Beatrix by Honoré de Balzac (graded readers .txt) 📕

has a common glass globe, about the size of an ostrich egg, which is fastened into a candle-stick by a glass tube. Through a hole at the top of the globe issues a wick which passes through a sort of reed of brass, drawing the nut-oil held in the globe through its own length coiled like a tape-worm in a surgeon's phial. The windows which look into the garden, like those that look upon the court-yard, are mullioned in stone with hexagonal leaded panes, and are draped by curtains, with heavy valances and stout cords, of an ancient stuff of crimson silk with gold reflections, called in former days either brocatelle or small brocade.

On each of the two upper stories of the house there are but two rooms. The first is the bedroom of the head of the family, the second is that of the children. Guests were lodged in chambers beneath the roof. The servants slept above the kitchens and stables. The pointed roof, protected with lead at its angles and edges, has a noble pointed window on each side, one looking down upon the court-yard, the other on the garden. These windows, rising almost to the level of the roof, have slender, delicate casings, the carvings of which have crumbled under the salty vapors of the atmosphere. Above the arch of each window with its crossbars of stone, still grinds, as it turns, the vane of a noble.

Let us not forget a precious detail, full of naivete, which will be of value in the eyes of an archaeologist. The tower in which the spiral staircase goes up is placed at the corner of a great gable wall in which there is no window. The staircase comes down to a little arched door, opening upon a gravelled yard which separates the house from the stables. This tower is repeated on the garden side by another of five sides, ending in a cupola in which is a bell-turret, instead of being roofed, like the sister-tower, with a pepper-pot. This is how those charming architects varied the symmetry of their sky-lines. These towers are connected on the level of the first floor by a stone gallery, supported by what we must call brackets, each ending in a grotesque human head. This gallery has a balustrade of exquisite workmanship. From the gable above depends a stone dais like those that crown the statues of saints at the portal of churches. Can you not see a woman walking in the morning along this balcony and gazing over Guerande at the sunshine, where it gilds the sands and shimmers on the breast of Ocean? Do you not admire that gable wall flanked at its angles with those varied towers? The opposite gable of the Guaisnic mansion adjoins the next house. The harmony so carefully sought by the architects of those days is maintained in the facade looking on the court-yard by the tower which communicates between the dining-room and the kitchen, and is the same as the staircase tower, except that it stops at the first upper story and its summit is a small open dome, beneath which stands a now blackened statue of Saint Calyste.

The garden is magnificent for so old a place. It covers half an acre of ground, its walls are all espaliered, and the space within is divided into squares for vegetables, bordered with cordons of fruit-trees, which the man-of-all-work, named Gasselin, takes care of in the intervals of grooming the horses. At the farther end of the garden is a grotto with a seat in it; in the middle, a sun-dial; the paths are gravelled. The facade on the garden side has no towers corresponding to those on the court-yard; but a slender spiral column rises from the ground to the roof, which must in former days have borne the banner of the family, for at its summit may still be seen an iron socket, from which a few weak plants are straggling. This detail, in harmony with the vestiges of sculpture, proves to a practised eye that the mansion was built by a Venetian architect. The graceful staff is like a signature revealing Venice, chivalry, and the exquisite delicacy of the thirteenth century. If any doubts remained on this point, a feature of the ornamentation would dissipate them. The trefoils of the hotel du Guaisnic have four leaves instead of three. This difference plainly indicates the Venetian school depraved by its commerce with the East, where the semi-Saracenic architects, careless of the great Catholic thought, give four leaves to clover, while Christian art is faithful to the Trinity. In this respect Venetian art becomes heretical.

If this ancient dwelling attracts your imagination, you may perhaps ask yourself why such miracles of art are not renewed in the present day. Because to-day mansions are sold, pulled down, and the ground they stood on turned into streets. No one can be sure that the next generation will possess the paternal dwelling; homes are no more than inns; whereas in former times when a dwelling was built men worked, or thought they worked, for a family in perpetuity. Hence the grandeur of these houses. Faith in self, as well as faith in God, did prodigies.

As for the arrangement of the upper rooms they may be imagined after this description of the ground-floor, and after reading an account of the manners, customs, and physiognomy of the family. For the last fifty years the du Guaisnics have received their friends in the two rooms just described, in which, as in the court-yard and the external accessories of the building, the spirit, grace, and candor of the old and noble Brittany still survives. Without the topography and description of the town, and without this minute depicting of the house, the surprising figures of the family might be less understood. Therefore the frames have preceded the portraits. Every one is aware that things influence beings. There are public buildings whose effect is visible upon the persons living in their neighborhood. It would be difficult indeed to be irreligious in the shadow of a cathedral like that of Bourges. When the soul is everywhere reminded of its destiny by surrounding images, it is less easy to fail of it. Such was the thought of our immediate grandfathers, abandoned by a generation which was soon to have no signs and no distinctions, and whose manners and morals were to change every decade. If you do not now expect to find the Baron du Guaisnic sword in hand, all here written would be falsehood.


II. THE BARON, HIS WIFE, AND SISTER

Early in the month of May, in the year 1836, the period when this scene opens, the family of Guenic (we follow henceforth the modern spelling) consisted of Monsieur and Madame du Guenic, Mademoiselle du Guenic the baron's elder sister, and an only son, aged twenty-one, named, after an ancient family usage, Gaudebert-Calyste-Louis. The father's name was Gaudebert-Calyste-Charles. Only the last name was ever varied. Saint Gaudebert and Saint Calyste were forever bound to protect the Guenics.

The Baron du Guenic had started from Guerande the moment that La Vendee and Brittany took arms; he fought through the war with Charette, with Cathelineau, La Rochejaquelein, d'Elbee, Bonchamps, and the Prince de Loudon. Before starting he had, with a prudence unique in revolutionary annals, sold his whole property of every kind to his elder and only sister, Mademoiselle Zephirine du Guenic. After the death of all those heroes of the West, the baron, preserved by a miracle from ending as they did, refused to submit to Napoleon. He fought on till 1802, when being at last defeated and almost captured, he returned to Guerande, and from Guerande went to Croisic, whence he crossed to Ireland, faithful to the ancient Breton hatred for England.

The people of Guerande feigned utter ignorance of the baron's existence. In the whole course of twenty years not a single indiscreet word was ever uttered. Mademoiselle du Guenic received the rents and sent them to her brother by fishermen. Monsieur du Guenic returned to Guerande in 1813, as quietly and simply as if he had merely passed a season at Nantes. During his stay in Dublin the old Breton, despite his fifty years, had fallen in love with a charming Irish woman, daughter of one of the noblest and poorest families of that unhappy kingdom. Fanny O'Brien was then twenty-one years old. The Baron du Guenic came over to France to obtain the documents necessary for his marriage, returned to Ireland, and, after about ten months (at the beginning of 1814), brought his wife to Guerande, where she gave him Calyste on the very day that Louis XVIII. landed at Calais,--a circumstance which explains the young man's final name of Louis.

The old and loyal Breton was now a man of seventy-three; but his long-continued guerilla warfare with the Republic, his exile, the perils of his five crossings through a turbulent sea in open boats, had weighed upon his head, and he looked a hundred; therefore, at no period had the chief of the house of Guenic been more in keeping with the worn-out grandeur of their dwelling, built in the days when a court reigned at Guerande.

Monsieur du Guenic was a tall, straight, wiry, lean old man. His oval face was lined with innumerable wrinkles, which formed a net-work over his cheek-bones and above his eyebrows, giving to his face a resemblance to those choice old men whom Van Ostade, Rembrandt, Mieris, and Gerard Dow so loved to paint, in pictures which need a microscope to be fully appreciated. His countenance might be said to be sunken out of sight beneath those innumerable wrinkles, produced by a life in the open air and by the habit of watching his country in the full light of the sun from the rising of that luminary to the sinking of it. Nevertheless, to an observer enough remained of the imperishable forms of the human face which appealed to the soul, even though the eye could see no more than a lifeless head. The firm outline of the face, the shape of the brow, the solemnity of the lines, the rigidity of the nose, the form of the bony structure which wounds alone had slightly altered,--all were signs of intrepidity without calculation, faith without reserve, obedience without discussion, fidelity without compromise, love without inconstancy. In him, the Breton granite was made man.

The baron had no longer any teeth. His lips, once red, now violet, and backed by hard gums only (with which he ate the bread his wife took care to soften by folding it daily in a damp napkin), drew inward to the mouth with a sort of grin, which gave him an expression both threatening and proud. His chin seemed to seek his nose; but in that nose, humped in the middle, lay the signs of his energy and his Breton resistance. His skin, marbled with red blotches appearing through his wrinkles, showed a powerfully sanguine temperament, fitted to resist fatigue and to preserve him, as no doubt it did, from apoplexy. The head was crowned with abundant hair, as white as silver, which fell in curls upon his shoulders. The face, extinguished, as we have said, in part, lived through the glitter of the black eyes in their brown orbits, casting thence the last flames of a generous and loyal soul. The eyebrows and lashes had disappeared; the skin, grown hard, could not unwrinkle. The difficulty of shaving had obliged the old man to let his beard grow, and the cut of it was fan-shaped. An artist would have admired beyond all else in this old lion of Brittany with his powerful shoulders and vigorous chest, the splendid hands of the soldier,--hands like those du Guesclin must have had, large, broad, hairy; hands that once