Part 8 (1/2)
BOOK 2.
CHAPTER VI. GERFAUT'S STORY
While the two friends are devouring to the very last morsel the feast prepared for them by Madame Gobillot, it may not be out of place to explain in a few words the nature of the bonds that united these two men.
The Vicomte de Gerfaut was one of those talented beings who are the veritable champions of an age when the lightest pen weighs more in the social balance than our ancestors' heaviest sword. He was born in the south of France, of one of those old families whose fortune had diminished each generation, their name finally being almost all that they had left. After making many sacrifices to give their son an education worthy of his birth, his parents did not live to enjoy the fruits of their efforts, and Gerfaut became an orphan at the time when he had just finished his law studies. He then abandoned the career of which his father had dreamed for him, and the possibilities of a red gown bordered with ermine. A mobile and highly colored imagination, a pa.s.sionate love for the arts, and, more than all, some intimacies contracted with men of letters, decided his vocation and launched him into literature.
The ardent young man, without a murmur or any misgivings, drank to the very dregs the cup poured out to neophytes in the harsh career of letters by editors, theatrical managers, and publishers. With some, this course ends in suicide, but it only cost Gerfaut a portion of his slender patrimony; he bore this loss like a man who feels that he is strong enough to repair it. When his plans were once made, he followed them up with indefatigable perseverance, and became a striking example of the irresistible power of intelligence united to will-power.
Reputation, for him, lay in the unknown depths of an arid and rocky soil; he was obliged, in order to reach it, to dig a sort of artesian well. Gerfaut accepted this heroic labor; he worked day and night for several years, his forehead, metaphorically, bathed in a painful perspiration alleviated only by hopes far away. At last the untiring worker's drill struck the underground spring over which so many n.o.ble ones breathlessly bend, although their thirst is never quenched. At this victorious stroke, glory burst forth, falling in luminous sparks, making this new name--his name--flash with a brilliancy too dearly paid for not to be lasting.
At the time of which we speak, Octave had conquered every obstacle in the literary field. With a versatility of talent which sometimes recalled Voltaire's ”proteanism,” he attacked in succession the most difficult styles. Besides their poetic value, his dramas had this positive merit, the highest in the theatre world they were money-makers; so the managers greeted him with due respect, while collaborators swarmed about him. The journals paid for his articles in their weight in gold; reviews s.n.a.t.c.hed every line of his yet unfinished novels; his works were ill.u.s.trated by Porret and Tony Johannot--the masters of the day--and shone resplendent behind the gla.s.s cases in the Orleans gallery. Gerfaut had at last made a place for himself among that baker's dozen of writers who call themselves, and justly, too, the field-marshals of French literature, of which Chateaubriand was then commander-in-chief.
What was it that had brought such a person a hundred leagues from the opera balcony, to put on a pretty woman's slipper? Was the fair lady one of those caprices, so frequent and fleeting in an artist's thoughts, or had she given birth to one of those sentiments that end by absorbing the rest of one's life?
The young man seated opposite Gerfaut was, physically and morally, as complete a contrast to him as one could possibly imagine. He was one of the kind very much in request in fas.h.i.+onable society. There is not a person who has not met one of these worthy fellows, destined to make good officers, perfect merchants, and very satisfactory lawyers, but who, unfortunately, have been seized with a mania for notoriety.
Ordinarily they think of it on account of somebody else's talent.
This one is brother to a poet, another son-in-law to a historian; they conclude that they also have a right to be poet and historian in their turn. Thomas Corneille is their model; but we must admit that very few of our writers reach the rank attained by Corneille the younger.
Marillac was train-bearer to Gerfaut, and was rewarded for this bondage by a few bribes of collaboration, crumbs that fall from the rich man's table. They had been close friends since they both entered the law school, where they were companions in folly rather than in study.
Marillac also had thrown himself into the arena of literature; then, different fortunes having greeted the two friends' efforts, he had descended little by little from the role of a rival to that of an inferior. Marillac was an artist, talent accepted, from the tip of his toes to the sole of his boots, which he wished to lengthen by pointed toes out of respect for the Middle Ages; for he excelled above all things in his manner of dressing, and possessed, among other intellectual merits, the longest moustache in literature.
If he had not art in his brain, to make up for it he always had its name at his tongue's end. Vaudeville writing or painting, poetry or music, he dabbled in all these, like those horses sold as good for both riding and driving, which are as bad in the saddle as in front of a tilbury.
He signed himself ”Marillac, man of letters”; meanwhile, aside from his profound disdain for the bourgeois, whom he called vulgar, and for the French Academy, to which he had sworn never to belong, one could reproach him with nothing. His penchant for the picturesque in expression was not always, it is true, in the most excellent taste, but, in spite of these little oddities, his unfortunate pa.s.sion for art, and his affection for the Middle Ages, he was a brave, worthy, and happy fellow, full of good qualities, very much devoted to his friends, above all to Gerfaut. One could, therefore, pardon him for being a pseudo-artist.
”Will your story be a long one?” said he to the playwright, when Catherine had conducted them after supper to the double-bedded room, where they were to pa.s.s the night.
”Long or short, what does it matter, since you must listen to it?”
”Because, first, I would make some grog and fill my pipe; otherwise, I would content myself with a cigar.”
”Take your pipe and make your grog.”
”Here!” said the artist, running after Catherine, ”don't rush downstairs so. You are wanted. Fear nothing, interesting maid; you are safe with us; but bring us a couple of gla.s.ses, brandy, sugar, a bowl, and some hot water.”
”They want some hot water,” cried the servant, rus.h.i.+ng into the kitchen with a frightened look; ”can they be ill at this hour?”
”Give the gentlemen what they want, you little simpleton!” replied Mademoiselle Reine; ”they probably want to concoct some of their Paris drinks.”
When all the articles necessary for the grog were on the table, Marillac drew up an old armchair, took another chair to stretch his legs upon, replaced his cap with a handkerchief artistically knotted about his head, his boots with a pair of slippers, and, finally, lighted his pipe.
”Now,” said he, as he seated himself, ”I will listen without moving an eyelid should your story last, like the creation, six days and nights.”
Gerfaut took two or three turns about the room with the air of an orator who is seeking for a beginning to a speech.
”You know,” said he, ”that Fate has more or less influence over our lives, according to the condition of mind in which we happen to be. In order that you may understand the importance of the adventure I am about relating to you, it will be necessary for me to picture the state of mind which I was in at the time it happened; this will be a sort of philosophical and psychological preamble.”