Complete works of gustav.., p.159
Complete Works of Gustave Flaubert, page 159
At the foot of the stairs they heard violins playing above.
"Where the deuce are you bringing me to?" said Frederick.
"To see a nice girl! don't be afraid!"
The door was opened for them by a groom; and they entered the anteroom, where paletots, mantles, and shawls were thrown together in a heap on some chairs. A young woman in the costume of a dragoon of Louis XIV.'s reign was passing at that moment. It was Mademoiselle Rosanette Bron, the mistress of the place.
"Well?" said Arnoux.
"'Tis done!" she replied.
"Ah! thanks, my angel!"
And he wanted to kiss her.
"Take care, now, you foolish man! You'll spoil the paint on my face!"
Arnoux introduced Frederick.
"Step in there, Monsieur; you are quite welcome!"
She drew aside a door-curtain, and cried out with a certain emphasis:
"Here's my lord Arnoux, girl, and a princely friend of his!"
Frederick was at first dazzled by the lights. He could see nothing save some silk and velvet dresses, naked shoulders, a mass of colours swaying to and fro to the accompaniment of an orchestra hidden behind green foliage, between walls hung with yellow silk, with pastel portraits here and there and crystal chandeliers in the style of Louis XVI.'s period. High lamps, whose globes of roughened glass resembled snowballs, looked down on baskets of flowers placed on brackets in the corners; and at the opposite side, at the rear of a second room, smaller in size, one could distinguish, in a third, a bed with twisted posts, and at its head a Venetian mirror.
The dancing stopped, and there were bursts of applause, a hubbub of delight, as Arnoux was seen advancing with his hamper on his head; the eatables contained in it made a lump in the centre.
"Make way for the lustre!"
Frederick raised his eyes: it was the lustre of old Saxe that had adorned the shop attached to the office of L'Art Industriel. The memory of former days was brought back to his mind. But a foot-soldier of the line in undress, with that silly expression of countenance ascribed by tradition to conscripts, planted himself right in front of him, spreading out his two arms in order to emphasise his astonishment, and, in spite of the hideous black moustaches, unusually pointed, which disfigured his face, Frederick recognised his old friend Hussonnet. In a half-Alsatian, half-negro kind of gibberish, the Bohemian loaded him with congratulations, calling him his colonel. Frederick, put out of countenance by the crowd of personages assembled around him, was at a loss for an answer. At a tap on the desk from a fiddlestick, the partners in the dance fell into their places.
They were about sixty in number, the women being for the most part dressed either as village-girls or marchionesses, and the men, who were nearly all of mature age, being got up as wagoners, 'longshoremen, or sailors.
Frederick having taken up his position close to the wall, stared at those who were going through the quadrille in front of him.
An old beau, dressed like a Venetian Doge in a long gown or purple silk, was dancing with Mademoiselle Rosanette, who wore a green coat, laced breeches, and boots of soft leather with gold spurs. The pair in front of them consisted of an Albanian laden with yataghans and a Swiss girl with blue eyes and skin white as milk, who looked as plump as a quail with her chemise-sleeves and red corset exposed to view. In order to turn to account her hair, which fell down to her hips, a tall blonde, a walking lady in the opera, had assumed the part of a female savage; and over her brown swaddling-cloth she displayed nothing save leathern breeches, glass bracelets, and a tinsel diadem, from which rose a large sheaf of peacock's feathers. In front of her, a gentleman who had intended to represent Pritchard, muffled up in a grotesquely big black coat, was beating time with his elbows on his snuff-box. A little Watteau shepherd in blue-and-silver, like moonlight, dashed his crook against the thyrsus of a Bacchante crowned with grapes, who wore a leopard's skin over her left side, and buskins with gold ribbons. On the other side, a Polish lady, in a spencer of nacarat-coloured velvet, made her gauze petticoat flutter over her pearl-gray stockings, which rose above her fashionable pink boots bordered with white fur. She was smiling on a big-paunched man of forty, disguised as a choir-boy, who was skipping very high, lifting up his surplice with one hand, and with the other his red clerical cap. But the queen, the star, was Mademoiselle Loulou, a celebrated dancer at public halls. As she had now become wealthy, she wore a large lace collar over her vest of smooth black velvet; and her wide trousers of poppy-coloured silk, clinging closely to her figure, and drawn tight round her waist by a cashmere scarf, had all over their seams little natural white camellias. Her pale face, a little puffed, and with the nose somewhat retroussé, looked all the more pert from the disordered appearance of her wig, over which she had with a touch of her hand clapped a man's grey felt hat, so that it covered her right ear; and, with every bounce she made, her pumps, adorned with diamond buckles, nearly reached the nose of her neighbour, a big mediæval baron, who was quite entangled in his steel armour. There was also an angel, with a gold sword in her hand, and two swan's wings over her back, who kept rushing up and down, every minute losing her partner who appeared as Louis XIV., displaying an utter ignorance of the figures and confusing the quadrille.
Frederick, as he gazed at these people, experienced a sense of forlornness, a feeling of uneasiness. He was still thinking of Madame Arnoux and it seemed to him as if he were taking part in some plot that was being hatched against her.
When the quadrille was over, Mademoiselle Rosanette accosted him. She was slightly out of breath, and her gorget, polished like a mirror, swelled up softly under her chin.
"And you, Monsieur," said she, "don't you dance?"
Frederick excused himself; he did not know how to dance.
"Really! but with me? Are you quite sure?" And, poising herself on one hip, with her other knee a little drawn back, while she stroked with her left hand the mother-of-pearl pommel of her sword, she kept staring at him for a minute with a half-beseeching, half-teasing air. At last she said "Good night! then," made a pirouette, and disappeared.
Frederick, dissatisfied with himself, and not well knowing what to do, began to wander through the ball-room.
He entered the boudoir padded with pale blue silk, with bouquets of flowers from the fields, whilst on the ceiling, in a circle of gilt wood, Cupids, emerging out of an azure sky, played over the clouds, resembling down in appearance. This display of luxuries, which would to-day be only trifles to persons like Rosanette, dazzled him, and he admired everything — the artificial convolvuli which adorned the surface of the mirror, the curtains on the mantelpiece, the Turkish divan, and a sort of tent in a recess in the wall, with pink silk hangings and a covering of white muslin overhead. Furniture made of dark wood with inlaid work of copper filled the sleeping apartment, where, on a platform covered with swan's-down, stood the large canopied bedstead trimmed with ostrich-feathers. Pins, with heads made of precious stones, stuck into pincushions, rings trailing over trays, lockets with hoops of gold, and little silver chests, could be distinguished in the shade under the light shed by a Bohemian urn suspended from three chainlets. Through a little door, which was slightly ajar, could be seen a hot-house occupying the entire breadth of a terrace, with an aviary at the other end.
Here were surroundings specially calculated to charm him. In a sudden revolt of his youthful blood he swore that he would enjoy such things; he grew bold; then, coming back to the place opening into the drawing-room, where there was now a larger gathering — it kept moving about in a kind of luminous pulverulence — he stood to watch the quadrilles, blinking his eyes to see better, and inhaling the soft perfumes of the women, which floated through the atmosphere like an immense kiss.
But, close to him, on the other side of the door, was Pellerin — Pellerin, in full dress, his left arm over his breast and with his hat and a torn white glove in his right.
"Halloa! 'Tis a long time since we saw you! Where the deuce have you been? Gone to travel in Italy? 'Tis a commonplace country enough — Italy, eh? not so unique as people say it is? No matter! Will you bring me your sketches one of these days?"
And, without giving him time to answer, the artist began talking about himself. He had made considerable progress, having definitely satisfied himself as to the stupidity of the line. We ought not to look so much for beauty and unity in a work as for character and diversity of subject.
"For everything exists in nature; therefore, everything is legitimate; everything is plastic. It is only a question of catching the note, mind you! I have discovered the secret." And giving him a nudge, he repeated several times, "I have discovered the secret, you see! just look at that little woman with the head-dress of a sphinx who is dancing with a Russian postilion — that's neat, dry, fixed, all in flats and in stiff tones — indigo under the eyes, a patch of vermilion on the cheek, and bistre on the temples — pif! paf!" And with his thumb he drew, as it were, pencil-strokes in the air. "Whilst the big one over there," he went on, pointing towards a fishwife in a cherry gown with a gold cross hanging from her neck, and a lawn fichu fastened round her shoulders, "is nothing but curves. The nostrils are spread out just like the borders of her cap; the corners of the mouth are rising up; the chin sinks: all is fleshy, melting, abundant, tranquil, and sunshiny — a true Rubens! Nevertheless, they are both perfect! Where, then, is the type?" He grew warm with the subject. "What is this but a beautiful woman? What is it but the beautiful? Ah! the beautiful — tell me what that is — — "
Frederick interrupted him to enquire who was the merry-andrew with the face of a he-goat, who was in the very act of blessing all the dancers in the middle of a pastourelle.
"Oh! he's not much! — a widower, the father of three boys. He leaves them without breeches, spends his whole day at the club, and lives with the servant!"
"And who is that dressed like a bailiff talking in the recess of the window to a Marquise de Pompadour?"
"The Marquise is Mademoiselle Vandael, formerly an actress at the Gymnase, the mistress of the Doge, the Comte de Palazot. They have now been twenty years living together — nobody can tell why. Had she fine eyes at one time, this woman? As for the citizen by her side, his name is Captain d'Herbigny, an old man of the hurdy-gurdy sort that you can play on, with nothing in the world except his Cross of the Legion of Honour and his pension. He passes for the uncle of the grisettes at festival times, arranges duels, and dines in the city."
"A rascal?" said Frederick.
"No! an honest man!"
"Ha!"
The artist was going on to mention the names of many others, when, perceiving a gentleman who, like Molière's physician, wore a big black serge gown opening very wide as it descended in order to display all his trinkets:
"The person who presents himself there before you is Dr. Des Rogis, who, full of rage at not having made a name for himself, has written a book of medical pornography, and willingly blacks people's boots in society, while he is at the same time discreet. These ladies adore him. He and his wife (that lean châtelaine in the grey dress) trip about together at every public place — aye, and at other places too. In spite of domestic embarrassments, they have a day — artistic teas, at which verses are recited. Attention!"
In fact, the doctor came up to them at that moment; and soon they formed all three, at the entrance to the drawing-room, a group of talkers, which was presently augmented by Hussonnet, then by the lover of the female savage, a young poet who displayed, under a court cloak of Francis I.'s reign, the most pitiful of anatomies, and finally a sprightly youth disguised as a Turk of the barrier. But his vest with its yellow galloon had taken so many voyages on the backs of strolling dentists, his wide trousers full of creases, were of so faded a red, his turban, rolled about like an eel in the Tartar fashion, was so poor in appearance — in short, his entire costume was so wretched and made-up, that the women did not attempt to hide their disgust. The doctor consoled him by pronouncing eulogies on his mistress, the lady in the dress of a 'longshorewoman. This Turk was a banker's son.
Between two quadrilles, Rosanette advanced towards the mantelpiece, where an obese little old man, in a maroon coat with gold buttons, had seated himself in an armchair. In spite of his withered cheeks, which fell over his white cravat, his hair, still fair, and curling naturally like that of a poodle, gave him a certain frivolity of aspect.
She was listening to him with her face bent close to his. Presently, she accommodated him with a little glass of syrup; and nothing could be more dainty than her hands under their laced sleeves, which passed over the facings of her green coat. When the old man had swallowed it, he kissed them.
"Why, that's M. Oudry, a neighbor of Arnoux!"
"He has lost her!" said Pellerin, smiling.
A Longjumeau postilion caught her by the waist. A waltz was beginning. Then all the women, seated round the drawing-room on benches, rose up quickly at the same time; and their petticoats, their scarfs, and their head-dresses went whirling round.
They whirled so close to him that Frederick could notice the beads of perspiration on their foreheads; and this gyral movement, more and more lively, regular, provocative of dizzy sensations, communicated to his mind a sort of intoxication, which made other images surge up within it, while every woman passed with the same dazzling effect, and each of them with a special kind of exciting influence, according to her style of beauty.
The Polish lady, surrendering herself in a languorous fashion, inspired him with a longing to clasp her to his heart while they were both spinning forward on a sledge along a plain covered with snow. Horizons of tranquil voluptuousness in a châlet at the side of a lake opened out under the footsteps of the Swiss girl, who waltzed with her bust erect and her eyelashes drooping. Then, suddenly, the Bacchante, bending back her head with its dark locks, made him dream of devouring caresses in a wood of oleanders, in the midst of a storm, to the confused accompaniment of tabours. The fishwife, who was panting from the rapidity of the music, which was far too great for her, gave vent to bursts of laughter; and he would have liked, while drinking with her in some tavern in the "Porcherons," to rumple her fichu with both hands, as in the good old times. But the 'longshorewoman, whose light toes barely skimmed the floor, seemed to conceal under the suppleness of her limbs and the seriousness of her face all the refinements of modern love, which possesses the exactitude of a science and the mobility of a bird. Rosanette was whirling with arms akimbo; her wig, in an awkward position, bobbing over her collar, flung iris-powder around her; and, at every turn, she was near catching hold of Frederick with the ends of her gold spurs.
During the closing bar of the waltz, Mademoiselle Vatnaz made her appearance. She had an Algerian handkerchief on her head, a number of piastres on her forehead, antimony at the edges of her eyes, with a kind of paletot made of black cashmere falling over a petticoat of sparkling colour, with stripes of silver; and in her hand she held a tambourine.
Behind her back came a tall fellow in the classical costume of Dante, who happened to be — she now made no concealment any longer about it — the ex-singer of the Alhambra, and who, though his name was Auguste Delamare, had first called himself Anténor Delamarre, then Delmas, then Belmar, and at last Delmar, thus modifying and perfecting his name, as his celebrity increased, for he had forsaken the public-house concert for the theatre, and had even just made his début in a noisy fashion at the Ambigu in Gaspardo le Pécheur.
Hussonnet, on seeing him, knitted his brows. Since his play had been rejected, he hated actors. It was impossible to conceive the vanity of individuals of this sort, and above all of this fellow. "What a prig! Just look at him!"
After a light bow towards Rosanette, Delmar leaned back against the mantelpiece; and he remained motionless with one hand over his heart, his left foot thrust forward, his eyes raised towards heaven, with his wreath of gilt laurels above his cowl, while he strove to put into the expression of his face a considerable amount of poetry in order to fascinate the ladies. They made, at some distance, a great circle around him.
But the Vatnaz, having given Rosanette a prolonged embrace, came to beg of Hussonnet to revise, with a view to the improvement of the style, an educational work which she intended to publish, under the title of "The Young Ladies' Garland," a collection of literature and moral philosophy.
The man of letters promised to assist her in the preparation of the work. Then she asked him whether he could not in one of the prints to which he had access give her friend a slight puff, and even assign to him, later, some part. Hussonnet had forgotten to take a glass of punch on account of her.
It was Arnoux who had brewed the beverage; and, followed by the Comte's groom carrying an empty tray, he offered it to the ladies with a self-satisfied air.
When he came to pass in front of M. Oudry, Rosanette stopped him.
"Well — and this little business?"
He coloured slightly; finally, addressing the old man:
"Our fair friend tells me that you would have the kindness — — "
"What of that, neighbour? I am quite at your service!"
And M. Dambreuse's name was pronounced. As they were talking to one another in low tones, Frederick could only hear indistinctly; and he made his way to the other side of the mantelpiece, where Rosanette and Delmar were chatting together.
The mummer had a vulgar countenance, made, like the scenery of the stage, to be viewed from a distance — coarse hands, big feet, and a heavy jaw; and he disparaged the most distinguished actors, spoke of poets with patronising contempt, made use of the expressions "my organ," "my physique," "my powers," enamelling his conversation with words that were scarcely intelligible even to himself, and for which he had quite an affection, such as "morbidezza," "analogue," and "homogeneity."
Rosanette listened to him with little nods of approbation. One could see her enthusiasm bursting out under the paint on her cheeks, and a touch of moisture passed like a veil over her bright eyes of an indefinable colour. How could such a man as this fascinate her? Frederick internally excited himself to greater contempt for him, in order to banish, perhaps, the species of envy which he felt with regard to him.
