The Jealousies of a Country Town by Honoré de Balzac (books that read to you .TXT) 📕

susceptible than people imagine to the subtle influences of ideas; they never make game of real dignity; they feel the charm of real graciousness, and beauty attracts them, for childhood itself is beautiful, and there are mysterious ties between things of the same nature.

"Mlle. d'Esgrignon was one of my religions. To this day I can never climb the staircase of some old manor-house but my foolish imagination must needs picture Mlle. Armande standing there, like the spirit of feudalism. I can never read old chronicles but she appears before my eyes in the shape of some famous woman of old times; she is Agnes Sorel, Marie Touchet, Gabrielle; and I lend her all the love that was lost in her heart, all the love that she never expressed. The angel shape seen in glimpses through the haze of childish fancies visits me now sometimes across the mists of dreams."


Keep this portrait in mind; it is a faithful picture and sketch of character. Mlle. d'Esgrignon is one of the most instructive figures in this story; she affords an example of the mischief that may be done by the purest goodness for lack of intelligence.

Two-thirds of the emigres returned to France during 1804 and 1805, and almost every exile from the Marquis d'Esgrignon's province came back to the land of his fathers. There were certainly defections. Men of good birth entered the service of Napoleon, and went into the army or held places at the Imperial court, and others made alliances with the upstart families. All those who cast in their lots with the Empire retrieved their fortunes and recovered their estates, thanks to the Emperor's munificence; and these for the most part went to Paris and stayed there. But some eight or nine families still remained true to the proscribed noblesse and loyal to the fallen monarchy. The La Roche-Guyons, Nouastres, Verneuils, Casterans, Troisvilles, and the rest were some of them rich, some of them poor; but money, more or less, scarcely counted for anything among them. They took an antiquarian view of themselves; for them the age and preservation of the pedigree was the one all-important matter; precisely as, for an amateur, the weight of metal in a coin is a small matter in comparison with clean lettering, a flawless stamp, and high antiquity. Of these families, the Marquis d'Esgrignon was the acknowledged head. His house became their cenacle. There His Majesty, Emperor and King, was never anything but "M. de Bonaparte"; there "the King" meant Louis XVIII., then at Mittau; there the Department was still the Province, and the prefecture the intendance.

The Marquis was honored among them for his admirable behavior, his loyalty as a noble, his undaunted courage; even as he was respected throughout the town for his misfortunes, his fortitude, his steadfast adherence to his political convictions. The man so admirable in adversity was invested with all the majesty of ruined greatness. His chivalrous fair-mindedness was so well known, that litigants many a time had referred their disputes to him for arbitration. All gently bred Imperalists and the authorities themselves showed as much indulgence for his prejudices as respect for his personal character; but there was another and a large section of the new society which was destined to be known after the Restoration as the Liberal party; and these, with du Croisier as their unacknowledged head, laughed at an aristocratic oasis which nobody might enter without proof of irreproachable descent. Their animosity was all the more bitter because honest country squires and the higher officials, with a good many worthy folk in the town, were of the opinion that all the best society thereof was to be found in the Marquis d'Esgrignon's salon. The prefect himself, the Emperor's chamberlain, made overtures to the d'Esgrignons, humbly sending his wife (a Grandlieu) as ambassadress.

Wherefore, those excluded from the miniature provincial Faubourg Saint-Germain nicknamed the salon "The Collection of Antiquities," and called the Marquis himself "M. Carol." The receiver of taxes, for instance, addressed his applications to "M. Carol (ci-devant des Grignons)," maliciously adopting the obsolete way of spelling.


"For my own part," said Emile Blondet, "if I try to recall my childhood memories, I remember that the nickname of 'Collection of Antiquities' always made me laugh, in spite of my respect--my love, I ought to say--for Mlle. d'Esgrignon. The Hotel d'Esgrignon stood at the angle of two of the busiest thoroughfares in the town, and not five hundred paces away from the market place. Two of the drawing-room windows looked upon the street and two upon the square; the room was like a glass cage, every one who came past could look through it from side to side. I was only a boy of twelve at the time, but I thought, even then, that the salon was one of those rare curiosities which seem, when you come to think of them afterwards, to lie just on the borderland between reality and dreams, so that you can scarcely tell to which side they most belong.

"The room, the ancient Hall of Audience, stood above a row of cellars with grated air-holes, once the prison cells of the old court-house, now converted into a kitchen. I do not know that the magnificent lofty chimney-piece of the Louvre, with its marvelous carving, seemed more wonderful to me than the vast open hearth of the salon d'Esgrignon when I saw it for the first time. It was covered like a melon with a network of tracery. Over it stood an equestrian portrait of Henri III., under whom the ancient duchy of appanage reverted to the crown; it was a great picture executed in low relief, and set in a carved and gilded frame. The ceiling spaces between the chestnut cross-beams in the fine old roof were decorated with scroll-work patterns; there was a little faded gilding still left along the angles. The walls were covered with Flemish tapestry, six scenes from the Judgment of Solomon, framed in golden garlands, with satyrs and cupids playing among the leaves. The parquet floor had been laid down by the present Marquis, and Chesnel had picked up the furniture at sales of the wreckage of old chateaux between 1793 and 1795; so that there were Louis Quatorze consoles, tables, clock-cases, andirons, candle-sconces and tapestry-covered chairs, which marvelously completed a stately room, large out of all proportion to the house. Luckily, however, there was an equally lofty ante-chamber, the ancient Salle des Pas Perdus of the presidial, which communicated likewise with the magistrate's deliberating chamber, used by the d'Esgrignons as a dining-room.

"Beneath the old paneling, amid the threadbare braveries of a bygone day, some eight or ten dowagers were drawn up in state in a quavering line; some with palsied heads, others dark and shriveled like mummies; some erect and stiff, others bowed and bent, but all of them tricked out in more or less fantastic costumes as far as possible removed from the fashion of the day, with be-ribboned caps above their curled and powdered 'heads,' and old discolored lace. No painter however earnest, no caricature however wild, ever caught the haunting fascination of those aged women; they come back to me in dreams; their puckered faces shape themselves in my memory whenever I meet an old woman who puts me in mind of them by some faint resemblance of dress or feature. And whether it is that misfortune has initiated me into the secrets of irremediable and overwhelming disaster; whether that I have come to understand the whole range of human feelings, and, best of all, the thoughts of Old Age and Regret; whatever the reason, nowhere and never again have I seen among the living or in the faces of the dying the wan look of certain gray eyes that I remember, nor the dreadful brightness of others that were black.

"Neither Hoffmann nor Maturin, the two weirdest imaginations of our time, ever gave me such a thrill of terror as I used to feel when I watched the automaton movements of those bodies sheathed in whalebone. The paint on actors' faces never caused me a shock; I could see below it the rouge in grain, the rouge de naissance, to quote a comrade at least as malicious as I can be. Years had leveled those women's faces, and at the same time furrowed them with wrinkles, till they looked like the heads on wooden nutcrackers carved in Germany. Peeping in through the window-panes, I gazed at the battered bodies, and ill-jointed limbs (how they were fastened together, and, indeed, their whole anatomy was a mystery I never attempted to explain); I saw the lantern jaws, the protuberant bones, the abnormal development of the hips; and the movements of these figures as they came and went seemed to me no whit less extraordinary than their sepulchral immobility as they sat round the card-tables.

"The men looked gray and faded like the ancient tapestries on the wall, in dress they were much more like the men of the day, but even they were not altogether convincingly alive. Their white hair, their withered waxen-hued faces, their devastated foreheads and pale eyes, revealed their kinship to the women, and neutralized any effects of reality borrowed from their costume.

"The very certainty of finding all these folk seated at or among the tables every day at the same hours invested them at length in my eyes with a sort of spectacular interest as it were; there was something theatrical, something unearthly about them.

"Whenever, in after times, I have gone through museums of old furniture in Paris, London, Munich, or Vienna, with the gray-headed custodian who shows you the splendors of time past, I have peopled the rooms with figures from the Collection of Antiquities. Often, as little schoolboys of eight or ten we used to propose to go and take a look at the curiosities in their glass cage, for the fun of the thing. But as soon as I caught sight of Mlle. Armande's sweet face, I used to tremble; and there was a trace of jealousy in my admiration for the lovely child Victurnien, who belonged, as we all instinctively felt, to a different and higher order of being from our own. It struck me as something indescribably strange that the young fresh creature should be there in that cemetery awakened before the time. We could not have explained our thoughts to ourselves, yet we felt that we were bourgeois and insignificant in the presence of that proud court."


The disasters of 1813 and 1814, which brought about the downfall of Napoleon, gave new life to the Collection of Antiquities, and what was more than life, the hope of recovering their past importance; but the events of 1815, the troubles of the foreign occupation, and the vacillating policy of the Government until the fall of M. Decazes, all contributed to defer the fulfilment of the expectations of the personages so vividly described by Blondet. This story, therefore, only begins to shape itself in 1822.

In 1822 the Marquis d'Esgrignon's fortunes had not improved in spite of the changes worked by the Restoration in the condition of emigres. Of all the nobles hardly hit by Revolutionary legislation, his case was the hardest. Like other great families, the d'Esgrignons before 1789 derived the greater part of their income from their rights as lords of the manor in the shape of dues paid by those who held of them; and, naturally, the old seigneurs had reduced the size of the holdings in order to swell the amounts paid in quit-rents and heriots. Families in this position were hopelessly ruined. They were not affected by the ordinance by which Louis XVIII. put the emigres into possession of such of their lands as had not been sold; and at a later date it was impossible that the