Artists' Wives by Alphonse Daudet (best non fiction books of all time .txt) 📕

lovely eyes, so deep and soft on the canvas.
The excitement of the meal had put her in a good humour. To cheer up the poet, to whom his mingled failure and glory were doubly painful, she thumped him on the back, laughed with her mouth full, saying in her hideous jargon, that it was not worth while for such a trifle to fling oneself head downwards from the _campanile del Duomo_.
"Isn't it true, _il cato?_" she added turning to the old tom-cat crippled by rheumatism, snoring in front of the fire. Then suddenly, in the middle of an interesting discussion, she screamed out to her husband in a voice senseless and brutal as the crack of a rifle:
"Hey! artist! _la lampo qui filo!_"
The poor fellow immediately interrupted his conversation to wind up the lamp, humble, submissive, anxious to avoid the scene he dreaded, and which in spite of all, he did not escape.
On returning from the theatre we had stopped at the _Maison d'Or_ to get a bottle of choice wine to wash down the _estoufato_. All along the road Maria Assunta had piously carried it under her shawl, and on her arrival she had placed it on the table where she could cast tender looks upon it, for Roman women are fond of good wine. Already twice or three times mistrustful of her husband's absence of mind, and the length of his arms, she had said:
"Mind the _boteglia_--you're going to break it."
At last, as she went off to the kitchen to take up with her own hands the famous _estoufato_, she again called out to him:
"Whatever you do, don't break the _boteglia_."
Unluckily, the moment his wife had disappeared, the poet seized the opportunity to talk about art, theatres, success, so freely and with so much gusto and vivacity, that--crash! By a gesture more eloquent than the others, the wonderful bottle was thrown down and fell to the ground in a thousand pieces. Never have I beheld such terror. He stopped short, and became deadly pale. At the same moment, Assunta's contralto was heard in the next room, and the Italian appeared on the threshold with flashing eyes, lips swollen with rage, red with the heat of the kitchen range.
"The _boteglia!_" she roared in a terrible voice.
Then timidly bending down to me, he whispered:
"Say it's you."
And the poor devil was so frightened, that I felt his long legs tremble under the table.


A COUPLE OF SINGERS.
How could they help falling in love? Handsome and famous as they both were, singing in the same operas, living each night during five whole acts the same artificial and passionate existence. You cannot play with fire without being burnt. You cannot say twenty times a month: "I love you!" to the sighing of a flute or the tremolos of a violin, without at last being caught by the emotion of your own voice. In course of time, passion awoke in the surrounding harmonies, the rhythmical surprises, the gorgeousness of costume and scenery. It was wafted to them through the window that Elsa and Lohengrin threw wide open on a night vibrating with sound and luminousness:
"Come let us breathe the intoxicating perfumes."
It slipped in between the white columns of the Capulets' balcony, where Romeo and Juliet linger in the dawning light of day:
"It was the nightingale, and not the lark."
And softly it caught Faust and Marguerite in a ray of moonlight, that rose from the rustic bench to the shutters of their little chamber, amid the entangled ivy and blossoming roses:
"Let me once more gaze upon thy face."
Soon all Paris knew their love and became interested in it. It was the wonder of the season. The world came to admire the two splendid stars gently gravitating towards each other in the musical firmament of the Opera House. At last one evening, after an enthusiastic recall, as the curtain fell, separating the house full of noisy applause and the stage littered with bouquets, where the white gown of Juliet swept over scattered camellia blossoms, the two singers were seized with an irresistible impulse, as though their love, a shade artificial, had but awaited the emotion of a splendid success to reveal itself.
Hands were clasped, vows exchanged, vows consecrated by the distant and persistent plaudits of the house. The two stars had made their conjunction.
After the wedding, some time passed before they were again seen on the stage. Then, when their holiday was ended, they reappeared in the same piece. This reappearance was a revelation. Until then, of the two singers, the man had been the most prized. Older and more accustomed to the public, whose foibles and preferences he had studied, he held the pit and boxes under the spell of his voice. Beside him, the other one seemed but an admirably gifted pupil, the promise of a future genius; but her voice was young and had angles in it, just as her shoulders were too slight and thin. And when on her return she appeared in one of her former parts, and the full rich, powerful sound poured out in the very first notes, abundant and pure, like the water of some sparkling spring, there ran through the house such a thrill of delight and surprise, that all the interest of the evening was concentrated on her. For the young woman, it was one of those happy days, in which the ambient atmosphere becomes limpid, light and vibrating, wafting towards one all the radiance and adulations of success. As for the husband, they almost forgot to applaud him, and as a dazzling light ever seems to make the shade around it darker, so he, found himself relegated, as it were, to the most insignificant part of the stage, as if he were neither more nor less than a mere walking gentleman.
After all, the passion that was revealed in the songstress's acting, in her voice full of charm and tenderness, was inspired by him. He alone lent fire to the glances of those deep eyes, and that idea ought to have made him proud, but the comedian's vanity proved stronger. At the end of the performance he sent for the leader of the _claque_ and rated him soundly. They had missed his entry and his exit, forgotten the recall at the third act; he would complain to the manager, &c.
Alas! In vain he struggled, in vain did the paid applause greet him, the good graces of the public, henceforth bestowed on his wife, remained definitively acquired to her. She was fortunate too in a choice of parts appropriate to her talent and her beauty, in which she appeared with all the assurance of a woman of the world entering a ball-room, dressed in the colours best suited to her, and certain of an ovation. At each fresh success the husband was depressed, nervous, and irritable. This vogue which left him and so absolutely became hers only, seemed to him a kind of robbery. For a long while he strove to hide from every one, more especially from his wife, this unavowable anguish; but one evening, as she was going up the stairs leading to her dressing-room, holding up with both hands her skirt-laden with bouquets, carried away by her triumphal success, she said to him with a voice still overcome by the excitement of applause: "We have had a magnificent house to-night." He replied: "You think so!" in such an ironical and bitter tone, that the young wife suddenly understood all.
Her husband was jealous! Not with the jealousy of a lover, who will only allow his wife to be beautiful for him, but with the jealousy of an artist, cold, furious, implacable. At times, when she stopped at the end of an air and multitudes of bravos were thrown to her from outstretched hands, he affected an indifferent and absent manner, and his listless gaze seemed to say to the spectators: "When you have finished applauding, I'll sing."
Ah! the applause, that sound like hail reechoing so delightfully through the lobbies, the house, and the side scenes, once the sweets of it are tasted, it is impossible to live without it. Great actors do not die of illness or old age, they cease to exist when applause no longer greets them. At the indifference of the public, this one was really seized with a feeling of despair. He grew thin, became peevish and bad-tempered. In vain did he reason with himself, look his incurable folly well in the face, repeat to himself before he came on the stage:
"And yet she is my wife, and I love her!"
In the artificial atmosphere of the stage the true sentiment of life vanished at once. He still loved the wife, but detested the singer. She realized it, and as one nurses an invalid, watched the sad mania. At first she thought of lessening her success, of making a sparing use and not giving the full power of her voice and talent; but her resolutions like those of her husband could not withstand the glare of the footlights. Her talent, almost unconsciously, overstepped her will. Then she humbled herself before him, belittled herself. She asked his advice, inquired if he thought her interpretation correct, if he understood the part in that way.
Of course he was never satisfied. With assumed goodnature, in the tone of false friendship that comedians use so much amongst each other, he would say, on the evenings of her greatest successes:
"You must watch yourself, dear, you are not doing very well just now, not improving."
At other times he tried to prevent her singing:
"Take care, you are lavishing yourself. You are doing too much. Don't wear out your luck. Believe me, you ought to take a holiday."
He even condescended to the most paltry pretexts. Said she had a cold, was not in good voice. Or else he would try to pick some mean stage quarrel:
"You took up the end of the duet too quickly; you spoilt my effect. You did it on purpose."
He never saw, poor wretch, that it was he who hindered her bye play, hurrying on with his cue in order to prevent any applause, and in his anxiety to regain the public ear, monopolizing the front of the stage, leaving his wife in the background. She never complained, for she loved him too well; moreover success makes us indulgent and every evening she was compelled to quit the shade in which she strove to conceal and efface herself, to obey the summons enthusiastically calling her to the footlights. This singular jealousy was soon noticed at the theatre, and their fellow actors made fun of it. They overwhelmed the singer with compliments about his wife's singing. They thrust under his eyes the newspaper article in which after four long columns devoted to the star, the critic bestowed a few lines to the fast fading vogue of the husband. One day, having just read one of these articles, he rushed into his wife's dressing-room, holding the open paper in his hand and said to her, pale with rage:
"The fellow must have been your lover." He had indeed reached this degree of injustice. In fact the unhappy woman, praised and envied, whose name figured in large type on the play bills and might be read on all the walls of Paris, who was seized upon as a successful advertising medium and placed on the tiny gilt labels of the confectioner or perfumer, led the saddest and most humiliating of lives. She dared not open a paper for fear of reading her own praises, wept over the flowers that were thrown to her and which she left to die in a corner of her dressing-room, that she might avoid perpetuating at home the cruel memories of her triumphant evenings. She even wanted to