The Complete Works: Short Stories, Novels, Plays, Poetry, Memoirs and more. Guy de MaupassantЧитать онлайн книгу.
silence, and Massival was opening the piano, which Mme de Bratiane was approaching, removing her gloves meanwhile, for she was to sing the woes of “Dido,” when the door again opened and a young man appeared upon whom every eye was immediately fixed. He was tall and slender, with curling side-whiskers, short, blond, curly hair, and an air that was altogether aristocratic. Even Mme le Prieur seemed to feel his influence.
“Who is it?” Mariolle asked her.
“What! is it possible that you do not know him?”
“No, I do not.”
“It is Comte Rudolph de Bernhaus.”
“Ah! the man who fought a duel with Sigismond Fabre.”
“Yes.”
The story had made a great noise at the time. The Comte de Bernhaus, attached to the Austrian embassy and a diplomat of the highest promise, an elegant Bismarck, so it was said, having heard some words spoken in derogation of his sovereign at an official reception, had fought the next day with the man who uttered them, a celebrated fencer, and killed him. After this duel, in respect to which public opinion had been divided, the Comte acquired between one day and the next a notoriety after the manner of Sarah Bernhardt, but with this difference, that his name appeared in an aureole of poetic chivalry. He was in addition a man of great charm, an agreeable conversationalist, a man of distinction in every respect. Lamarthe used to say of him: “He is the one to tame our pretty wild beasts.”
He took his seat beside Mme de Burne with a very gallant air, and Massival sat down before the keyboard and allowed his fingers to run over the keys for a few moments.
Nearly all the audience changed their places and drew their chairs nearer so as to hear better and at the same time have a better view of the singer. Thus Mariolle and Lamarthe found themselves side by side.
There was a great silence of expectation and respectful attention; then the musician began with a slow, a very slow succession of notes, something like a musical recitative. There were pauses, then the air would be lightly caught up in a series of little phrases, now languishing and dying away, now breaking out in nervous strength, indicative, it would seem, of distressful emotion, but always characterized by originality of invention. Mariolle gave way to reverie. He beheld a woman, a woman in the fullness of her mature youth and ripened beauty, walking slowly upon a shore that was bathed by the waves of the sea. He knew that she was suffering, that she bore a great sorrow in her soul, and he looked at Mme de Bratiane.
Motionless, pale beneath her wealth of thick black hair that seemed to have been dipped in the shades of night, the Italian stood waiting, her glance directed straight before her. On her strongly marked, rather stern features, against which her eyes and eyebrows stood out like spots of ink, in all her dark, powerful, and passionate beauty, there was something that struck one, something like the threat of the coming storm that we read in the blackening sky.
Massival, slightly nodding his head with its long hair in cadence with the rhythm, kept on relating the affecting tale that he was drawing from the resonant keys of ivory.
A shiver all at once ran through the singer; she partially opened her mouth, and from it there proceeded a long-drawn, heartrending wail of agony. It was not one of those outbursts of tragic despair that divas give utterance to upon the stage, with dramatic gestures, neither was it one of those pitiful laments for love betrayed that bring a storm of bravos from an audience; it was a cry of supreme passion, coming from the body and not from the soul, wrung from her like the roar of a wounded animal, the cry of the feminine animal betrayed. Then she was silent, and Massival again began to relate, more animatedly, more stormily, the moving story of the miserable queen who was abandoned by the man she loved. Then the woman’s voice made itself heard again. She used articulate language now; she told of the intolerable torture of solitude, of her unquenchable thirst for the caresses that were hers no more, and of the grief of knowing that he was gone from her forever.
Her warm, ringing voice made the hearts of her audience beat beneath the spell. This somber Italian, with hair like the darkness of the night, seemed to be suffering all the sorrows that she was telling, she seemed to love, or to have the capacity of loving, with furious ardor. When she ceased her eyes were full of tears, and she slowly wiped them away. Lamarthe leaned over toward Mariolle and said to him in a quiver of artistic enthusiasm: “Good heavens! how beautiful she is just now! She is a woman, the only one in the room.” Then he added, after a moment of reflection: “After all, who can tell? Perhaps there is nothing there but the mirage of the music, for nothing has real existence except our illusions. But what an art to produce illusions is that of hers!”
There was a short intermission between the first and the second parts of the musical poem, and warm congratulations were extended to the composer and his interpreter. Lamarthe in particular was very earnest in his felicitations, and he was really sincere, for he was endowed with the capacity to feel and comprehend, and beauty of all kinds appealed strongly to his nature, under whatever form expressed. The manner in which he told Mme de Bratiane what his feelings had been while listening to her was so flattering that it brought a slight blush to her face and excited a little spiteful feeling among the other women who heard it. Perhaps he was not altogether unaware of the feeling that he had produced.
When he turned around to resume his chair, he perceived Comte de Bernhaus just in the act of seating himself beside Mme de Frémines. She seemed at once to be on confidential terms with him, and they smiled at each other as if this close conversation was particularly agreeable to them both. Mariolle, whose gloom was momentarily increasing, stood leaning against a door; the novelist came and stationed himself at his side. Big Fresnel, George de Maltry, the Baron de Gravil and the Comte de Marantin formed a circle about Mme de Burne, who was going about offering tea. She seemed imprisoned in a crown of adorers. Lamarthe ironically called his friend’s attention to it and added: “A crown without jewels, however, and I am sure that she would be glad to give all those rhinestones for the brilliant that she would like to see there.”
“What brilliant do you mean?” inquired Mariolle. “Why, Bernhaus, handsome, irresistible, incomparable Bernhaus, he in whose honor this fête is given, for whom the miracle was performed of inducing Massival to bring out his ‘Dido’ here.”
André, though incredulous, was conscious of a pang of regret as he heard these words. “Has she known him long?” he asked.
“Oh, no; ten days at most. But she put her best foot foremost during this brief campaign, and her tactics have been those of a conqueror. If you had been here you would have had a good laugh.”
“How so?”
“She met him for the first time at Mme de Frémines’s; I happened to be dining there that evening. Bernhaus stands very well in the good graces of the lady of that house, as you may see for yourself; all that you have to do is to look at them at the present moment; and behold, in the very minute that succeeded the first salutation that they ever made each other, there is our pretty friend De Burne taking the field to effect the conquest of the Austrian phoenix. And she is succeeding, and will succeed, although the little Frémines is more than a match for her in coquetry, real indifference, and perhaps perversity. But our friend De Burne uses her weapons more scientifically, she is more of a woman, by which I mean a modern woman, that is to say, irresistible by reason of that artificial seductiveness which takes the place in the modern woman of the old-fashioned natural charm of manner. And it is not her artificiality alone that is to be taken into account, but her æstheticism, her profound comprehension of feminine aesthetics; all her strength lies therein. She knows herself thoroughly, because she takes more delight in herself than in anything else, and she is never at fault as to the best means of subjugating a man and making the best use of her gifts in order to captivate men.”
Mariolle took exception to this. “I think that you put it too strongly,” he said. “She has always been very simple with me.”
“Because simplicity is the right thing to meet the requirements of your case. I do not wish to speak ill of her, however. I think that she is better than most of her set. But they are not women.”
Massival,