The Purse by Honoré de Balzac (if you liked this book .txt) 📕

the light and reckless passions of the Musketeers formerly so famous in the annals of gallantry. His gestures, his attitude, and his manner proclaimed that he had no intention of correcting himself of his royalism, of his religion, or of his love affairs.

A really fantastic figure came in behind this specimen of "Louis XIV.'s light infantry"--a nickname given by the Bonapartists to these venerable survivors of the Monarchy. To do it justice it ought to be made the principal object in the picture, and it is but an accessory. Imagine a lean, dry man, dressed like the former, but seeming to be only his reflection, or his shadow, if you will. The coat, new on the first, on the second was old; the powder in his hair looked less white, the gold of the fleurs-de-lis less bright, the shoulder straps more hopeless and dog's eared; his intellect seemed more feeble, his life nearer the fatal term than in the former. In short, he realized Rivarol's witticism on Champcenetz, "He is the moonlight of me." He was simply his double, a paler and poorer double, for there was between them all the difference that lies between the first and last impressions of a lithograph.

This speechless old man was a mystery to the painter, and always remained a mystery. The Chevalier, for he was a Chevalier, did not speak, nobody spoke to him. Was he a friend, a poor relation, a man who followed at the old gallant's heels as a lady companion does at an old lady's? Did he fill a place midway between a dog, a parrot, and a friend? Had he saved his patron's fortune, or only his life? Was he the Trim to another Captain Toby? Elsewhere, as at the Baronne de Rouville's, he always piqued curiosity without satisfying it. Who, after the Restoration, could remember the attachment which, before the Revolution, had bound this man to his friend's wife, dead now these twenty year?

The leader, who appeared the least dilapidated of these wrecks, came gallantly up to Madame de Rouville, kissed her hand, and sat down by her. The other bowed and placed himself not far from his model, at a distance represented by two chairs. Adelaide came behind the old gentleman's armchair and leaned her elbows on the back, unconsciously imitating the attitude given to Dido's sister by Guerin in his famous picture.

Though the gentleman's familiarity was that of a father, his freedom seemed at the moment to annoy the young girl.

"What, are you sulky with me?" he said.

Then he shot at Schinner one of those side-looks full of shrewdness and cunning, diplomatic looks, whose expression betrays the discreet uneasiness, the polite curiosity of well-bred people, and seems to ask, when they see a stranger, "Is he one of us?"

"This is our neighbor," said the old lady, pointing to Hippolyte. "Monsieur is a celebrated painter, whose name must be known to you in spite of your indifference to the arts."

The old man saw his friend's mischievous intent in suppressing the name, and bowed to the young man.

"Certainly," said he. "I heard a great deal about his pictures at the last Salon. Talent has immense privileges." he added, observing the artist's red ribbon. "That distinction, which we must earn at the cost of our blood and long service, you win in your youth; but all glory is of the same kindred," he said, laying his hand on his Cross of Saint-Louis.

Hippolyte murmured a few words of acknowledgment, and was silent again, satisfied to admire with growing enthusiasm the beautiful girl's head that charmed him so much. He was soon lost in contemplation, completely forgetting the extreme misery of the dwelling. To him Adelaide's face stood out against a luminous atmosphere. He replied briefly to the questions addressed to him, which, by good luck, he heard, thanks to a singular faculty of the soul which sometimes seems to have a double consciousness. Who has not known what it is to sit lost in sad or delicious meditation, listening to its voice within, while attending to a conversation or to reading? An admirable duality which often helps us to tolerate a bore! Hope, prolific and smiling, poured out before him a thousand visions of happiness; and he refused to consider what was going on around him. As confiding as a child, it seemed to him base to analyze a pleasure.

After a short lapse of time he perceived that the old lady and her daughter were playing cards with the old gentleman. As to the satellite, faithful to his function as a shadow, he stood behind his friend's chair watching his game, and answering the player's mute inquiries by little approving nods, repeating the questioning gestures of the other countenance.

"Du Halga, I always lose," said the gentleman.

"You discard badly," replied the Baronne de Rouville.

"For three months now I have never won a single game," said he.

"Have you the aces?" asked the old lady.

"Yes, one more to mark," said he.

"Shall I come and advise you?" said Adelaide.

"No, no. Stay where I can see you. By Gad, it would be losing too much not to have you to look at!"

At last the game was over. The gentleman pulled out his purse, and, throwing two louis d'or on the table, not without temper--

"Forty francs," he exclaimed, "the exact sum.--Deuce take it! It is eleven o'clock."

"It is eleven o'clock," repeated the silent figure, looking at the painter.

The young man, hearing these words rather more distinctly than all the others, thought it time to retire. Coming back to the world of ordinary ideas, he found a few commonplace remarks to make, took leave of the Baroness, her daughter, and the two strangers, and went away, wholly possessed by the first raptures of true love, without attempting to analyze the little incidents of the evening.

On the morrow the young painter felt the most ardent desire to see Adelaide once more. If he had followed the call of his passion, he would have gone to his neighbor's door at six in the morning, when he went to his studio. However, he still was reasonable enough to wait till the afternoon. But as soon as he thought he could present himself to Madame de Rouville, he went downstairs, rang, blushing like a girl, shyly asked Mademoiselle Leseigneur, who came to let him in, to let him have the portrait of the Baron.

"But come in," said Adelaide, who had no doubt heard him come down from the studio.

The painter followed, bashful and out of countenance, not knowing what to say, happiness had so dulled his wit. To see Adelaide, to hear the rustle of her skirt, after longing for a whole morning to be near her, after starting up a hundred time--"I will go down now"--and not to have gone; this was to him life so rich that such sensations, too greatly prolonged, would have worn out his spirit. The heart has the singular power of giving extraordinary value to mere nothings. What joy it is to a traveler to treasure a blade of grass, an unfamiliar leaf, if he has risked his life to pluck it! It is the same with the trifles of love.

The old lady was not in the drawing-room. When the young girl found herself there, alone with the painter, she brought a chair to stand on, to take down the picture; but perceiving that she could not unhook it without setting her foot on the chest of drawers, she turned to Hippolyte, and said with a blush:

"I am not tall enough. Will you get it down?"

A feeling of modesty, betrayed in the expression of her face and the tones of her voice, was the real motive of her request; and the young man, understanding this, gave her one of those glances of intelligence which are the sweetest language of love. Seeing that the painter had read her soul, Adelaide cast down her eyes with the instinct of reserve which is the secret of a maiden's heart. Hippolyte, finding nothing to say, and feeling almost timid, took down the picture, examined it gravely, carrying it to the light of the window, and then went away, without saying a word to Mademoiselle Leseigneur but, "I will return it soon."

During this brief moment they both went through one of those storms of agitation of which the effects in the soul may be compared to those of a stone flung into a deep lake. The most delightful waves of thought rise and follow each other, indescribable, repeated, and aimless, tossing the heart like the circular ripples, which for a long time fret the waters, starting from the point where the stone fell.

Hippolyte returned to the studio bearing the portrait. His easel was ready with a fresh canvas, and his palette set, his brushes cleaned, the spot and the light carefully chosen. And till the dinner hour he worked at the painting with the ardor artists throw into their whims. He went again that evening to the Baronne de Rouville's, and remained from nine till eleven. Excepting the different topics of conversation, this evening was exactly like the last. The two old men arrived at the same hour, the same game of piquet was played, the same speeches made by the players, the sum lost by Adelaide's friend was not less considerable than on the previous evening; only Hippolyte, a little bolder, ventured to chat with the young girl.

A week passed thus, and in the course of it the painter's feelings and Adelaide's underwent the slow and delightful transformations which bring two souls to a perfect understanding. Every day the look with which the girl welcomed her friend grew more intimate, more confiding, gayer, and more open; her voice and manner became more eager and more familiar. They laughed and talked together, telling each other their thoughts, speaking of themselves with the simplicity of two children who have made friends in a day, as much as if they had met constantly for three years. Schinner wished to be taught piquet. Being ignorant and a novice, he, of course, made blunder after blunder, and like the old man, he lost almost every game. Without having spoken a word of love the lovers knew that they were all in all to one another. Hippolyte enjoyed exerting his power over his gentle little friend, and many concessions were made to him by Adelaide, who, timid and devoted to him, was quite deceived by the assumed fits of temper, such as the least skilled lover and the most guileless girl can affect; and which they constantly play off, as spoilt children abuse the power they owe to their mother's affection. Thus all familiarity between the girl and the old Count was soon put a stop to. She understood the painter's melancholy, and the thoughts hidden in the furrows on his brow, from the abrupt tone of the few words he spoke when the old man unceremoniously kissed Adelaide's hands or throat.

Mademoiselle Leseigneur, on her part, soon expected her lover to give a short account of all his actions; she was so unhappy, so restless when Hippolyte did not come, she scolded him so effectually for his absence, that the painter had to give up seeing his other friends, and now went nowhere. Adelaide allowed the natural jealousy of women to be perceived when she heard that sometimes at eleven o'clock, on quitting the house, the painter still had visits to pay, and was to be seen in the most brilliant drawing-rooms of Paris. This mode of life, she assured him, was bad for his health; then, with the intense