"With pleasure. You know that I wander about Paris a great deal, like book collectors who ransack book stalls. I just look at the sights, at the people, at all that is pa.s.sing by and all that is going on.

"Toward the middle of September-it was beautiful weather-I went out one afternoon, not knowing where I was going. One always has a vague wish to call on some pretty woman or other. One chooses among them in one's mental picture gallery, compares them in one's mind, weighs the interest with which they inspire you, their comparative charms and finally decides according to the influence of the day. But when the sun is very bright and the air warm, it takes away from you all desire to make calls.

"The sun was bright, the air warm. I lighted a cigar and sauntered aimlessly along the outer boulevard. Then, as I strolled on, it occurred to me to walk as far as Montmartre and go into the cemetery.

"I am very fond of cemeteries. They rest me and give me a feeling of sadness; I need it. And, besides, I have good friends in there, those that one no longer goes to call on, and I go there from time to time.

"It is in this cemetery of Montmartre that is buried a romance of my life, a sweetheart who made a great impression on me, a very emotional, charming little woman whose memory, although it causes me great sorrow, also fills me with regrets-regrets of all kinds. And I go to dream beside her grave. She has finished with life.

"And then I like cemeteries because they are immense cities filled to overflowing with inhabitants. Think how many dead people there are in this small s.p.a.ce, think of all the generations of Parisians who are housed there forever, veritable troglodytes enclosed in their little vaults, in their little graves covered with a stone or marked by a cross, while living beings take up so much room and make so much noise -imbeciles that they are!

"Then, again, in cemeteries there are monuments almost as interesting as in museums. The tomb of Cavaignac reminded me, I must confess without making any comparison, of the chef d'oeuvre of Jean Goujon: the rec.u.mbent statue of Louis de Breze in the subterranean chapel of the Cathedral of Rouen. All modern and realistic art has originated there, messieurs. This dead man, Louis de Breze, is more real, more terrible, more like inanimate flesh still convulsed with the death agony than all the tortured corpses that are distorted to-day in funeral monuments.

"But in Montmartre one can yet admire Baudin's monument, which has a degree of grandeur; that of Gautier, of Murger, on which I saw the other day a simple, paltry wreath of immortelles, yellow immortelles, brought thither by whom? Possibly by the last grisette, very old and now janitress in the neighborhood. It is a pretty little statue by Millet, but ruined by dirt and neglect. Sing of youth, O Murger!

"Well, there I was in Montmartre Cemetery, and was all at once filled with sadness, a sadness that is not all pain, a kind of sadness that makes you think when you are in good health, 'This place is not amusing, but my time has not come yet.'

"The feeling of autumn, of the warm moisture which is redolent of the death of the leaves, and the weakened, weary, anaemic sun increased, while rendering it poetical, the sensation of solitude and of finality that hovered over this spot which savors of human mortality.

"I walked along slowly amid these streets of tombs, where the neighbors do not visit each other, do not sleep together and do not read the newspapers. And I began to read the epitaphs. That is the most amusing thing in the world. Never did Labiche or Meilhac make me laugh as I have laughed at the comical inscriptions on tombstones. Oh, how much superior to the books of Paul de k.o.c.k for getting rid of the spleen are these marble slabs and these crosses where the relatives of the deceased have unburdened their sorrow, their desires for the happiness of the vanished ones and their hope of rejoining them-humbugs!

"But I love above all in this cemetery the deserted portion, solitary, full of great yews and cypresses, the older portion, belonging to those dead long since, and which will soon be taken into use again; the growing trees nourished by the human corpses cut down in order to bury in rows beneath little slabs of marble those who have died more recently.

"When I had sauntered about long enough to refresh my mind I felt that I would soon have had enough of it and that I must place the faithful homage of my remembrance on my little friend's last resting place. I felt a tightening of the heart as I reached her grave. Poor dear, she was so dainty, so loving and so white and fresh-and now-if one should open the grave-

"Leaning over the iron grating, I told her of my sorrow in a low tone, which she doubtless did not hear, and was moving away when I saw a woman in black, in deep mourning, kneeling on the next grave. Her c.r.a.pe veil was turned back, uncovering a pretty fair head, the hair in Madonna bands looking like rays of dawn beneath her sombre headdress. I stayed.

"Surely she must be in profound grief. She had covered her face with her hands and, standing there in meditation, rigid as a statue, given up to her grief, telling the sad rosary of her remembrances within the shadow of her concealed and closed eyes, she herself seemed like a dead person mourning another who was dead. All at once a little motion of her back, like a flutter of wind through a willow, led me to suppose that she was going to cry. She wept softly at first, then louder, with quick motions of her neck and shoulders. Suddenly she uncovered her eyes. They were full of tears and charming, the eyes of a bewildered woman, with which she glanced about her as if awaking from a nightmare. She looked at me, seemed abashed and hid her face completely in her hands. Then she sobbed convulsively, and her head slowly bent down toward the marble. She leaned her forehead on it, and her veil spreading around her, covered the white corners of the beloved tomb, like a fresh token of mourning. I heard her sigh, then she sank down with her cheek on the marble slab and remained motionless, unconscious.

"I darted toward her, slapped her hands, blew on her eyelids, while I read this simple epitaph: 'Here lies Louis-Theodore Carrel, Captain of Marine Infantry, killed by the enemy at Tonquin. Pray for him.'

"He had died some months before. I was affected to tears and redoubled my attentions. They were successful. She regained consciousness. I appeared very much moved. I am not bad looking, I am not forty. I saw by her first glance that she would be polite and grateful. She was, and amid more tears she told me her history in detached fragments as well as her gasping breath would allow, how the officer was killed at Tonquin when they had been married a year, how she had married him for love, and being an orphan, she had only the usual dowry.

"I consoled her, I comforted her, raised her and lifted her on her feet. Then I said:

"'Do not stay here. Come.'

"'I am unable to walk,' she murmured.

"'I will support you.'

"'Thank you, sir; you are good. Did you also come to mourn for some one?'

"'Yes, madame.'

"'A dead friend?'

"'Yes, madame.'

"'Your wife?'

"'A friend.'

"'One may love a friend as much as they love their wife. Love has no law.'

"'Yes, madame.'

"And we set off together, she leaning on my arm, while I almost carried her along the paths of the cemetery. When we got outside she faltered:

"'I feel as if I were going to be ill.'

"'Would you like to go in anywhere, to take something?'

"'Yes, monsieur.'

"I perceived a restaurant, one of those places where the mourners of the dead go to celebrate the funeral. We went in. I made her drink a cup of hot tea, which seemed to revive her. A faint smile came to her lips. She began to talk about herself. It was sad, so sad to be always alone in life, alone in one's home, night and day, to have no one on whom one can bestow affection, confidence, intimacy.

"That sounded sincere. It sounded pretty from her mouth. I was touched. She was very young, perhaps twenty. I paid her compliments, which she took in good part. Then, as time was pa.s.sing, I suggested taking her home in a carriage. She accepted, and in the cab we sat so close that our shoulders touched.

"When the cab stopped at her house she murmured: 'I do not feel equal to going upstairs alone, for I live on the fourth floor. You have been so good. Will you let me take your arm as far as my own door?'

"I agreed with eagerness. She ascended the stairs slowly, breathing hard. Then, as we stood at her door, she said:

"'Come in a few moments so that I may thank you.'

"And, by Jove, I went in. Everything was modest, even rather poor, but simple and in good taste.

"We sat down side by side on a little sofa and she began to talk again about her loneliness. She rang for her maid, in order to offer me some wine. The maid did not come. I was delighted, thinking that this maid probably came in the morning only, what one calls a charwoman.

"She had taken off her hat. She was really pretty, and she gazed at me with her clear eyes, gazed so hard and her eyes were so clear that I was terribly tempted. I caught her in my arms and rained kisses on her eyelids, which she closed suddenly.

"She freed herself and pushed me away, saying:

"'Have done, have done.'

"But I next kissed her on the mouth and she did not resist, and as our glances met after thus outraging the memory of the captain killed in Tonquin, I saw that she had a languid, resigned expression that set my mind at rest.

"I became very attentive and, after chatting for some time, I said:

"'Where do you dine?'

"'In a little restaurant in the neighborhood:

"'All alone?'

"'Why, yes.'

"'Will you dine with me?'