The Red Lily Part 15

In the drawing-room she said, while serving the coffee:

"Monsieur Choulette, why do you condemn us to the savage sadness of equality? Why, Daphnis's flute would not be melodious if it were made of seven equal reeds. You wish to destroy the beautiful harmonies between masters and servants, aristocrats and artisans. Oh, I fear you are a sad barbarian, Monsieur Choulette. You are full of pity for those who are in need, and you have no pity for divine beauty, which you exile from this world. You expel beauty, Monsieur Choulette; you repudiate her, nude and in tears. Be certain of this: she will not remain on earth when the poor little men shall all be weak, delicate, and ignorant. Believe me, to abolish the ingenious grouping which men of diverse conditions form in society, the humble with the magnificent, is to be the enemy of the poor and of the rich, is to be the enemy of the human race."

"Enemies of the human race!" replied Choulette, while stirring his coffee. "That is the phrase the harsh Roman applied to the Christians who talked of divine love to him."

Dechartre, seated near Madame Martin, questioned her on her tastes about art and beauty, sustained, led, animated her admirations, at times prompted her with caressing brusquerie, wished her to see all that he had seen, to love all that he loved.

He wished that she should go in the gardens at the first flush of spring. He contemplated her in advance on the n.o.ble terraces; he saw already the light playing on her neck and in her hair; the shadow of laurel-trees falling on her eyes. For him the land and the sky of Florence had nothing more to do than to serve as an adornment to this young woman.

He praised the simplicity with which she dressed, the characteristics of her form and of her grace, the charming frankness of the lines which every one of her movements created. He liked, he said, the animated and living, subtle, and free gowns which one sees so rarely, which one never forgets.

Although she had been much lauded, she had never heard praise which had pleased her more. She knew she dressed well, with bold and sure taste. But no man except her father had made to her on the subject the compliments of an expert. She thought that men were capable of feeling only the effect of a gown, without understanding the ingenious details of it. Some men who knew gowns disgusted her by their effeminate air.

She was resigned to the appreciation of women only, and these had in their appreciation narrowness of mind, malignity, and envy. The artistic admiration of Dechartre astonished and pleased her. She received agreeably the praise he gave her, without thinking that perhaps it was too intimate and almost indiscreet.

"So you look at gowns, Monsieur Dechartre?"

No, he seldom looked at them. There were so few women well dressed, even now, when women dress as well as, and even better, than ever. He found no pleasure in seeing packages of dry-goods walk. But if a woman having rhythm and line pa.s.sed before him, he blessed her.

He continued, in a tone a little more elevated:

"I can not think of a woman who takes care to deck herself every day, without meditating on the great lesson which she gives to artists. She dresses for a few hours, and the care she has taken is not lost. We must, like her, ornament life without thinking of the future. To paint, carve, or write for posterity is only the silliness of conceit."

"Monsieur Dechartre," asked Prince Albertinelli, "how do you think a mauve waist studded with silver flowers would become Miss Bell?"

"I think," said Choulette, "so little of a terrestrial future, that I have written my finest poems on cigarette paper. They vanished easily, leaving to my verses only a sort of metaphysical existence."

He had an air of negligence for which he posed. In fact, he had never lost a line of his writing. Dechartre was more sincere. He was not desirous of immortality. Miss Bell reproached him for this.

"Monsieur Dechartre, that life may be great and complete, one must put into it the past and the future. Our works of poetry and of art must be accomplished in honor of the dead and with the thought of those who are to come after us. Thus we shall partic.i.p.ate in what has been, in what is, and in what shall be. You do not wish to be immortal, Monsieur Dechartre? Beware, for G.o.d may hear you."

Dechartre replied:

"It would be enough for me to live one moment more."

And he said good-night, promising to return the next day to escort Madame Martin to the Brancacci chapel.

An hour later, in the aesthetic room hung with tapestry, whereon citron-trees loaded with golden fruit formed a fairy forest, Therese, her head on the pillow, and her handsome bare arms folded under her head, was thinking, seeing float confusedly before her the images of her new life: Vivian Bell and her bells, her pre-Raphaelite figures, light as shadows, ladies, isolated knights, indifferent among pious scenes, a little sad, and looking to see who was coming; she thought also of the Prince Albertinelli, Professor Arrighi, Choulette, with his odd play of ideas, and Dechartre, with youthful eyes in a careworn face.

She thought he had a charming imagination, a mind richer than all those that had been revealed to her, and an attraction which she no longer tried to resist. She had always recognized his gift to please. She discovered now that he had the will to please. This idea was delightful to her; she closed her eyes to retain it. Then, suddenly, she shuddered.

She had felt a deep blow struck within her in the depth of her being.

She had a sudden vision of Robert, his gun under his arm, in the woods.

He walked with firm and regular step in the shadowy thicket. She could not see his face, and that troubled her. She bore him no ill-will. She was not discontented with him, but with herself. Robert went straight on, without turning his head, far, and still farther, until he was only a black point in the desolate wood. She thought that perhaps she had been capricious and harsh in leaving him without a word of farewell, without even a letter. He was her lover and her only friend. She never had had another. "I do not wish him to be unfortunate because of me,"

she thought.

Little by little she was rea.s.sured. He loved her, doubtless; but he was not susceptible, not ingenious, happily, in tormenting himself. She said to herself:

"He is hunting and enjoying the sport. He is with his aunt, whom he admires." She calmed her fears and returned to the charming gayety of Florence. She had seen casually, at the Offices, a picture that Dechartre liked. It was a decapitated head of the Medusa, a work wherein Leonardo, the sculptor said, had expressed the minute profundity and tragic refinement of his genius. She wished to see it again, regretting that she had not seen it better at first. She extinguished her lamp and went to sleep.

She dreamed that she met in a deserted church Robert Le Menil enveloped in furs which she had never seen him wear. He was waiting for her, but a crowd of priests had separated them. She did not know what had become of him. She had not seen his face, and that frightened her. She awoke and heard at the open window a sad, monotonous cry, and saw a humming-bird darting about in the light of early dawn. Then, without cause, she began to weep in a pa.s.sion of self-pity, and with the abandon of a child.

CHAPTER XI. "THE DAWN OF FAITH AND LOVE"

She took pleasure in dressing early, with delicate and subtle taste. Her dressing-room, an aesthetic fantasy of Vivian Bell, with its coa.r.s.ely varnished pottery, its tall copper pitchers, and its faience pavement, like a chess-board, resembled a fairy's kitchen. It was rustic and marvellous, and the Countess Martin could have in it the agreeable surprise of mistaking herself for a fairy. While her maid was dressing her hair, she heard Dechartre and Choulette talking under her windows.

She rearranged all the work Pauline had done, and uncovered the line of her nape, which was fine and pure. She looked at herself in the gla.s.s, and went into the garden.

Dechartre was there, reciting verses of Dante, and looking at Florence: "At the hour when our mind, a greater stranger to the flesh..."

Near him, Choulette, seated on the bal.u.s.trade of the terrace, his legs hanging, and his nose in his beard, was still at work on the figure of Misery on his stick.

Dechartre resumed the rhymes of the canticle: "At the hour when our mind, a greater stranger to the flesh; and less under the obsession of thoughts, is almost divine in its visions,..."

She approached beside the boxwood hedge, holding a parasol and dressed in a straw-colored gown. The faint sunlight of winter enveloped her in pale gold.

Dechartre greeted her joyfully.

She said:

"You are reciting verses that I do not know. I know only Metastasio. My teacher liked only Metastasio. What is the hour when the mind has divine visions?"

"Madame, that hour is the dawn of the day. It may be also the dawn of faith and of love."

Choulette doubted that the poet meant dreams of the morning, which leave at awakening vivid and painful impressions, and which are not altogether strangers to the flesh. But Dechartre had quoted these verses in the pleasure of the glorious dawn which he had seen that morning on the golden hills. He had been, for a long time, troubled about the images that one sees in sleep, and he believed that these images were not related to the object that preoccupies one the most, but, on the contrary, to ideas abandoned during the day.

Therese recalled her morning dream, the hunter lost in the thicket.

"Yes," said Dechartre, "the things we see at night are unfortunate remains of what we have neglected the day before. Dreams avenge things one has disdained. They are reproaches of abandoned friends. Hence their sadness."

She was lost in dreams for a moment, then she said:

"That is perhaps true."

Then, quickly, she asked Choulette if he had finished the portrait of Misery on his stick. Misery had now become a figure of Piety, and Choulette recognized the Virgin in it. He had even composed a quatrain which he was to write on it in spiral form--a didactic and moral quatrain. He would cease to write, except in the style of the commandments of G.o.d rendered into French verses. The four lines expressed simplicity and goodness. He consented to recite them.

Therese rested on the bal.u.s.trade of the terrace and sought in the distance, in the depth of the sea of light, the peaks of Vallambrosa, almost as blue as the sky. Jacques Dechartre looked at her. It seemed to him that he saw her for the first time, such was the delicacy that he discovered in her face, which tenderness and intelligence had invested with thoughtfulness without altering its young, fresh grace. The daylight which she liked, was indulgent to her. And truly she was pretty, bathed in that light of Florence, which caresses beautiful forms and feeds n.o.ble thoughts. A fine, pink color rose to her well-rounded cheeks; her eyes, bluish-gray, laughed; and when she talked, the brilliancy of her teeth set off her lips of ardent sweetness. His look embraced her supple bust, her full hips, and the bold att.i.tude of her waist. She held her parasol with her left hand, the other hand played with violets. Dechartre had a mania for beautiful hands. Hands presented to his eyes a physiognomy as striking as the face--a character, a soul.

These hands enchanted him. They were exquisite. He adored their slender fingers, their pink nails, their palms soft and tender, traversed by lines as elegant as arabesques, and rising at the base of the fingers in harmonious mounts. He examined them with charmed attention until she closed them on the handle of her umbrella. Then, standing behind her, he looked at her again. Her bust and arms, graceful and pure in line, her beautiful form, which was like that of a living amphora, pleased him.

"Monsieur Dechartre, that black spot over there is the Boboli Gardens, is it not? I saw the gardens three years ago. There were not many flowers in them. Nevertheless, I liked their tall, sombre trees."

It astonished him that she talked, that she thought. The clear sound of her voice amazed him, as if he never had heard it.

He replied at random. He was awkward. She feigned not to notice it, but felt a deep inward joy. His low voice, which was veiled and softened, seemed to caress her. She said ordinary things:

"That view is beautiful, The weather is fine."