The Count of Monte Cristo, The Man in the Iron Mask & The Three Musketeers (3 Books in One Edition). Alexandre DumasЧитать онлайн книгу.
they are a race of men I admire greatly.”
“Still,” persisted Franz, “I suppose you will allow that such men as Vampa and his band are regular villains, who have no other motive than plunder when they seize your person. How do you explain the influence the count evidently possessed over those ruffians?”
“My good friend, as in all probability I own my present safety to that influence, it would ill become me to search too closely into its source; therefore, instead of condemning him for his intimacy with outlaws, you must give me leave to excuse any little irregularity there may be in such a connection; not altogether for preserving my life, for my own idea was that it never was in much danger, but certainly for saving me 4,000 piastres, which, being translated, means neither more nor less than 24,000 livres of our money — a sum at which, most assuredly, I should never have been estimated in France, proving most indisputably,” added Albert with a laugh, “that no prophet is honored in his own country.”
“Talking of countries,” replied Franz, “of what country is the count, what is his native tongue, whence does he derive his immense fortune, and what were those events of his early life — a life as marvellous as unknown — that have tinctured his succeeding years with so dark and gloomy a misanthropy? Certainly these are questions that, in your place, I should like to have answered.”
“My dear Franz,” replied Albert, “when, upon receipt of my letter, you found the necessity of asking the count’s assistance, you promptly went to him, saying, `My friend Albert de Morcerf is in danger; help me to deliver him.’ Was not that nearly what you said?”
“It was.”
“Well, then, did he ask you, `Who is M. Albert de Morcerf? how does he come by his name — his fortune? what are his means of existence? what is his birthplace! of what country is he a native?’ Tell me, did he put all these questions to you?”
“I confess he asked me none.”
“No; he merely came and freed me from the hands of Signor Vampa, where, I can assure you, in spite of all my outward appearance of ease and unconcern, I did not very particularly care to remain. Now, then, Franz, when, for services so promptly and unhesitatingly rendered, he but asks me in return to do for him what is done daily for any Russian prince or Italian nobleman who may pass through Paris — merely to introduce him into society — would you have me refuse? My good fellow, you must have lost your senses to think it possible I could act with such cold-blooded policy.” And this time it must be confessed that, contrary to the usual state of affairs in discussions between the young men, the effective arguments were all on Albert’s side.
“Well,” said Franz with a sigh, “do as you please my dear viscount, for your arguments are beyond my powers of refutation. Still, in spite of all, you must admit that this Count of Monte Cristo is a most singular personage.”
“He is a philanthropist,” answered the other; “and no doubt his motive in visiting Paris is to compete for the Monthyon prize, given, as you are aware, to whoever shall be proved to have most materially advanced the interests of virtue and humanity. If my vote and interest can obtain it for him, I will readily give him the one and promise the other. And now, my dear Franz, let us talk of something else. Come, shall we take our luncheon, and then pay a last visit to St. Peter’s?” Franz silently assented; and the following afternoon, at half-past five o’clock, the young men parted. Albert de Morcerf to return to Paris, and Franz d’Epinay to pass a fortnight at Venice. But, ere he entered his travelling carriage, Albert, fearing that his expected guest might forget the engagement he had entered into, placed in the care of a waiter at the hotel a card to be delivered to the Count of Monte Cristo, on which, beneath the name of Vicomte Albert de Morcerf, he had written in pencil — “27, Rue du Helder, on the 21st May, half-past ten A.M.”
Chapter 39 The Guests.
In the house in the Rue du Helder, where Albert had invited the Count of Monte Cristo, everything was being prepared on the morning of the 21st of May to do honor to the occasion. Albert de Morcerf inhabited a pavilion situated at the corner of a large court, and directly opposite another building, in which were the servants’ apartments. Two windows only of the pavilion faced the street; three other windows looked into the court, and two at the back into the garden. Between the court and the garden, built in the heavy style of the imperial architecture, was the large and fashionable dwelling of the Count and Countess of Morcerf. A high wall surrounded the whole of the hotel, surmounted at intervals by vases filled with flowers, and broken in the centre by a large gate of gilded iron, which served as the carriage entrance. A small door, close to the lodge of the concierge, gave ingress and egress to the servants and masters when they were on foot.
It was easy to discover that the delicate care of a mother, unwilling to part from her son, and yet aware that a young man of the viscount’s age required the full exercise of his liberty, had chosen this habitation for Albert. There were not lacking, however, evidences of what we may call the intelligent egoism of a youth who is charmed with the indolent, careless life of an only son, and who lives as it were in a gilded cage. By means of the two windows looking into the street, Albert could see all that passed; the sight of what is going on is necessary to young men, who always want to see the world traverse their horizon, even if that horizon is only a public thoroughfare. Then, should anything appear to merit a more minute examination, Albert de Morcerf could follow up his researches by means of a small gate, similar to that close to the concierge’s door, and which merits a particular description. It was a little entrance that seemed never to have been opened since the house was built, so entirely was it covered with dust and dirt; but the well-oiled hinges and locks told quite another story. This door was a mockery to the concierge, from whose vigilance and jurisdiction it was free, and, like that famous portal in the “Arabian Nights,” opening at the “Sesame” of Ali Baba, it was wont to swing backward at a cabalistic word or a concerted tap from without from the sweetest voices or whitest fingers in the world. At the end of a long corridor, with which the door communicated, and which formed the antechamber, was, on the right, Albert’s breakfast-room, looking into the court, and on the left the salon, looking into the garden. Shrubs and creeping plants covered the windows, and hid from the garden and court these two apartments, the only rooms into which, as they were on the ground-floor, the prying eyes of the curious could penetrate. On the floor above were similar rooms, with the addition of a third, formed out of the antechamber; these three rooms were a salon, a boudoir, and a bedroom. The salon downstairs was only an Algerian divan, for the use of smokers. The boudoir upstairs communicated with the bed-chamber by an invisible door on the staircase; it was evident that every precaution had been taken. Above this floor was a large atelier, which had been increased in size by pulling down the partitions — a pandemonium, in which the artist and the dandy strove for preeminence. There were collected and piled up all Albert’s successive caprices, hunting-horns, bass-viols, flutes — a whole orchestra, for Albert had had not a taste but a fancy for music; easels, palettes, brushes, pencils — for music had been succeeded by painting; foils, boxing-gloves, broadswords, and single-sticks — for, following the example of the fashionable young men of the time, Albert de Morcerf cultivated, with far more perseverance than music and drawing, the three arts that complete a dandy’s education, i.e., fencing, boxing, and single-stick; and it was here that he received Grisier, Cook, and Charles Leboucher. The rest of the furniture of this privileged apartment consisted of old cabinets, filled with Chinese porcelain and Japanese vases, Lucca della Robbia faience, and Palissy platters; of old armchairs, in which perhaps had sat Henry IV. or Sully, Louis XIII. or Richelieu — for two of these armchairs, adorned with a carved shield, on which were engraved the fleur-de-lis of France on an azure field evidently came from the Louvre, or, at least, some royal residence. Over these dark and sombre chairs were thrown splendid stuffs, dyed beneath Persia’s sun, or woven by the fingers of the women of Calcutta or of Chandernagor. What these stuffs did there, it was impossible to say; they awaited, while gratifying the eyes, a destination unknown to their owner himself; in the meantime they filled the place with their golden and silky reflections. In the centre of the room was