Gambara by Honoré de Balzac (ebook reader that looks like a book txt) 📕

steps off, is very fond of foreigners."

Andrea raised his cloak as high as his moustache, and fled from the street, spurred by the disgust he felt at this foul person, whose clothes and manner were in harmony with the squalid house into which the fair unknown had vanished. He returned with rapture to the thousand luxuries of his own rooms, and spent the evening at the Marquise d'Espard's to cleanse himself, if possible, of the smirch left by the fancy that had driven him so relentlessly during the day.

And yet, when he was in bed, the vision came back to him, but clearer and brighter than the reality. The girl was walking in front of him; now and again as she stepped across a gutter her skirts revealed a round calf; her shapely hips swayed as she walked. Again Andrea longed to speak to her--and he dared not, he, Marcosini, a Milanese nobleman! Then he saw her turn into the dark passage where she had eluded him, and blamed himself for not having followed her.

"For, after all," said he to himself, "if she really wished to avoid me and put me off her track, it is because she loves me. With women of that stamp, coyness is a proof of love. Well, if I had carried the adventure any further, it would, perhaps, have ended in disgust. I will sleep in peace."

The Count was in the habit of analyzing his keenest sensations, as men do involuntarily when they have as much brains as heart, and he was surprised when he saw the strange damsel of the Rue Froid-Manteau once more, not in the pictured splendor of his dream but in the bare reality of dreary fact. And, in spite of it all, if fancy had stripped the woman of her livery of misery, it would have spoilt her for him; for he wanted her, he longed for her, he loved her--with her muddy stockings, her slipshod feet, her straw bonnet! He wanted her in the very house where he had seen her go in.

"Am I bewitched by vice, then?" he asked himself in dismay. "Nay, I have not yet reached that point. I am but three-and-twenty, and there is nothing of the senile fop about me."

The very vehemence of the whim that held possession of him to some extent reassured him. This strange struggle, these reflections, and this love in pursuit may perhaps puzzle some persons who are accustomed to the ways of Paris life; but they may be reminded that Count Andrea Marcosini was not a Frenchman.

Brought up by two abbes, who, in obedience to a very pious father, had rarely let him out of their sight, Andrea had not fallen in love with a cousin at the age of eleven, or seduced his mother's maid by the time he was twelve; he had not studied at school, where a lad does not learn only, or best, the subjects prescribed by the State; he had lived in Paris but a few years, and he was still open to those sudden but deep impressions against which French education and manners are so strong a protection. In southern lands a great passion is often born of a glance. A gentleman of Gascony who had tempered strong feelings by much reflection had fortified himself by many little recipes against sudden apoplexies of taste and heart, and he advised the Count to indulge at least once a month in a wild orgy to avert those storms of the soul which, but for such precautions, are apt to break out at inappropriate moments. Andrea now remembered this advice.

"Well," thought he, "I will begin to-morrow, January 1st."


This explains why Count Andrea Marcosini hovered so shyly before turning down the Rue Froid-Manteau. The man of fashion hampered the lover, and he hesitated for some time; but after a final appeal to his courage he went on with a firm step as far as the house, which he recognized without difficulty.

There he stopped once more. Was the woman really what he fancied her? Was he not on the verge of some false move?

At this juncture he remembered the Italian table d'hote, and at once jumped at the middle course, which would serve the ends alike of his curiosity and of his reputation. He went in to dine, and made his way down the passage; at the bottom, after feeling about for some time, he found a staircase with damp, slippery steps, such as to an Italian nobleman could only seem a ladder.

Invited to the first floor by the glimmer of a lamp and a strong smell of cooking, he pushed a door which stood ajar and saw a room dingy with dirt and smoke, where a wench was busy laying a table for about twenty customers. None of the guests had yet arrived.

After looking round the dimly lighted room where the paper was dropping in rags from the walls, the gentleman seated himself by a stove which was roaring and smoking in the corner.

Attracted by the noise the Count made in coming in and disposing of his cloak, the major-domo presently appeared. Picture to yourself a lean, dried-up cook, very tall, with a nose of extravagant dimensions, casting about him from time to time, with feverish keenness, a glance that he meant to be cautious. On seeing Andrea, whose attire bespoke considerable affluence, Signor Giardini bowed respectfully.

The Count expressed his intention of taking his meals as a rule in the society of some of his fellow-countrymen; he paid in advance for a certain number of tickets, and ingenuously gave the conversation a familiar bent to enable him to achieve his purpose quickly.

Hardly had he mentioned the woman he was seeking when Signor Giardini, with a grotesque shrug, looked knowingly at his customer, a bland smile on his lips.

"_Basta_!" he exclaimed. "_Capisco_. Your Excellency has come spurred by two appetites. La Signora Gambara will not have wasted her time if she has gained the interest of a gentleman so generous as you appear to be. I can tell you in a few words all we know of the woman, who is really to be pitied.

"The husband is, I believe, a native of Cremona and has just come here from Germany. He was hoping to get the Tedeschi to try some new music and some new instruments. Isn't it pitiable?" said Giardini, shrugging his shoulders. "Signor Gambara, who thinks himself a great composer, does not seem to me very clever in other ways. An excellent fellow with some sense and wit, and sometimes very agreeable, especially when he has had a few glasses of wine--which does not often happen, for he is desperately poor; night and day he toils at imaginary symphonies and operas instead of trying to earn an honest living. His poor wife is reduced to working for all sorts of people--the women on the streets! What is to be said? She loves her husband like a father, and takes care of him like a child.

"Many a young man has dined here to pay his court to madame; but not one has succeeded," said he, emphasizing the word. "La Signora Marianna is an honest woman, monsieur, much too honest, worse luck for her! Men give nothing for nothing nowadays. So the poor soul will die in harness.

"And do you suppose that her husband rewards her for her devotion? Pooh, my lord never gives her a smile! And all their cooking is done at the baker's; for not only does the wretched man never earn a sou; he spends all his wife can make on instruments which he carves, and lengthens, and shortens, and sets up and takes to pieces again till they produce sounds that will scare a cat; then he is happy. And yet you will find him the mildest, the gentlest of men. And, he is not idle; he is always at it. What is to be said? He is crazy and does not know his business. I have seen him, monsieur, filing and forging his instruments and eating black bread with an appetite that I envied him--I, who have the best table in Paris.

"Yes, Excellenza, in a quarter of an hour you shall know the man I am. I have introduced certain refinements into Italian cookery that will amaze you! Excellenza, I am a Neapolitan--that is to say, a born cook. But of what use is instinct without knowledge? Knowledge! I have spent thirty years in acquiring it, and you see where it has left me. My history is that of every man of talent. My attempts, my experiments, have ruined three restaurants in succession at Naples, Parma, and Rome. To this day, when I am reduced to make a trade of my art, I more often than not give way to my ruling passion. I give these poor refugees some of my choicest dishes. I ruin myself! Folly! you will say? I know it; but how can I help it? Genius carries me away, and I cannot resist concocting a dish which smiles on my fancy.

"And they always know it, the rascals! They know, I can promise you, whether I or my wife has stood over the fire. And what is the consequence? Of sixty-odd customers whom I used to see at my table every day when I first started in this wretched place, I now see twenty on an average, and give them credit for the most part. The Piedmontese, the Savoyards, have deserted, but the connoisseurs, the true Italians, remain. And there is no sacrifice that I would not make for them. I often give them a dinner for five and twenty sous which has cost me double."

Signore Giardini's speech had such a full flavor of Neapolitan cunning that the Count was delighted, and could have fancied himself at Gerolamo's.

"Since that is the case, my good friend," said he familiarly to the cook, "and since chance and your confidence have let me into the secret of your daily sacrifices, allow me to pay double."

As he spoke Andrea spun a forty-franc piece on the stove, out of which Giardini solemnly gave him two francs and fifty centimes in change, not without a certain ceremonious mystery that amused him hugely.

"In a few minutes now," the man added, "you will see your _donnina_. I will seat you next the husband, and if you wish to stand in his good graces, talk about music. I have invited every one for the evening, poor things. Being New Year's Day, I am treating the company to a dish in which I believe I have surpassed myself."

Signor Giardini's voice was drowned by the noisy greetings of the guests, who streamed in two and two, or one at a time, after the manner of tables-d'hote. Giardini stayed by the Count, playing the showman by telling him who the company were. He tried by his witticisms to bring a smile to the lips of a man who, as his Neapolitan instinct told him, might be a wealthy patron to turn to good account.

"This one," said he, "is a poor composer who would like to rise from song-writing to opera, and cannot. He blames the managers, music-sellers,--everybody, in fact, but himself, and he has no worse enemy. You can see--what a florid complexion, what self-conceit, how little firmness in his features! he is made to write ballads. The man who is with him and looks like a match-hawker, is a great music celebrity--Gigelmi, the greatest Italian conductor known; but he has gone deaf, and is ending his days in penury, deprived of all that made it tolerable. Ah! here comes our great Ottoboni, the