We deeply regret, in the interest of elegant manners, that these arguments are not more generally known. Heaven grant, therefore, that our book may have an immense success, as women will obtain this advantage from it, that they will be treated as they deserve, that is, as queens.

In this respect, love is much superior to marriage, it is proud of indiscreet sayings and doings. There are some women that seek them, fish for them, and woe to the man who does not now and then commit one!

What pa.s.sion lies in an accidental _thou_!

Out in the country I heard a husband call his wife: "Ma berline!" She was delighted with it, and saw nothing ridiculous in it: she called her husband, "Mon fiston!" This delicious couple were ignorant of the existence of such things as petty troubles.

It was in observing this happy pair that the author discovered this axiom:

Axiom:--In order to be happy in wedlock, you must either be a man of genius married to an affectionate and intellectual woman, or, by a chance which is not as common as might be supposed, you must both of you be exceedingly stupid.

The too celebrated history of the cure of a wounded self-love by a.r.s.enic, proves that, properly speaking, there are no petty troubles for women in married life.

Axiom.--Woman exists by sentiment where man exists by action.

Now, sentiment can at any moment render a petty trouble either a great misfortune, or a wasted life, or an eternal misery. Should Caroline begin, in her ignorance of life and the world, by inflicting upon her husband the vexations of her stupidity (re-read REVELATIONS), Adolphe, like any other man, may find a compensation in social excitement: he goes out, comes back, goes here and there, has business. But for Caroline, the question everywhere is, To love or not to love, to be or not to be loved.

Indiscretions are in harmony with the character of the individuals, with times and places. Two examples will suffice.

Here is the first. A man is by nature dirty and ugly: he is ill-made and repulsive. There are men, and often rich ones, too, who, by a sort of un.o.bserved const.i.tution, soil a new suit of clothes in twenty-four hours. They were born disgusting. It is so disgraceful for a women to be anything more than just simply a wife to this sort of Adolphe, that a certain Caroline had long ago insisted upon the suppression of the modern _thee_ and _thou_ and all other insignia of the wifely dignity.

Society had been for five or six years accustomed to this sort of thing, and supposed Madame and Monsieur completely separated, and all the more so as it had noticed the accession of a Ferdinand II.

One evening, in the presence of a dozen persons, this man said to his wife: "Caroline, hand me the tongs, there's a love." It is nothing, and yet everything. It was a domestic revelation.

Monsieur de l.u.s.trac, the Universal Amadis, hurried to Madame de Fischtaminel's, narrated this little scene with all the spirit at his command, and Madame de Fischtaminel put on an air something like Celimene's and said: "Poor creature, what an extremity she must be in!"

I say nothing of Caroline's confusion,--you have already divined it.

Here is the second. Think of the frightful situation in which a lady of great refinement was lately placed: she was conversing agreeably at her country seat near Paris, when her husband's servant came and whispered in her ear, "Monsieur has come, madame."

"Very well, Benoit."

Everybody had heard the rumblings of the vehicle. It was known that the husband had been at Paris since Monday, and this took place on Sat.u.r.day, at four in the afternoon.

"He's got something important to say to you, madame."

Though this dialogue was held in a whisper, it was perfectly understood, and all the more so from the fact that the lady of the house turned from the pale hue of the Bengal rose to the brilliant crimson of the wheatfield poppy. She nodded and went on with the conversation, and managed to leave her company on the pretext of learning whether her husband had succeeded in an important undertaking or not: but she seemed plainly vexed at Adolphe's want of consideration for the company who were visiting her.

During their youth, women want to be treated as divinities, they love the ideal; they cannot bear the idea of being what nature intended them to be.

Some husbands, on retiring to the country, after a week in town, are worse than this: they bow to the company, put their arm round their wife's waist, take a little walk with her, appear to be talking confidentially, disappear in a clump of trees, get lost, and reappear half an hour afterward.

This, ladies, is a genuine petty trouble for a young woman, but for a woman beyond forty, this sort of indiscretion is so delightful, that the greatest prudes are flattered by it, for, be it known:

That women of a certain age, women on the shady side, want to be treated as mortals, they love the actual; they cannot bear the idea of no longer being what nature intended them to be.

Axiom.--Modesty is a relative virtue; there is the modesty of the woman of twenty, the woman of thirty, the woman of forty-five.

Thus the author said to a lady who told him to guess at her age: "Madame, yours is the age of indiscretion."

This charming woman of thirty-nine was making a Ferdinand much too conspicuous, while her daughter was trying to conceal her Ferdinand I.

BRUTAL DISCLOSURES.

FIRST STYLE. Caroline adores Adolphe, she thinks him handsome, she thinks him superb, especially in his National Guard uniform. She starts when a sentinel presents arms to him, she considers him moulded like a model, she regards him as a man of wit, everything he does is right, n.o.body has better taste than he, in short, she is crazy about Adolphe.

It's the old story of Cupid's bandage. This is washed every ten years, and newly embroidered by the altered manners of the period, but it has been the same old bandage since the days of Greece.

Caroline is at a ball with one of her young friends. A man well known for his bluntness, whose acquaintance she is to make later in life, but whom she now sees for the first time, Monsieur Foullepointe, has commenced a conversation with Caroline's friend. According to the custom of society, Caroline listens to this conversation without mingling in it.

"Pray tell me, madame," says Monsieur Foullepointe, "who is that queer man who has been talking about the Court of a.s.sizes before a gentleman whose acquittal lately created such a sensation: he is all the while blundering, like an ox in a bog, against everybody's sore spot. A lady burst into tears at hearing him tell of the death of a child, as she lost her own two months ago."

"Who do you mean?"

"Why, that fat man, dressed like a waiter in a cafe, frizzled like a barber's apprentice, there, he's trying now to make himself agreeable to Madame de Fischtaminel."

"Hush," whispers the lady quite alarmed, "it's the husband of the little woman next to me!"

"Ah, it's your husband?" says Monsieur Foullepointe. "I am delighted, madame, he's a charming man, so vivacious, gay and witty. I am going to make his acquaintance immediately."

And Foullepointe executes his retreat, leaving a bitter suspicion in Caroline's soul, as to the question whether her husband is really as handsome as she thinks him.

SECOND STYLE. Caroline, annoyed by the reputation of Madame Schinner, who is credited with the possession of epistolary talents, and styled the "Sevigne of the note", tired of hearing about Madame de Fischtaminel, who has ventured to write a little 32mo book on the education of the young, in which she has boldly reprinted Fenelon, without the style:--Caroline has been working for six months upon a tale tenfold poorer than those of Berquin, nauseatingly moral, and flamboyant in style.

After numerous intrigues such as women are skillful in managing in the interest of their vanity, and the tenacity and perfection of which would lead you to believe that they have a third s.e.x in their head, this tale, ent.i.tled "The Lotus," appears in three installments in a leading daily paper. It is signed Samuel Crux.

When Adolphe takes up the paper at breakfast, Caroline's heart beats up in her very throat: she blushes, turns pale, looks away and stares at the ceiling. When Adolphe's eyes settle upon the feuilleton, she can bear it no longer: she gets up, goes out, comes back, having replenished her stock of audacity, no one knows where.

"Is there a feuilleton this morning?" she asks with an air that she thinks indifferent, but which would disturb a husband still jealous of his wife.

"Yes, one by a beginner, Samuel Crux. The name is a disguise, clearly: the tale is insignificant enough to drive an insect to despair, if he could read: and vulgar, too: the style is muddy, but then it's--"

Caroline breathes again. "It's--" she suggests.

"It's incomprehensible," resumes Adolphe. "Somebody must have paid Chodoreille five or six hundred francs to insert it; or else it's the production of a blue-stocking in high society who has promised to invite Madame Chodoreille to her house; or perhaps it's the work of a woman in whom the editor is personally interested. Such a piece of stupidity cannot be explained any other way. Imagine, Caroline, that it's all about a little flower picked on the edge of a wood in a sentimental walk, which a gentleman of the Werther school has sworn to keep, which he has had framed, and which the lady claims again eleven years after (the poor man has had time to change his lodgings three times). It's quite new, about as old as Sterne or Gessner. What makes me think it's a woman, is that the first literary idea of the whole s.e.x is to take vengeance on some one."

Adolphe might go on pulling "The Lotus" to pieces; Caroline's ears are full of the tinkling of bells. She is like the woman who threw herself over the Pont des Arts, and tried to find her way ten feet below the level of the Seine.