The Vicomte de Bragelonne; Or, Ten Years Later<br />Being the completion of "The Three Musketeers" a by Alexandre Dumas (rainbow fish read aloud TXT) 📕

"Shall we pass into the next room, sire?" said Saint-Aignan, opening the door to let his guests precede him. The king walked behind La Valliere, and fixed his eyes lingeringly and passionately upon her neck as white as snow, upon which her long fair ringlets fell in heavy masses. La Valliere was dressed in a thick silk robe of pearl gray color, with a tinge of rose, with jet ornaments, which displayed to greater effect the dazzling purity of her skin, holding in her slender and transparent hands a bouquet of heartsease, Bengal roses, and clematis, surrounded with leaves of the tenderest green, above which uprose, like a tiny goblet shedding perfumes, a Haarlem tulip of gray and violet tints, of a pure and beautiful species, which had cost the gardener five years' toil of combinations and the king five thousand francs. Louis had placed this bouquet in La Valliere's hand as he saluted her. In the room, the door of which Saint-Aignan had just opened, a young man was standing, dressed in a loose velvet coat, with beautiful black eyes and long brown hair. It was the painter; his canvas was quite ready, and his palette prepared for use. He bowed to La Valliere with that grave curiosity of an artist who is studying his model, saluted the king discreetly, as if he did not recognize him, and as he would, consequently, have saluted any other gentleman. Then, leading Mademoiselle de la Valliere to the seat which he had arranged for her, he begged her to sit down. The young girl assumed an attitude graceful and unrestrained, her hands occupied, and her limbs reclining on cushions; and in order that her gaze might not assume a vague or affected expression, the painter begged her to choose some kind of occupation, so as to engage her attention; whereupon, Louis XIV., smiling, sat down on the cushions at La Valliere's feet; so that she, in the reclining posture she had assumed, leaning back in the armchair, holding her flowers in her hand, and he, with his eyes raised toward her and fixed devouringly on her face—they, both together, formed so charming a group, that the artist contemplated it with professional delight; while, on his side, Saint-[Pg 172]Aignan regarded them with feelings of envy. The painter sketched rapidly; and very soon, beneath the earliest touches of the brush, there started into life, out of the gray background, the gentle, poetry-breathing face, with its soft calm eyes and delicately-tinted cheeks, enframed in the masses of hair which fell about her neck. The lovers, however, spoke but little, and looked at each other a good deal; sometimes their eyes became so languishing in their gaze, that the painter was obliged to interrupt his work in order to avoid representing an Erycina instead of a La Valliere. It was on such occasions that Saint-Aignan came to the rescue, and recited verses, or repeated one of those little tales as Patru related them, and which Tallemant des Reaux wrote so cleverly. Or, it might be, that La Valliere was fatigued, and the sitting was, therefore, suspended for awhile; and, immediately, a tray of precious porcelain, laden with the most beautiful fruits which could be obtained, and rich wines distilling their bright colors in silver goblets beautifully chased, served as accessories to the picture of which the painter could but retrace the most ephemeral resemblance. Louis was intoxicated with love, La Valliere with happiness, Saint-Aignan with ambition, and the painter was storing up recollections for his old age. Two hours passed away in this manner, and four o'clock having struck, La Valliere rose and made a sign to the king. Louis also rose, approached the picture, and addressed a few flattering remarks to the painter. Saint-Aignan also praised the picture, which, as he pretended, was already beginning to assume an accurate resemblance. La Valliere, in her turn, blushingly, thanked the painter, and passed into the next room, where the king followed her after having previously summoned Saint-Aignan.

"Will you not come to-morrow?" he said to La Valliere.

"Oh! sire, pray think that some one will be sure to come to my room, and will not find me there."

"Well!"

"What will become of me in that case?"[Pg 173]

"You are very apprehensive, Louise."

"But, at all events, suppose Madame were to send for me."

"Oh!" replied the king, "will the day never come when you yourself will tell me to brave everything, so that I may not have to leave you again."

"On that day, then, sire, I shall be quite out of my mind, and you ought not to believe me."

"To-morrow, Louise."

La Valliere sighed, but, without the courage to oppose her royal lover's wish, she repeated, "To-morrow, then, since you desire it, sire;" and with these words she ran up the stairs lightly, and disappeared from her lover's gaze.

"Well, sire?" inquired Saint-Aignan, when she had left.

"Well, Saint-Aignan; yesterday I thought myself the happiest of men."

"And does your majesty, then, regard yourself to-day," said the comte, smiling, "as the unhappiest of men?"

"No; but my love for her is an unquenchable thirst; in vain do I drink, in vain do I swallow the drops of water which your industry procures for me; the more I drink the more unquenchable is my thirst."

"Sire, that is in some degree your own fault, and your majesty alone has made the position such as it is."

"You are right."

"In that case, therefore, the means to be happiness is to fancy yourself satisfied, and to wait."

"Wait! you know that word, then?"

"There, there, sire—do not despair; I have already been at work on your behalf—I have still other resources in store." The king shook his head in a despairing manner.

"What, sire! have you not been satisfied hitherto?"

"Oh! yes, indeed yes, my dear Saint-Aignan; but find, for Heaven's sake, find some further means yet."

"Sire, I undertake to do my best, and that is all I can do."

The king wished to see the portrait again, as he was unable to see the original. He pointed out several alterations to the painter, and left the room, and then Saint-Aignan dismissed the artist. The easel, paints, and painter himself had scarcely gone, when Malicorne showed his head at the doorway. He was received by Saint-Aignan with open arms, but still with a little sadness, for the cloud which had passed across the royal sun, veiled, in its turn, the faithful satellite, and Malicorne at a glance perceived the melancholy look which was visible upon Saint-Aignan's face.

"Oh, Monsieur le Comte," he said, "how sad you seem!"

"And good reason, too, my dear Monsieur Malicorne. Will you believe that the king is not satisfied?"

"Not satisfied with his staircase, do you mean?"

"Oh, no; on the contrary, he is delighted with the staircase."

"The decorations of the apartments, I suppose, don't please him?"

"Oh! he has not even thought of that. No, indeed, it seems that what has dissatisfied the king—"

"I will tell you, Monsieur le Comte—he is dissatisfied at finding himself the fourth person at a rendezvous of this kind. How is it possible you could not have guessed that?"

"Why, how is it likely I could have done so, dear M. Malicorne, when I followed the king's instructions to the very letter?"

"Did his majesty really insist upon your being present?"

"Positively so."

"And also required that the painter whom I met downstairs just now should be here too?"

"He insisted upon it."

"In that case I can easily understand why his majesty is dissatisfied."

"What! dissatisfied that I have so punctually and literally obeyed his orders? I don't understand you."

Malicorne began to scratch his ear as he asked, "What time did the king fix for the rendezvous in your apartment?"

"Two o'clock."

"And you were waiting for the king?"

"Ever since half-past one; for it would have been a fine thing indeed to have been unpunctual with his majesty."

Malicorne, notwithstanding his respect for Saint-Aignan, could not resist shrugging his shoulders. "And the painter," he said, "did the king wish him to be here at two o'clock also?"

"No; but I had him waiting here from mid-day. Far better, you know, for a painter to be kept waiting a couple of hours than the king a single minute."

Malicorne began to laugh to himself. "Come, dear Monsieur Malicorne," said Saint-Aignan, "laugh less at me, and speak a little more freely, I beg."

"Well, then, Monsieur le Comte, if you wish the king to be a little more satisfied the next time he comes—"

"Ventre saint-gris! as his grandfather used to say; of course I wish it."

"Well, all you have to do is, when the king comes to-morrow, to be obliged to go away on a most pressing matter of business, which cannot possibly be postponed, and stay away for twenty minutes."

"What! leave the king alone for twenty minutes?" cried Saint-Aignan, in alarm.

"Very well, do as you like; don't pay any attention to what I say," said Malicorne, moving toward the door.

"Nay, nay, dear Monsieur Malicorne; on the contrary, go on—I begin to understand you. But the painter—"

"Oh! the painter must be half an hour late."

"Half an hour—do you really think so?"

"Yes. I do, decidedly."

"Very well, then, I will do as you tell me."

"And my opinion is, that you will be doing perfectly right. Will you allow me to come and inquire to-morrow a little?"

"Of course."

"I have the honor to be your most respectful servant, M. de Saint-Aignan," said Malicorne, bowing profoundly, and retiring from the room backward.

"There is no doubt that fellow has more invention than I have," said Saint-Aignan, as if compelled by his conviction to admit it.[Pg 174]

The revelation of which we have been witnesses, that Montalais made to La Valliere, in a preceding chapter, very naturally makes us return to the principal hero of this tale, a poor wandering knight, roving about at the king's caprice. If our reader will be good enough to follow us, we will, in his company, cross that strait more stormy than the Euripus—that which separates Calais from Dover; we will speed across that green and fertile country, with its numerous little streams; through Maidstone, and many other villages and towns, each prettier than the other; and finally arrive at London. From thence, like bloodhounds following a track, after having ascertained that Raoul had made his first stay at Whitehall, his second at St. James's, and having learned that he had been warmly received by Monk, and introduced into the best society of Charles II.'s court, we will follow him to one of Charles II.'s summer residences, near the town of Kingston, at Hampton Court, situated on the Thames. This river is not, at that spot, the boastful highway which bears upon its broad bosom its thousands of travelers; nor are its waters black and troubled as those of Cocytus, as it boastfully asserts, "I, too? am the sea." No; at Hampton Court it is a soft and murmuring stream, with moss-grown banks, reflecting, in its broad mirror, the willows and beeches which ornament its sides, and on which may occasionally be seen a light bark indolently reclining among the tall reeds, in a little creek formed of alders and forget-me-nots. The surrounding county on all sides seemed smiling in happiness and wealth; the brick cottages, from whose chimneys the blue smoke was slowly ascending in wreaths, peeped forth from the belts of green holly which environed them; children dressed in red frocks appeared and disappeared amid the high grass, like poppies bowed by the gentle breath of the passing breeze. The sheep, ruminating with closed eyes, lay lazily about under[Pg 175] the shadow of the stunted aspens; while, far and near, the kingfisher, clad in emerald and gold, skimmed swiftly along the surface of the water, like a magic ball, heedlessly touching, as he passed, the line of his brother angler, who sat watching, in his boat, the fish as they rose to the surface of the sparkling stream.

High above this paradise of dark shadows and soft light arose the palace of Hampton Court, which had been built by Wolsey—a residence which the haughty cardinal had been obliged, timid courtier that he was, to offer to his master, Henry VIII., who had frowned with envy and feelings of cupidity at the aspect of the new palace. Hampton Court, with its brick walls, its large windows, its handsome iron gates, as well as its curious bell-turrets, its retired covered walks, and interior fountains, like those of the Alhambra, was a perfect bower of roses, jasmine, and clematis. Every sense, of sight and smell particularly, was gratified, and formed a most charming framework for the picture of love which Charles II. unrolled among the voluptuous paintings of Titian, of Pordenone, and of Vandyck: the same Charles whose father's portrait—the martyr king—was hanging in his gallery, and who could show upon