BOOK I - CHAPTER IV. THE STORY OF SYLVESTRE

________________________________________________
_ 8 P.M.

I am back in my study. It is very cold; Madame Menin, my housekeeper, has let the fire out. Hallo! she has left her duster, too, lying on the manuscript of my essay.

Is it an omen, a presage of that dust which awaits my still unfinished work? Who can fathom Dame Fortune's ironic humor?

Eight o'clock.... Counsellor Mouillard has finished his pleadings and must be sitting down to a game of whist with Counsellors Horlet and Hublette, of the Court of Bourges. They wait for me to make up the four. Perish the awful prospect!

And M. Charnot? He, I suppose, is still spinning the paper spiral. How easily serious people are amused! Perhaps I am a serious person. The least thing amuses me. By the way, is Mademoiselle Jeanne fair or dark? Let me try to recollect. Why, fair, of course. I remember the glint of gold in the little curls about her temples, as she stood by the lamp. A pleasant face, too; not exactly classic, but rosy and frank; and then she has that animation which so many pretty women lack.

Madame Menin has forgotten something else. She has forgotten to shut my window. She has designs upon my life!

I have just shut the window. The night is calm, its stars twinkling through a haze. The year ends mournfully.

I remember at school once waking suddenly on such a night as this, to find the moonlight streaming into my eyes. At such a moment it is always a little hard to collect one's scattered senses, and take in the midnight world around, so unhomely, so absolutely still. First I cast my eyes along the two rows of beds that stretched away down the dormitory--two parallel lines in long perspective; my comrades huddled under their blankets in shapeless masses, gray or white according as they lay near or far from the windows; the smoky glimmer of the oil lamp half-way down the room; and at the end, in the deeper shadows, the enclosure of yellow curtains surrounding the usher's bed.

Not a sound about me; all was still. But without, my ear, excited and almost feverishly awake, caught the sound of a strange call, very sweet, again and again repeated--fugitive notes breathing appeal, tender and troubled. Now they grew quite distant, and I heard no more than a phantom of sound; now they came near, passed over my head, and faded again into the distance. The moon's clear rays invited me to clear up the mystery. I sprang from my bed, and ran in my nightshirt to open the window. It was about eleven o'clock. Together the keen night-air and the moonlight wrapped me round, thrilling me with delight. The large courtyard lay deserted with its leafless poplars and spiked railings. Here and there a grain of sand sparkled. I raised my eyes, and from one constellation to another I sought the deep blue of heaven in vain; not a shadow upon it, not one dark wing outlined. Yet all the while the same sad and gentle cry wandered and was lost in air, the chant of an invisible soul which seemed in want of me, and had perhaps awakened me.

The thought came upon me that it was the soul of my mother calling to me--my mother, whose voice was soft and very musical.

"I am caring for thee," said the voice. "I am caring for thee; I can see thee," it said, "I can see thee. I love thee! I love thee!"

"Reveal thyself!" I called back. "Oh, mother, reveal thyself!" And I strove feverishly to catch sight of her, following the voice as it swept around in circles; and seeing nothing, I burst into tears.

Suddenly I was seized roughly by the ear.

"What are you doing here, you young rascal? Are you mad? The wind is blowing right on to my bed. Five hundred lines!"

The usher, in nightdress and slippers, was rolling his angry eyes on me.

"Yes, sir; certainly, sir! But don't you hear her?"

"Who is it?"

"My mother."

He looked to see whether I were awake; cocked his head to one side and listened; then shut the window angrily and went off shrugging his shoulders.

"It's only the plovers flying about the moon," said he. "Five hundred lines!"

I did my five hundred lines. They taught me that dreaming was illegal and dangerous, but they neither convinced nor cured me.

I still believe that there are scattered up and down in nature voices that speak, but which few hear; just as there are millions of flowers that bloom unseen by man. It is sad for those who catch a hint of it. Perforce they come back and seek the hidden springs. They waste their youth and vigor upon empty dreams, and in return for the fleeting glimpses they have enjoyed, for the perfect phrase half caught and lost again, will have given up the intercourse of their kind, and even friendship itself. Yes, it is sad for the schoolboys who open their windows to gaze at the moon, and never drop the habit! They will find themselves, all too soon, solitaries in the midst of life, desolate as I am desolate tonight, beside my dead fire.

No friend will come to knock at my door; not one. I have a few comrades to whom I give that name. We do not loathe one another. At need they would help me. But we seldom meet. What should they do here? Dreamers make no confidences; they shrivel up into themselves and are caught away on the four winds of heaven. Politics drive them mad; gossip fails to interest them; the sorrows they create have no remedy save the joys that they invent; they are natural only when alone, and talk well only to themselves.

The only man who can put up with this moody contrariety of mine is Sylvestre Lampron. He is nearly twenty years older than I. That explains his forbearance. Besides, between an artist like him and a dreamer like myself there is only the difference of handiwork. He translates his dreams. I waste mine; but both dream. Dear old Lampron! Kindly, stalwart heart! He has withstood that hardening of the moral and physical fibre which comes over so many men as they near their fortieth year. He shows a brave front to work and to life. He is cheerful, with the manly cheerfulness of a noble heart resigned to life's disillusions.

When I enter his home, I nearly always find him sitting before a small ground-glass window in the corner of his studio, bent over some engraving. I have leave to enter at all hours. He is free not to stir from his work. "Good-day," he calls out, without raising his head, without knowing for certain who has come in, and goes on with the engraving he has in hand. I settle down at the end of the room, on the sofa with the faded cover, and, until Lampron deigns to grant me audience, I am free to sleep, or smoke, or turn over the wonderful drawings that lean against the walls. Among them are treasures beyond price; for Lampron is a genius whose only mistake is to live and act with modesty, so that as yet people only say that he has "immense talent." No painter or engraver of repute--and he is both--has served a more conscientious apprenticeship, or sets greater store on thoroughness in his art. His drawing is correct beyond reproach--a little stiff, like the early painters. You can guess from his works his partiality for the old masters--Perugino, Fra Angelico, Botticelli, Memling, Holbein--who, though not the masters in fashion, will always be masters in vigor of outline, directness, in simple grace, and genuine feeling. He has copied in oils, water-colors, pen, or pencil, nearly all the pictures of these masters in the Louvre, in Germany, in Holland, and especially in Italy, where he lived for many years. With tastes such as his came the habit, or rather the fixed determination, never to paint or engrave any but sacred subjects. Puffs and cliques are his abomination. His ideal is the archaic rendered by modern methods. An artist of this type can but obtain the half-grudging esteem of his own profession, and of the few critics who really understand something about art. Gladly, and with absolute disdain, he leaves to others the applause of the mob, the gilded patronage of American purchasers, and the right to wear lace cuffs. In short, in an age when the artist is often half a manufacturer and half a charlatan, he is an artist only.

Now and then he is rich, but never for long. Half of his earnings goes in alms; half into the pockets of his mendicant brethren. They hear the gold jingle before it is counted, and run with outstretched palms. Each is in the depths of misfortune; on the eve of ascending the fatal slope; lost, unless the helpful hand of Lampron will provide, saved if he will lend wherewithal to buy a block of marble, to pay a model, to dine that evening. He lends--I should say gives; the words mean the same in many societies. Of all that he has gained, fame alone remains, and even this he tries to do without--modest, retiring, shunning all entertainments. I believe he would often be without the wherewithal to live were it not for his mother, whom he supports, and who does him the kindness to need something to live on. Madame Lampron does not hoard; she only fills the place of those dams of cut turf which the peasants build in the channels of the Berry in spring; the water passes over them, beneath them, even through them, but still a little is left for the great droughts.

I love my friend Lampron, though fully aware of his superiority. His energy sets me up, his advice strengthens me, he peoples for me the vast solitude of Paris.

Suppose I go to see him? A lonely watch to-night would be gloomier than usual. The death of the year brings gloomy thoughts, the thirty-first of December, St. Sylvester's day--St. Sylvester! Why, that is his birthday! Ungrateful friend, to give no thought to it! Quick! my coat, my stick, my hat, and let me run to see these two early birds before they seek their roost.

When I entered the studio, Lampron was so deep in his work that he did not hear me. The large room, lighted only in one corner, looked weird enough. Around me, and among the medley of pictures and casts and the piles of canvases stacked against the wall, the eye encountered only a series of cinder-gray tints and undetermined outlines casting long amorphous shadows half-way across the ceiling. A draped lay figure leaning against a door seemed to listen to the whistling of the wind outside; a large glass bay opened upon the night. Nothing was alive in this part of the room, nothing alight except a few rare glints upon the gold of the frames, and the blades of two crossed swords. Only in a corner, at the far end, at a distance exaggerated by the shadows, sat Lampron engraving, solitary, motionless, beneath the light of a lamp. His back was toward me. The lamp's rays threw a strong light on his delicate hand, on the workmanlike pose of his head, which it surrounded with a nimbus, and on a painting--a woman's head--which he was copying. He looked superb like that, and I thought how doubly tempted Rembrandt would have been by the deep significance as well as by the chiaroscuro of this interior.

I stamped my foot. Lampron started, and turned half around, narrowing his eyes as he peered into the darkness.

"Ah, it's you," he said. He rose and came quickly toward me, as if to prevent me from approaching the table.

"You don't wish me to look?"

He hesitated a moment.

"After all, why not?" he answered.

The copper plate was hardly marked with a few touches of the needle. He turned the reflector so as to throw all its rays upon the painting.

"O Lampron, what a charming head!"

It was indeed a lovely head; an Italian girl, three quarter face, painted after the manner of Leonardo, with firm but delicate touches, and lights and shades of infinite subtlety, and possessing, like all that master's portraits of women, a straightforward look that responds to the gazer's, but which he seeks to interrogate in vain. The hair, brown with golden lights, was dressed in smooth plaits above the temples. The neck, 1351 somewhat long, emerged from a dark robe broadly indicated.

"I do not know this, Sylvestre?"

"No, it's an old thing."

"A portrait, of course?"

"My first."

"You never did better; line, color, life, you have got them all."

"You need not tell me that! In one's young days, look you, there are moments of real inspiration, when some one whispers in the ear and guides the hand; a lightness of touch, the happy audacity of the beginner, a wealth of daring never met with again. Would you believe that I have tried ten times to reproduce that in etching without success?"

"Why do you try?"

"Yes, that is the question. Why? It's a bit foolish."

"You never could find such a model again; that is one reason."

"Ah, no, you are right. I never could find her again."

"An Italian of rank? a princess, eh?"

"Something like it."

"What has become of her?"

"Ah, no doubt what becomes of all princesses. Fabien, my young friend, you who still see life through fairy-tales, doubtless you imagine her happy in her lot--wealthy, spoiled, flattered, speaking with disdainful lips at nightfall, on the terrace of her villa among the great pines, of the barbarian from across the Alps who painted her portrait twenty years since; and, in the same sentence, of her--last new frock from Paris?"

"Yes, I see her so--still beautiful."

"You are good at guessing, Fabien. She is dead, my friend, and that ideal beauty is now a few white bones at the bottom of a grave."

"Poor girl!"

Sylvestre had used a sarcastic tone which was not usual with him. He was contemplating his work with such genuine sadness that I was awed. I divined that in his past, of which I knew but little, Lampron kept a sorrow buried that I had all unwittingly revived.

"My friend," said I, "let that be; I come to wish you many happy returns."

"Many happy returns? Ah, yes, my poor mother wished me that this morning; then I set to work and forgot all about it. I am glad you came. She would feel hurt, dear soul, if I forgot to pass a bit of this evening with her. Let us go and find her."

"With all my heart, Sylvestre, but I, too, have forgotten something."

"What?"

"I have brought no flowers."

"Never mind, she has plenty; strong-scented flowers of the south, a whole basketful, enough to keep a hive of bees or kill a man in his sleep, which you will. It is a yearly attention from an unhappy creditor."

"Debtor, you mean."

"I mean what I say--a creditor."

He lifted the lamp. The shadows shifted and ran along the walls like huge spiders, the crossed swords flashed, the Venus of Milo threw us a lofty glance, Polyhymnia stood forth pensive and sank back into shadow. At the door I took the draped lay figure in my arms. "Excuse me," I said as I moved it--and we left the studio for Madame Lampron's little sitting-room.

She was seated near a small round table, knitting socks, her feet on a hot-water bottle. Her kind old rough and wrinkled face beamed upon us. She thrust her needles under the black lace cap she always wore, and drew them out again almost immediately.

"It needed your presence, Monsieur Mouillard," said she, "to drag him from his work."

"Saint Sylvester's day, too. It is fearful! Love for his art has changed your son's nature, Madame Lampron."

She gave him a tender look, as on entering the room he bent over the fire and shook out his half-smoked pipe against the bars, a thing he never failed to do the moment he entered his mother's room.

"Dear child!" said she.

Then turning to me:

"You are a good friend, Monsieur Fabien. Never have we celebrated a Saint Sylvester without you since you came to Paris."

"Yet this evening, Madame, I have failed in my traditions, I have no flowers. But Sylvestre tells me that you have just received flowers from the south, from an unfortunate creditor."

My words produced an unusual effect upon her. She, who never stopped knitting to talk or to listen, laid her work upon her knees, and fixed her eyes upon me, filled with anxiety.

"Has he told you?"

Lampron who was poking the fire, his slippered feet stretched out toward the hearth, turned his head.

"No, mother, I merely told him that we had received a basket of flowers. Not much to confide. Yet why should he not know all? Surely he is our friend enough to know all. He should have known it long since were it not cruel to share between three a burden that two can well bear."

She made no answer, and began again to twist the wool between her needles, but nervously and as if her thoughts were sad.

To change the conversation I told them the story of my twofold mishap at the National Library and at M. Charnot's. I tried to be funny, and fancied I succeeded. The old lady smiled faintly. Lampron remained grave, and tossed his head impatiently. I summed my story thus:

"Net gain: two enemies, one of them charming."

"Oh, enemies!" said Sylvestre, "they spring up like weeds. One can not prevent them, and great sorrows do not come from them. Still, beware of charming enemies."

"She hates me, I swear. If you could have seen her!"

"And you?"

"Me? She is nothing to me."

"Are you sure?"

He put the question gravely, without looking in my face, as he twisted a paper spill.

I laughed.

"What is the matter with you to-day, misanthrope? I assure you that she is absolutely indifferent to me. But even were it otherwise, Sylvestre, where would be the wrong?"

"Wrong? No wrong at all; but I should be anxious for you; I should be afraid. See here, my friend. I know you well. You are a born man of letters, a dreamer, an artist in your way. You have to help you on entering the redoubtable lists of love neither foresight, nor a cool head, nor determination. You are guided solely by your impressions; by them you rise or fall. You are no more than a child."

"I quite agree. What next?"

"What next?" He had risen, and was speaking with unusual vehemence. "I once knew some one like you, whose first passion, rash, but deep as yours would be, broke his heart forever. The heart, my friend, is liable to break, and can not be mended like china."

Lampron's mother interrupted him afresh, reproachfully.

"He came to wish you a happy birthday, my child."

"One day, mother, is as good as another to listen to good advice. Besides, I am only talking of one of my friends. 'Tis but a short story, Fabien, and instructive. I will give it you in very few words. My friend was very young and enthusiastic. He was on his way through the galleries of Italy, brush in hand, his heart full of the ceaseless song of youth in holiday. The world never had played him false, nor balked him. He made the future bend to the fancy of his dreams. He seldom descended among common men from those loftier realms where the contemplation of endless masterpieces kept his spirit as on wings. He admired, copied, filled his soul with the glowing beauty of Italian landscape and Italian art. But one day, without reflection, without knowledge, without foresight, he was rash enough to fall in love with a girl of noble birth whose portrait he was painting; to speak to her and to win her love. He thought then, in the silly innocence of his youth, that art abridges all distance and that love effaces it. Crueller nonsense never was uttered, my poor Fabien. He soon found this; he tried to struggle against the parent's denial, against himself, against her, powerless in all alike, beaten at every point.... The end was--Do you care to learn the end? The girl was carried off, struck down by a brief illness, soon dead; the man, hurled out of heaven, bruised, a fugitive also, is still so weak in presence of his sorrow that even after these long years he can not think of it without weeping."

Lampron actually was weeping, he who was so seldom moved. Down his brown beard, tinged already with gray, a tear was trickling. I noticed that Madame Lampron was stooping lower and lower over her needles. He went on:

"I have kept the portrait, the one you saw, Fabien. They would like to have it over yonder. They are old folk by now. Every year they ask me for this relic of our common sorrow; every year they send me, about this time a basket of white flowers, chiefly lilacs, the dead girl's flower, and their meaning is, 'Give up to us what is left of her, the masterpiece built up of your youth and hers.' But I am selfish, Fabien. I, like them, am jealous of all the sorrows this portrait recalls to me, and I deny them. Come, mother, where are the flowers? I have promised Fabien to show them to him."

But his old mother could not answer. Having no doubt bewept this sorrow too often to find fresh tears, her eyes followed her son with restless compassion. He, beside the window, was hunting among the chairs and lounges crowded in this corner of the little sitting-room.

He brought us a box of white wood. "See," said he, "'tis my wedding bouquet."

And he emptied it on the table. Parma violets, lilacs, white camellias and moss rolled out in slightly faded bunches, spreading a sweet smell in which there breathed already a vague scent of death and corruption. A violet fell on my knees. I picked it up.

He looked for a moment at the heap on the table.

"I keep none," said he: "I have too many reminders without them. Cursed flowers!"

With one motion of his arm he swept them all up and cast them upon the coals in the hearth. They shrivelled, crackled, grew limp and discolored, and vanished in smoke.

"Now I am going back to my etching. Good-by, Fabien. Good-night, mother."

Without turning his head, he left the room and went back to his studio.

I made a movement to follow him and bring him back.

Madame Lampron stopped me. "I will go myself," said she, "later--much later."

We sat awhile in silence. When she saw me somewhat recovered from the shock of my feelings she went on:

"You never have seen him like this, but I have seen it often. It is so hard! I knew her whom he loved almost as soon as he, for he never hid anything from me. You can judge from her portrait whether hers was not the face to attract an artist like Sylvestre. I saw at once that it was a trial, in which I could do nothing. They were very great people; different from us, you know."

"They refused to let them marry?"

"Oh, no! Sylvestre did not ask; they never had the opportunity of refusing. No, no; it was I. I said to him: 'Sylvestre, this can never be-never!' He was convinced against his will. Then she spoke to her parents on her own account. They carried her off, and there was an end of it."

"He never saw her again."

"Never; he would not have wished it; and then she lived a very little time. I went back there two years later, when they wanted to buy the picture. We were still living in Italy. That was one of the hardest hours of my life. I was afraid of their reproaches, and I did not feel sure of myself. But no, they suffered for their daughter as I for my son, and that brought us together. Still, I did not give up the portrait; Sylvestre set too great store by it. He insists on keeping it, feeding his eyes on it, reopening his wound day by day. Poor child! Forget all this, Monsieur Fabien; you can do nothing to help. Be true to your youth, and tell us next time of Monsieur Charnot and Mademoiselle Jeanne."

Dear Madame Lampron! I tried to console her; but as I never knew my mother, I could find but little to say. All the same, she thanked me and assured me I had done her good. _

Read next: BOOK I: CHAPTER V. A FRUITLESS SEARCH

Read previous: BOOK I: CHAPTER III. AN APOLOGY

Table of content of Ink-Stain (Tache D'encre: A Spot of Ink)


GO TO TOP OF SCREEN

Post your review
Your review will be placed after the table of content of this book