Ferragus

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At this moment the young officer was beside his unconscious mistress,
who certainly was unaware that she was doubly faithless. Madame Jules
was seated, in a naive attitude, like the least artful woman in
existence, soft and gentle, full of a majestic serenity. What an abyss
is human nature! Before beginning a conversation, the baron looked
alternately at the wife and at the husband. How many were the
reflections he made! He recomposed the "Night Thoughts" of Young in a
second. And yet the music was sounding through the salons, the light
was pouring from a thousand candles. It was a banker's ball,--one of
those insolent festivals by means of which the world of solid gold
endeavored to sneer at the gold-embossed salons where the faubourg
Saint-Germain met and laughed, not foreseeing the day when the bank
would invade the Luxembourg and take its seat upon the throne. The
conspirators were now dancing, indifferent to coming bankruptcies,
whether of Power or of the Bank. The gilded salons of the Baron de
Nucingen were gay with that peculiar animation that the world of
Paris, apparently joyous at any rate, gives to its fetes. There, men
of talent communicate their wit to fools, and fools communicate that
air of enjoyment that characterizes them. By means of this exchange
all is liveliness. But a ball in Paris always resembles fireworks to a
certain extent; wit, coquetry, and pleasure sparkle and go out like
rockets. The next day all present have forgotten their wit, their
coquetry, their pleasure.

"Ah!" thought Auguste, by way of conclusion, "women are what the
vidame says they are. Certainly all those dancing here are less
irreproachable actually than Madame Jules appears to be, and yet
Madame Jules went to the rue Soly!"

The rue Soly was like an illness to him; the very word shrivelled his
heart.

"Madame, do you ever dance?" he said to her.

"This is the third time you have asked me that question this winter,"
she answered, smiling.

"But perhaps you have never answered it."

"That is true."

"I knew very well that you were false, like other women."

Madame Jules continued to smile.

"Listen, monsieur," she said; "if I told you the real reason, you
would think it ridiculous. I do not think it false to abstain from
telling things that the world would laugh at."

"All secrets demand, in order to be told, a friendship of which I am
no doubt unworthy, madame. But you cannot have any but noble secrets;
do you think me capable of jesting on noble things?"

"Yes," she said, "you, like all the rest, laugh at our purest
sentiments; you calumniate them. Besides, I have no secrets. I have
the right to love my husband in the face of all the world, and I say
so,--I am proud of it; and if you laugh at me when I tell you that I
dance only with him, I shall have a bad opinion of your heart."

"Have you never danced since your marriage with any one but your
husband?"

"Never. His arm is the only one on which I have leaned; I have never
felt the touch of another man."

"Has your physician never felt your pulse?"

"Now you are laughing at me."

"No, madame, I admire you, because I comprehend you. But you let a man
hear your voice, you let yourself be seen, you--in short, you permit
our eyes to admire you--"

"Ah!" she said, interrupting him, "that is one of my griefs. Yes, I
wish it were possible for a married woman to live secluded with her
husband, as a mistress lives with her lover, for then--"

"Then why were you, two hours ago, on foot, disguised, in the rue
Soly?"

"The rue Soly, where is that?"

And her pure voice gave no sign of any emotion; no feature of her face
quivered; she did not blush; she remained calm.

"What! you did not go up to the second floor of a house in the rue des
Vieux-Augustins at the corner of the rue Soly? You did not have a
hackney-coach waiting near by? You did not return in it to the
flower-shop in the rue Richelieu, where you bought the feathers that
are now in your hair?"

"I did not leave my house this evening."

As she uttered that lie she was smiling and imperturbable; she played
with her fan; but if any one had passed a hand down her back they
would, perhaps, have found it moist. At that instant Auguste
remembered the instructions of the vidame.

"Then it was some one who strangely resembled you," he said, with a
credulous air.

"Monsieur," she replied, "if you are capable of following a woman and
detecting her secrets, you will allow me to say that it is a wrong, a
very wrong thing, and I do you the honor to say that I disbelieve
you."

The baron turned away, placed himself before the fireplace and seemed
thoughtful. He bent his head; but his eyes were covertly fixed on
Madame Jules, who, not remembering the reflections in the mirror, cast
two or three glances at him that were full of terror. Presently she
made a sign to her husband and rising took his arm to walk about the
salon. As she passed before Monsieur de Maulincour, who at that moment
was speaking to a friend, he said in a loud voice, as if in reply to a
remark: "That woman will certainly not sleep quietly this night."
Madame Jules stopped, gave him an imposing look which expressed
contempt, and continued her way, unaware that another look, if
surprised by her husband, might endanger not only her happiness but
the lives of two men. Auguste, frantic with anger, which he tried to
smother in the depths of his soul, presently left the house, swearing
to penetrate to the heart of the mystery. Before leaving, he sought
Madame Jules, to look at her again; but she had disappeared.

What a drama cast into that young head so eminently romantic, like all
who have not known love in the wide extent which they give to it. He
adored Madame Jules under a new aspect; he loved her now with the fury
of jealousy and the frenzied anguish of hope. Unfaithful to her
husband, the woman became common. Auguste could now give himself up to
the joys of successful love, and his imagination opened to him a
career of pleasures. Yes, he had lost the angel, but he had found the
most delightful of demons. He went to bed, building castles in the
air, excusing Madame Jules by some romantic fiction in which he did
not believe. He resolved to devote himself wholly, from that day
forth, to a search for the causes, motives, and keynote of this
mystery. It was a tale to read, or better still, a drama to be played,
in which he had a part.



CHAPTER II

FERRAGUS

A fine thing is the task of a spy, when performed for one's own
benefit and in the interests of a passion. Is it not giving ourselves
the pleasure of a thief and a rascal while continuing honest men? But
there is another side to it; we must resign ourselves to boil with
anger, to roar with impatience, to freeze our feet in the mud, to be
numbed, and roasted, and torn by false hopes. We must go, on the faith
of a mere indication, to a vague object, miss our end, curse our luck,
improvise to ourselves elegies, dithyrambics, exclaim idiotically
before inoffensive pedestrians who observe us, knock over old
apple-women and their baskets, run hither and thither, stand on guard
beneath a window, make a thousand suppositions. But, after all, it is
a chase, a hunt; a hunt in Paris, a hunt with all its chances, minus
dogs and guns and the tally-ho! Nothing compares with it but the life
of gamblers. But it needs a heart big with love and vengeance to
ambush itself in Paris, like a tiger waiting to spring upon its prey,
and to enjoy the chances and contingencies of Paris, by adding one
special interest to the many that abound there. But for this we need a
many-sided soul--for must we not live in a thousand passions, a
thousand sentiments?

Auguste de Maulincour flung himself into this ardent existence
passionately, for he felt all its pleasures and all its misery. He
went disguised about Paris, watching at the corners of the rue Pagevin
and the rue des Vieux-Augustins. He hurried like a hunter from the rue
de Menars to the rue Soly, and back from the rue Soly to the rue de
Menars, without obtaining either the vengeance or the knowledge which
would punish or reward such cares, such efforts, such wiles. But he
had not yet reached that impatience which wrings our very entrails and
makes us sweat; he roamed in hope, believing that Madame Jules would
only refrain for a few days from revisiting the place where she knew
she had been detected. He devoted the first days therefore, to a
careful study of the secrets of the street. A novice at such work, he
dared not question either the porter or the shoemaker of the house to
which Madame Jules had gone; but he managed to obtain a post of
observation in a house directly opposite to the mysterious apartment.
He studied the ground, trying to reconcile the conflicting demands of
prudence, impatience, love, and secrecy.

Early in the month of March, while busy with plans by which he
expected to strike a decisive blow, he left his post about four in the
afternoon, after one of those patient watches from which he had
learned nothing. He was on his way to his own house whither a matter
relating to his military service called him, when he was overtaken in
the rue Coquilliere by one of those heavy showers which instantly
flood the gutters, while each drop of rain rings loudly in the puddles
of the roadway. A pedestrian under these circumstances is forced to
stop short and take refuge in a shop or cafe if he is rich enough to
pay for the forced hospitality, or, if in poorer circumstances, under
a _porte-cochere_, that haven of paupers or shabbily dressed persons.
Why have none of our painters ever attempted to reproduce the
physiognomies of a swarm of Parisians, grouped, under stress of
weather, in the damp _porte-cochere_ of a building? First, there's the
musing philosophical pedestrian, who observes with interest all he
sees,--whether it be the stripes made by the rain on the gray
background of the atmosphere (a species of chasing not unlike the
capricious threads of spun glass), or the whirl of white water which
the wind is driving like a luminous dust along the roofs, or the
fitful disgorgements of the gutter-pipes, sparkling and foaming; in
short, the thousand nothings to be admired and studied with delight by
loungers, in spite of the porter's broom which pretends to be sweeping
out the gateway. Then there's the talkative refugee, who complains and
converses with the porter while he rests on his broom like a grenadier
on his musket; or the pauper wayfarer, curled against the wall
indifferent to the condition of his rags, long used, alas, to contact
with the streets; or the learned pedestrian who studies, spells, and
reads the posters on the walls without finishing them; or the smiling
pedestrian who makes fun of others to whom some street fatality has
happened, who laughs at the muddy women, and makes grimaces at those
of either sex who are looking from the windows; and the silent being
who gazes from floor to floor; and the working-man, armed with a
satchel or a paper bundle, who is estimating the rain as a profit or
loss; and the good-natured fugitive, who arrives like a shot
exclaiming, "Ah! what weather, messieurs, what weather!" and bows to
every one; and, finally, the true _bourgeois_ of Paris, with his
unfailing umbrella, an expert in showers, who foresaw this particular
one, but would come out in spite of his wife; this one takes a seat in
the porter's chair. According to individual character, each member of
this fortuitous society contemplates the skies, and departs, skipping
to avoid the mud,--because he is in a hurry, or because he sees other
citizens walking along in spite of wind and slush, or because, the
archway being damp and mortally catarrhal, the bed's edge, as the
proverb says, is better than the sheets. Each one has his motive. No
one is left but the prudent pedestrian, the man who, before he sets
forth, makes sure of a scrap of blue sky through the rifting clouds.

Monsieur de Maulincour took refuge, as we have said, with a whole
family of fugitives, under the porch of an old house, the court-yard
of which looked like the flue of a chimney. The sides of its
plastered, nitrified, and mouldy walls were so covered with pipes and
conduits from all the many floors of its four elevations, that it
might have been said to resemble at that moment the _cascatelles_ of
Saint-Cloud. Water flowed everywhere; it boiled, it leaped, it
murmured; it was black, white, blue, and green; it shrieked, it
bubbled under the broom of the portress, a toothless old woman used to
storms, who seemed to bless them as she swept into the street a mass
of scraps an intelligent inventory of which would have revealed the
lives and habits of every dweller in the house,--bits of printed
cottons, tea-leaves, artificial flower-petals faded and worthless,
vegetable parings, papers, scraps of metal. At every sweep of her
broom the old woman bared the soul of the gutter, that black fissure
on which a porter's mind is ever bent. The poor lover examined this
scene, like a thousand others which our heaving Paris presents daily;
but he examined it mechanically, as a man absorbed in thought, when,
happening to look up, he found himself all but nose to nose with a man
who had just entered the gateway.

In appearance this man was a beggar, but not the Parisian beggar,
--that creation without a name in human language; no, this man formed
another type, while presenting on the outside all the ideas suggested
by the word "beggar." He was not marked by those original Parisian
characteristics which strike us so forcibly in the paupers whom
Charlet was fond of representing, with his rare luck in observation,
--coarse faces reeking of mud, hoarse voices, reddened and bulbous
noses, mouths devoid of teeth but menacing; humble yet terrible
beings, in whom a profound intelligence shining in their eyes seems
like a contradiction. Some of these bold vagabonds have blotched,
cracked, veiny skins; their foreheads are covered with wrinkles, their
hair scanty and dirty, like a wig thrown on a dust-heap. All are gay
in their degradation, and degraded in their joys; all are marked with
the stamp of debauchery, casting their silence as a reproach; their
very attitude revealing fearful thoughts. Placed between crime and
beggary they have no compunctions, and circle prudently around the
scaffold without mounting it, innocent in the midst of crime, and
vicious in their innocence. They often cause a laugh, but they always
cause reflection. One represents to you civilization stunted,
repressed; he comprehends everything, the honor of the galleys,
patriotism, virtue, the malice of a vulgar crime, or the fine
astuteness of elegant wickedness. Another is resigned, a perfect
mimer, but stupid. All have slight yearnings after order and work, but
they are pushed back into their mire by society, which makes no
inquiry as to what there may be of great men, poets, intrepid souls,
and splendid organizations among these vagrants, these gypsies of
Paris; a people eminently good and eminently evil--like all the masses
who suffer--accustomed to endure unspeakable woes, and whom a fatal
power holds ever down to the level of the mire. They all have a dream,
a hope, a happiness,--cards, lottery, or wine.

There was nothing of all this in the personage who now leaned
carelessly against the wall in front of Monsieur de Maulincour, like
some fantastic idea drawn by an artist on the back of a canvas the
front of which is turned to the wall. This tall, spare man, whose
leaden visage expressed some deep but chilling thought, dried up all
pity in the hearts of those who looked at him by the scowling look and
the sarcastic attitude which announced an intention of treating every
man as an equal. His face was of a dirty white, and his wrinkled
skull, denuded of hair, bore a vague resemblance to a block of
granite. A few gray locks on either side of his head fell straight to
the collar of his greasy coat, which was buttoned to the chin. He
resembled both Voltaire and Don Quixote; he was, apparently, scoffing
but melancholy, full of disdain and philosophy, but half-crazy. He
seemed to have no shirt. His beard was long. A rusty black cravat,
much worn and ragged, exposed a protuberant neck deeply furrowed, with
veins as thick as cords. A large brown circle like a bruise was
strongly marked beneath his eyes, He seemed to be at least sixty years
old. His hands were white and clean. His boots were trodden down at
the heels, and full of holes. A pair of blue trousers, mended in
various places, were covered with a species of fluff which made them
offensive to the eye. Whether it was that his damp clothes exhaled a
fetid odor, or that he had in his normal condition the "poor smell"
which belongs to Parisian tenements, just as offices, sacristies, and
hospitals have their own peculiar and rancid fetidness, of which no
words can give the least idea, or whether some other reason affected
them, those in the vicinity of this man immediately moved away and
left him alone. He cast upon them and also upon the officer a calm,
expressionless look, the celebrated look of Monsieur de Talleyrand, a
dull, wan glance, without warmth, a species of impenetrable veil,
beneath which a strong soul hides profound emotions and close
estimation of men and things and events. Not a fold of his face
quivered. His mouth and forehead were impassible; but his eyes moved
and lowered themselves with a noble, almost tragic slowness. There
was, in fact, a whole drama in the motion of those withered eyelids.

The aspect of this stoical figure gave rise in Monsieur de Maulincour
to one of those vagabond reveries which begin with a common question
and end by comprising a world of thought. The storm was past. Monsieur
de Maulincour presently saw no more of the man than the tail of his
coat as it brushed the gate-post, but as he turned to leave his own
place he noticed at his feet a letter which must have fallen from the
unknown beggar when he took, as the baron had seen him take, a
handkerchief from his pocket. The young man picked it up, and read,
involuntarily, the address: "To Monsieur Ferragusse, Rue des
Grands-Augustains, corner of rue Soly."

The letter bore no postmark, and the address prevented Monsieur de
Maulincour from following the beggar and returning it; for there are
few passions that will not fail in rectitude in the long run. The
baron had a presentiment of the opportunity afforded by this windfall.
He determined to keep the letter, which would give him the right to
enter the mysterious house to return it to the strange man, not
doubting that he lived there. Suspicions, vague as the first faint
gleams of daylight, made him fancy relations between this man and
Madame Jules. A jealous lover supposes everything; and it is by
supposing everything and selecting the most probable of their
conjectures that judges, spies, lovers, and observers get at the truth
they are looking for.

"Is the letter for him? Is it from Madame Jules?"

His restless imagination tossed a thousand such questions to him; but
when he read the first words of the letter he smiled. Here it is,
textually, in all the simplicity of its artless phrases and its
miserable orthography,--a letter to which it would be impossible to
add anything, or to take anything away, unless it were the letter
itself. But we have yielded to the necessity of punctuating it. In the
original there were neither commas nor stops of any kind, not even
notes of exclamation,--a fact which tends to undervalue the system of
notes and dashes by which modern authors have endeavored to depict the
great disasters of all the passions:--


Henry,--Among the manny sacrifisis I imposed upon myself for your
sake was that of not giving you anny news of me; but an
iresistible voise now compells me to let you know the wrong you
have done me. I know beforehand that your soul hardened in vise
will not pitty me. Your heart is deaf to feeling. Is it deaf to
the cries of nature? But what matter? I must tell you to what a
dredful point you are gilty, and the horror of the position to
which you have brought me. Henry, you knew what I sufered from my
first wrong-doing, and yet you plunged me into the same misery,
and then abbandoned me to my dispair and sufering. Yes, I will say
it, the belif I had that you loved me and esteemed me gave me
corage to bare my fate. But now, what have I left? Have you not
made me loose all that was dear to me, all that held me to life;
parents, frends, onor, reputation,--all, I have sacrifised all to
you, and nothing is left me but shame, oprobrum, and--I say this
without blushing--poverty. Nothing was wanting to my misfortunes
but the sertainty of your contempt and hatred; and now I have them
I find the corage that my project requires. My decision is made;
the onor of my famly commands it. I must put an end to my
suferins. Make no remarks upon my conduct, Henry; it is orful, I
know, but my condition obliges me. Without help, without suport,
without one frend to comfort me, can I live? No. Fate has desided
for me. So in two days, Henry, two days, Ida will have seased to
be worthy of your regard. Oh, Henry! oh, my frend! for I can never
change to you, promise me to forgive me for what I am going to do.
Do not forget that you have driven me to it; it is your work, and
you must judge it. May heven not punish you for all your crimes. I
ask your pardon on my knees, for I feel nothing is wanting to my
misery but the sorow of knowing you unhappy. In spite of the
poverty I am in I shall refuse all help from you. If you had loved
me I would have taken all from your friendship; but a benfit given
by pitty _my soul refussis_. I would be baser to take it than he
who offered it. I have one favor to ask of you. I don't know how
long I must stay at Madame Meynardie's; be genrous enough not to
come there. Your last two vissits did me a harm I cannot get ofer.
I cannot enter into particlers about that conduct of yours. You
hate me,--you said so; that word is writen on my heart, and
freeses it with fear. Alas! it is now, when I need all my corage,
all my strength, that my faculties abandon me. Henry, my frend,
before I put a barrier forever between us, give me a last pruf of
your esteem. Write me, answer me, say you respect me still, though
you have seased to love me. My eyes are worthy still to look into
yours, but I do not ask an interfew; I fear my weakness and my
love. But for pitty's sake write me a line at once; it will give
me the corage I need to meet my trubbles. Farewell, orther of all
my woes, but the only frend my heart has chosen and will never
forget.

Ida.


This life of a young girl, with its love betrayed, its fatal joys, its
pangs, its miseries, and its horrible resignation, summed up in a few
words, this humble poem, essentially Parisian, written on dirty paper,
influenced for a passing moment Monsieur de Maulincour. He asked
himself whether this Ida might not be some poor relation of Madame
Jules, and that strange rendezvous, which he had witnessed by chance,
the mere necessity of a charitable effort. But could that old pauper
have seduced this Ida? There was something impossible in the very
idea. Wandering in this labyrinth of reflections, which crossed,
recrossed, and obliterated one another, the baron reached the rue
Pagevin, and saw a hackney-coach standing at the end of the rue des
Vieux-Augustins where it enters the rue Montmartre. All waiting
hackney-coaches now had an interest for him.

"Can she be there?" he thought to himself, and his heart beat fast
with a hot and feverish throbbing.

He pushed the little door with the bell, but he lowered his head as he
did so, obeying a sense of shame, for a voice said to him secretly:--

"Why are you putting your foot into this mystery?"

He went up a few steps, and found himself face to face with the old
portress.

"Monsieur Ferragus?" he said.

"Don't know him."

"Doesn't Monsieur Ferragus live here?"

"Haven't such a name in the house."

"But, my good woman--"

"I'm not your good woman, monsieur, I'm the portress."

"But, madame," persisted the baron, "I have a letter for Monsieur
Ferragus."

"Ah! if monsieur has a letter," she said, changing her tone, "that's
another matter. Will you let me see it--that letter?"

Auguste showed the folded letter. The old woman shook her head with a
doubtful air, hesitated, seemed to wish to leave the lodge and inform
the mysterious Ferragus of his unexpected visitor, but finally said:--

"Very good; go up, monsieur. I suppose you know the way?"

Without replying to this remark, which he thought might be a trap, the
young officer ran lightly up the stairway, and rang loudly at the door
of the second floor. His lover's instinct told him, "She is there."

The beggar of the porch, Ferragus, the "orther" of Ida's woes, opened
the door himself. He appeared in a flowered dressing-gown, white
flannel trousers, his feet in embroidered slippers, and his face
washed clean of stains. Madame Jules, whose head projected beyond the
casing of the door in the next room, turned pale and dropped into a
chair.