The Man in the Iron Mask by Alexandre Dumas (the beginning after the end novel read txt) 📕
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- Author: Alexandre Dumas
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“This Coquelin sketched my arm on the glass.”
“I beg your pardon—Poquelin.”
“What did I say, then?”
“You said Coquelin.”
“Ah! true. This Poquelin, then, sketched my arm on the glass; but he took his time over it; he kept looking at me a good deal. The fact is, that I must have been looking particularly handsome.”
“‘Does it weary you?’ he asked.
“‘A little,’ I replied, bending a little in my hands, ‘but I could hold out for an hour or so longer.’
“‘No, no, I will not allow it; the willing fellows will make it a duty to support your arms, as of old, men supported those of the prophet.’
“‘Very good,’ I answered.
“‘That will not be humiliating to you?’
“‘My friend,’ said I, ‘there is, I think, a great difference between being supported and being measured.’”
“The distinction is full of the soundest sense,” interrupted D’Artagnan.
“Then,” continued Porthos, “he made a sign: two lads approached; one supported my left arm, while the other, with infinite address, supported my right.”
“‘Another, my man,’ cried he. A third approached. ‘Support monsieur by the waist,’ said he. The garcon complied.”
“So that you were at rest?” asked D’Artagnan.
“Perfectly; and Pocquenard drew me on the glass.”
“Poquelin, my friend.”
“Poquelin—you are right. Stay, decidedly I prefer calling him Voliere.”
“Yes; and then it was over, wasn’t it?”
“During that time Voliere drew me as I appeared in the mirror.”
“‘Twas delicate in him.”
“I much like the plan; it is respectful, and keeps every one in his place.”
“And there it ended?”
“Without a soul having touched me, my friend.”
“Except the three garcons who supported you.”
“Doubtless; but I have, I think, already explained to you the difference there is between supporting and measuring.”
“‘Tis true,” answered D’Artagnan; who said afterwards to himself, “I’faith, I greatly deceive myself, or I have been the means of a good windfall to that rascal Moliere, and we shall assuredly see the scene hit off to the life in some comedy or other.” Porthos smiled.
“What are you laughing at?” asked D’Artagnan.
“Must I confess? Well, I was laughing over my good fortune.”
“Oh, that is true; I don’t know a happier man than you. But what is this last piece of luck that has befallen you?’
“Well, my dear fellow, congratulate me.”
“I desire nothing better.”
“It seems that I am the first who has had his measure taken in that manner.”
“Are you so sure of it?’
“Nearly so. Certain signs of intelligence which passed between Voliere and the other garcons showed me the fact.”
“Well, my friend, that does not surprise me from Moliere,” said D’Artagnan.
“Voliere, my friend.”
“Oh, no, no, indeed! I am very willing to leave you to go on saying Voliere; but, as for me, I shall continued to say Moliere. Well, this, I was saying, does not surprise me, coming from Moliere, who is a very ingenious fellow, and inspired you with this grand idea.”
“It will be of great use to him by and by, I am sure.”
“Won’t it be of use to him, indeed? I believe you, it will, and that in the highest degree;—for you see my friend Moliere is of all known tailors the man who best clothes our barons, comtes, and marquises—according to their measure.”
On this observation, neither the application nor depth of which we shall discuss, D’Artagnan and Porthos quitted M. de Percerin’s house and rejoined their carriages, wherein we will leave them, in order to look after Moliere and Aramis at Saint-Mande.
Chapter VI. The Bee-Hive, the Bees, and the Honey.
The bishop of Vannes, much annoyed at having met D’Artagnan at M. Percerin’s, returned to Saint-Mande in no very good humor. Moliere, on the other hand, quite delighted at having made such a capital rough sketch, and at knowing where to find his original again, whenever he should desire to convert his sketch into a picture, Moliere arrived in the merriest of moods. All the first story of the left wing was occupied by the most celebrated Epicureans in Paris, and those on the freest footing in the house—every one in his compartment, like the bees in their cells, employed in producing the honey intended for that royal cake which M. Fouquet proposed to offer his majesty Louis XIV. during the fete at Vaux. Pelisson, his head leaning on his hand, was engaged in drawing out the plan of the prologue to the “Facheux,” a comedy in three acts, which was to be put on the stage by Poquelin de Moliere, as D’Artagnan called him, or Coquelin de Voliere, as Porthos styled him. Loret, with all the charming innocence of a gazetteer,—the gazetteers of all ages have always been so artless!—Loret was composing an account of the fetes at Vaux, before those fetes had taken place. La Fontaine sauntered about from one to the other, a peripatetic, absent-minded, boring, unbearable dreamer, who kept buzzing and humming at everybody’s elbow a thousand poetic abstractions. He so often disturbed Pelisson, that the latter, raising his head, crossly said, “At least, La Fontaine, supply me with a rhyme, since you have the run of the gardens at Parnassus.”
“What rhyme do you want?” asked the Fabler as Madame de Sevigne used to call him.
“I want a rhyme to lumiere.”
“Orniere,” answered La Fontaine.
“Ah, but, my good friend, one cannot talk of wheel-ruts when celebrating the delights of Vaux,” said Loret.
“Besides, it doesn’t rhyme,” answered Pelisson.
“What! doesn’t rhyme!” cried La Fontaine, in surprise.
“Yes; you have an abominable habit, my friend,—a habit which will ever prevent your becoming a poet of the first order. You rhyme in a slovenly manner.”
“Oh, oh, you think so, do you, Pelisson?”
“Yes, I do, indeed. Remember that a rhyme is never good
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