Paz by Honoré de Balzac (the false prince .txt) 📕

represented by Mesdames de Lestorade, de Portenduere, Marie de Vandenesse, du Guenic, and de Maufrigneuse, the flowers of our present Paris, who live at such immeasurable distance from the parvenus, the vulgarians, and the speculators of the new regime.

This preamble is necessary to show the sphere in which was done one of those noble actions, less rare than the calumniators of our time admit,--actions which, like pearls, the fruit of pain and suffering, are hidden within rough shells, lost in the gulf, the sea, the tossing waves of what we call society, the century, Paris, London, St. Petersburg,--or what you will.

If the axiom that architecture is the expression of manner and morals was ever proved, it was certainly after the insurrection of 1830, during the present reign of the house of Orleans. As all the old fortunes are diminishing in France, the majestic mansions of our ancestors are constantly being demolished and replaced by species of phalansteries, in which the peers of July occupy the third floor above some newly enriched empirics on the lower floors. A mixture of styles is confusedly employed. As there is no longer a real court or nobility to give the tone, there is no harmony in the production of art. Never, on the other hand, has architecture discovered so many economical ways of imitating the real and the solid, or displayed more resources, more talent, in distributing them. Propose to an architect to build upon the garden at the back of an old mansion, and he will run you up a little Louvre overloaded with ornament. He will manage to get in a courtyard, stables, and if you care for it, a garden. Inside the house he will accommodate a quantity of little rooms and passages. He is so clever in deceiving the eye that you think you will have plenty of space; but it is only a nest of small rooms, after all, in which a ducal family has to turn itself about in the space that its own bakehouse formerly occupied.

The hotel of the Comtesse Laginska, rue de la Pepiniere, is one of these creations, and stands between court and garden. On the right, in the court, are the kitchens and offices; to the left the coachhouse and stables. The porter's lodge is between two charming portes-cocheres. The chief luxury of the house is a delightful greenhouse contrived at the end of a boudoir on the ground-floor which opens upon an admirable suite of reception rooms. An English philanthropist had built this architectural bijou, designed the garden, added the greenhouse, polished the doors, bricked the courtyard, painted the window-frames green, and realized, in short, a dream which resembled (proportions excepted) George the Fourth's Pavilion at Brighton. The inventive and industrious Parisian workmen had moulded the doors and window-frames; the ceilings were imitated from the middle-ages or those of a Venetian palace; marble veneering abounded on the outer walls. Steinbock and Francois Souchet had designed the mantel-pieces and the panels above the doors; Schinner had painted the ceilings in his masterly manner. The beauties of the staircase, white as a woman's arm, defied those of the hotel Rothschild. On account of the riots and the unsettled times, the cost of this folly was only about eleven hundred thousand francs,--to an Englishman a mere nothing. All this luxury, called princely by persons who do not know what real princes are, was built in the garden of the house of a purveyor made a Croesus by the Revolution, who had escaped to Brussels and died there after going into bankruptcy. The Englishman died in Paris, of Paris; for to many persons Paris is a disease,--sometimes several diseases. His widow, a Methodist, had a horror of the little nabob establishment, and ordered it to be sold. Comte Adam bought it at a bargain; and how he came to do so shall presently be made known, for bargains were not at all in his line as a grand seigneur.

Behind the house lay the verdant velvet of an English lawn shaded at the lower end by a clump of exotic trees, in the midst of which stood a Chinese pagoda with soundless belfries and motionless golden eggs. The greenhouse concealed the garden wall on the northern side, the opposite wall was covered with climbing plants trained upon poles painted green and connected with crossway trellises. This lawn, this world of flowers, the gravelled paths, the simulated forest, the verdant palisades, were contained within the space of five and twenty square rods, which are worth to-day four hundred thousand francs,--the value of an actual forest. Here, in this solitude in the middle of Paris, the birds sang, thrushes, nightingales, warblers, bulfinches, and sparrows. The greenhouse was like an immense jardiniere, filling the air with perfume in winter as in summer. The means by which its atmosphere was made to order, torrid as in China or temperate as in Italy, were cleverly concealed. Pipes in which hot water circulated, or steam, were either hidden under ground or festooned with plants overhead. The boudoir was a large room. The miracle of the modern Parisian fairy named Architecture is to get all these many and great things out of a limited bit of ground.

The boudoir of the young countess was arranged to suit the taste of the artist to whom Comte Adam entrusted the decoration of the house. It is too full of pretty nothings to be a place for repose; one scarce knows where to sit down among carved Chinese work-tables with their myriads of fantastic figures inlaid in ivory, cups of yellow topaz mounted on filagree, mosaics which inspire theft, Dutch pictures in the style which Schinner has adopted, angels such as Steinbock conceived but often could not execute, statuettes modelled by genius pursued by creditors (the real explanation of the Arabian myth), superb sketches by our best artists, lids of chests made into panels alternating with fluted draperies of Italian silk, portieres hanging from rods of old oak in tapestried masses on which the figures of some hunting scene are swarming, pieces of furniture worthy to have belonged to Madame de Pompadour, Persian rugs, et cetera. For a last graceful touch, all these elegant things were subdued by the half-light which filtered through embroidered curtains and added to their charm. On a table between the windows, among various curiosities, lay a whip, the handle designed by Mademoiselle de Fauveau, which proved that the countess rode on horseback.

Such is a lady's boudoir in 1837,--an exhibition of the contents of many shops, which amuse the eye, as if ennui were the one thing to be dreaded by the social world of the liveliest and most stirring capital in Europe. Why is there nothing of an inner life? nothing which leads to revery, nothing reposeful? Why indeed? Because no one in our day is sure of the future; we are living our lives like prodigal annuitants.

One morning Clementine appeared to be thinking of something. She was lying at full length on one of those marvellous couches from which it is almost impossible to rise, the upholsterer having invented them for lovers of the "far niente" and its attendant joys of laziness to sink into. The doors of the greenhouse were open, letting the odors of vegetation and the perfume of the tropics pervade the room. The young wife was looking at her husband who was smoking a narghile, the only form of pipe she would have suffered in that room. The portieres, held back by cords, gave a vista through two elegant salons, one white and gold, comparable only to that of the hotel Forbin-Janson, the other in the style of the Renaissance. The dining-room, which had no rival in Paris except that of the Baron de Nucingen, was at the end of a short gallery decorated in the manner of the middle-ages. This gallery opened on the side of the courtyard upon a large antechamber, through which could be seen the beauties of the staircase.

The count and countess had just finished breakfast; the sky was a sheet of azure without a cloud, April was nearly over. They had been married two years, and Clementine had just discovered for the first time that there was something resembling a secret or a mystery in her household. The Pole, let us say it to his honor, is usually helpless before a woman; he is so full of tenderness for her that in Poland he becomes her inferior, though Polish women make admirable wives. Now a Pole is still more easily vanquished by a Parisian woman. Consequently Comte Adam, pressed by questions, did not even attempt the innocent roguery of selling the suspected secret. It is always wise with a woman to get some good out of a mystery; she will like you the better for it, as a swindler respects an honest man the more when he finds he cannot swindle him. Brave in heart but not in speech, Comte Adam merely stipulated that he should not be compelled to answer until he had finished his narghile.

"If any difficulty occurred when we were travelling," said Clementine, "you always dismissed it by saying, 'Paz will settle that.' You never wrote to any one but Paz. When we returned here everybody kept saying, 'the captain, the captain.' If I want the carriage--'the captain.' Is there a bill to pay--'the captain.' If my horse is not properly bitted, they must speak to Captain Paz. In short, it is like a game of dominoes--Paz is everywhere. I hear of nothing but Paz, but I never see Paz. Who and what is Paz? Why don't you bring forth your Paz?"

"Isn't everything going on right?" asked the count, taking the "bocchettino" of his narghile from his lips.

"Everything is going on so right that other people with an income of two hundred thousand francs would ruin themselves by going at our pace, and we have only one hundred and ten thousand."

So saying she pulled the bell-cord (an exquisite bit of needlework). A footman entered, dressed like a minister.

"Tell Captain Paz that I wish to see him."

"If you think you are going to find out anything that way--" said Comte Adam, laughing.

It is well to mention that Adam and Clementine, married in December, 1835, had gone soon after the wedding to Italy, Switzerland, and Germany, where they spent the greater part of two years. Returning to Paris in November, 1837, the countess entered society for the first time as a married woman during the winter which had just ended, and she then became aware of the existence, half-suppressed and wholly dumb but very useful, of a species of factotum who was personally invisible, named Paz,--spelt thus, but pronounced "Patz."

"Monsieur le capitaine Paz begs Madame la comtesse to excuse him," said the footman, returning. "He is at the stables; as soon as he has changed his dress Comte Paz will present himself to Madame."

"What was he doing at the stables?"

"He was showing them how to groom Madame's horse," said the man. "He was not pleased with the way Constantin did it."

The countess looked at the footman. He was perfectly serious and did not add to his words the sort of smile by which servants usually comment on the actions of a superior who seems to them to derogate from his position.

"Ah! he was grooming Cora."

"Madame la comtesse intends to ride out this morning?" said the footman, leaving the room without further answer.

"Is Paz a Pole?" asked Clementine, turning to her husband, who nodded by way of affirmation.

Madame Laginska was silent, examining Adam. With her feet extended upon a cushion and her head poised like that of a bird on the edge of its nest listening to the