Part 10 (1/2)

”I do not wish you to tell him there is no hope!”

”You think there is hope, then?”

”I--I--am afraid so, dear papa!”

”Yet a moment ago you told me you had no lover, and were merely a little girl!”

”I did not know then that Giovanni was in Paris, and I--I--thought he had forgotten all about me.”

M. Dantes smiled as he said:

”That makes all the difference in the world, doesn't it, Mademoiselle?”

”Yes,” answered Zuleika, innocently; then she added in a tone of great earnestness: ”Write to Giovanni in the morning, and--and tell him I shall be delighted to see him.”

”I will write and inform him that, so far as I have been able to discover, my daughter does not object to receiving a visit from him.”

”Oh! that would be too cold and formal, and Giovanni is such an old friend.”

”Well, well,” said M. Dantes, ”I will so frame my reply as to give entire satisfaction both to you and him. Now, my child, kiss me and retire to your couch, for it is very, very late.”

Zuleika embraced her father and kissed him repeatedly; then, with beaming eyes and a countenance overflowing with happiness she ran lightly from the apartment.

As she tripped joyously away, M. Dantes arose from his arm-chair and gazed after her with a look of the utmost sadness.

”Oh! my daughter, my daughter,” he murmured, ”soon will you also quit me, and then I shall be alone, indeed! True, Esperance will remain, but, generous, manly and heroic as he is, he can never fill the void Zuleika will leave. Oh! Haydee, Haydee, my beloved wife, why were you torn so ruthlessly from your husband's heart!”

Zuleika's dreams that night were rose-hued and delicious, and in all of them the central figure was the youthful Roman Viscount.

When day dawned M. Dantes was still pacing his library.

CHAPTER VIII.

A VAST PRINTING HOUSE.

A street somewhat famous in Paris is the Rue Lepelletier, famous not for its length, for its breadth, for the splendid edifices it exhibits, or for the scenes and events it has witnessed, but famous for the exploits beheld by its neighbors, and the magnificent structures by them displayed. Not that the Rue Lepelletier can boast no fine edifices, for the grand opera-house would give the loud lie to such an a.s.sertion. And then there is the Foreign Office near by, the Hotel of the Minister of Foreign Affairs at the corner of the Boulevard and the Rue des Capucines, and other noted places.

But there is one structure on the Rue Lepelletier not very noticeable save for its immense size and its ancient and dingy aspect, which has witnessed more scenes and events, and is more important than all its more splendid neighbors put together.

This edifice is of brick, five stories in height, and, as has been intimated, is time-stained, storm-stained, smoke-stained and stained, it would seem, by all other conceivable causes of stain, so begrimed and dingy, yet so venerable and imposing, does it seem.

This vast and ancient pile can be said to represent no order of architecture. Architectural elegance appears not to have been thought of when it was designed, and yet the facade of the old building seems to bear the same relation to the building itself as the face of an old man bears to his body, and that face is full of character, as are the faces of some men--sombre, sedate, serious, almost sinister in aspect. This old face, too, seemed full of apertures, through which unceasing and sleepless espionage could be kept up on the good citizens of the good City of Paris. Doors, and especially windows, numberless, opened and looked upon the street, and on a cul de sac at one end of the edifice.

One of the doors opening on the cul de sac, at its further extremity, was broad, low, dark and sombre; like the gates of h.e.l.l, as portrayed by the English bard, it ”stood open night and day.” If you entered this door and advanced, you would immediately find yourself ascending a narrow, gloomy and winding flight of stairs. Having with difficulty groped your way to the top, without having broken your neck, by having first reached the point from which you started, to wit, the bottom; or your s.h.i.+ns, by stumbling against the steps--having, I say, accomplished the ascent to the first landing, your further pa.s.sage is effectually stopped by a ma.s.sive door, which resists all your efforts to open it; and, as you are contemplating the dangerous descent which you now think you are immediately and inevitably forced to make, an ivory bell-handle against the wall, beside the door, arrests your attention, with the words around it, which, with difficulty, you decipher by the dim light, ”Editor's Room--No Admittance,” followed by the encouraging, but somewhat contradictory word, ”Ring,” which, doubtless, means this: ”If you are a particular friend of the editor, or have particular business with him as a journalist, ring the bell, and perhaps you may be admitted.” Supposing either of these positions yours, you ”ring the bell,” and immediately you are startled by the tinkling of a small bell in the darkness close beside you, and the ponderous door, firm as a barricade till then, is now opened by unseen hands--by the same hand, indeed, and by the same action of that hand which caused the bell to tinkle.

You enter the door, and find yourself in a corridor or pa.s.sage, long and dark, for everything in this building is dark, and gaslight is the only light eighteen hours in the twenty-four; you find yourself in a corridor, I say, running the entire depth of the building, and bringing you back again toward the Rue Lepelletier, which you left on entering the cul de sac, to seek the low entrance below. As you traverse the endless gallery, your attention is arrested by a deep hum, as of many voices at a distance, with which the entire structure seems pervaded, accompanied by a heavier sound, which rises and falls with measured stroke. This mysterious hum might have been heard when you first approached or entered the building; but the silence and solitude of the corridor have caused you to notice it now for the first time, and to wonder at its cause.