, broaching one or two subjects which I knew pretty well, and on which I had often reflected. M. Emanuel, who had hitherto stood looking on, dark as the winter-solstice, brightened up somewhat; he thought I should now show myself at least no fool.

He learned his error. Though answers to the questions surged up fast, my mind filling like a rising well, ideas were there, but not words. I either could not, or would not speak—I am not sure which: partly, I think, my nerves had got wrong, and partly my humour was crossed.

I heard one of my examiners—he of the braided surtout—whisper to his co-professor, “Est-elle donc idiote?”

“Yes,” I thought, “an idiot she is, and always will be, for such as you.”

But I suffered—suffered cruelly; I saw the damps gather on M. Paul’s brow, and his eye spoke a passionate yet sad reproach. He would not believe in my total lack of popular cleverness; he thought I could be prompt if I would.

At last, to relieve him, the professors, and myself, I stammered out:

“Gentlemen, you had better let me go; you will get no good of me; as you say, I am an idiot.”

I wish I could have spoken with calm and dignity, or I wish my sense had sufficed to make me hold my tongue; that traitor tongue tripped, faltered. Beholding the judges cast on M. Emanuel a hard look of triumph, and hearing the distressed tremor of my own voice, out I burst in a fit of choking tears. The emotion was far more of anger than grief; had I been a man and strong, I could have challenged that pair on the spot—but it was emotion, and I would rather have been scourged than betrayed it.

The incapables! Could they not see at once the crude hand of a novice in that composition they called a forgery? The subject was classical. When M. Paul dictated the trait on which the essay was to turn, I heard it for the first time; the matter was new to me, and I had no material for its treatment. But I got books, read up the facts, laboriously constructed a skeleton out of the dry bones of the real, and then clothed them, and tried to breathe into them life, and in this last aim I had pleasure. With me it was a difficult and anxious time till my facts were found, selected, and properly jointed; nor could I rest from research and effort till I was satisfied of correct anatomy; the strength of my inward repugnance to the idea of flaw or falsity sometimes enabled me to shun egregious blunders; but the knowledge was not there in my head, ready and mellow; it had not been sown in Spring, grown in Summer, harvested in Autumn, and garnered through Winter; whatever I wanted I must go out and gather fresh; glean of wild