Clemence began to sing softly "Let's Make a Nest" with a tremolo in her voice which pleased them greatly for it made them think of the open country, of songbirds, of dancing beneath an arbor, and of flowers. In short, it made them think of the Bois de Vincennes when they went there for a picnic.

But Virginie revived the joking with "My Little Drop of Brandy." She imitated a camp follower, with one hand on her hip, the elbow arched to indicate the little barrel; and with the other hand she poured out the brandy into space by turning her fist round. She did it so well that the party then begged mother Coupeau to sing "The Mouse." The old woman refused, vowing that she did not know that naughty song. Yet she started off with the remnants of her broken voice; and her wrinkled face with its lively little eyes underlined the allusions, the terrors of Mademoiselle Lise drawing her skirts around her at the sight of a mouse.

All the table laughed; the women could not keep their countenances, and continued casting bright glances at their neighbors; it was not indecent after all, there were no coarse words in it. All during the song Boche was playing mouse up and down the legs of the lady coal-dealer. Things might have gotten a bit out of line if Goujet, in response to a glance from Gervaise, had not brought back the respectful silence with "The Farewell of Abdul-Kader," which he sang out loudly in his bass voice.

The song rang out from his golden beard as if from a brass trumpet.

All the hearts skipped a beat when he cried, "Ah, my noble comrade!"

referring to the warrior's black mare. They burst into applause even before the end.

"Now, Pere Bru, it's your turn!" said mother Coupeau. "Sing your song.

The old ones are the best any day!"

And everybody turned towards the old man, pressing him and encouraging him. He, in a state of torpor, with his immovable mask of tanned skin, looked at them without appearing to understand. They asked him if he knew the "Five Vowels." He held down his head; he could not recollect it; all the songs of the good old days were mixed up in his head. As they made up their minds to leave him alone, he seemed to remember, and began to stutter in a cavernous voice:

"Trou la la, trou la la, Trou la, trou la, trou la la!"

His face assumed an animated expression, this chorus seemed to awake some far-off gaieties within him, enjoyed by himself alone, as he listened with a childish delight to his voice which became more and more hollow.

"Say there, my dear," Virginie came and whispered in Gervaise's ear, "I've just been there again, you know. It worried me. Well! Lantier has disappeared from Francois's."

"You didn't meet him outside?" asked the laundress.

"No, I walked quickly, not as if I was looking for him."

But Virginie raised her eyes, interrupted herself and heaved a smothered sigh.

"Ah! _Mon Dieu!_ He's there, on the pavement opposite; he's looking this way."

Gervaise, quite beside herself, ventured to glance in the direction indicated. Some persons had collected in the street to hear the party sing. And Lantier was indeed there in the front row, listening and coolly looking on. It was rare cheek, everything considered. Gervaise felt a chill ascend from her legs to her heart, and she no longer dared to move, whilst old Bru continued:

"Trou la la, trou la la, Trou la, trou la, trou la la!"

"Very good. Thank you, my ancient one, that's enough!" said Coupeau. "Do you know the whole of it? You shall sing it for us another day when we need something sad."

This raised a few laughs. The old fellow stopped short, glanced round the table with his pale eyes and resumed his look of a meditative animal. Coupeau called for more wine as the coffee was finished.

Clemence was eating strawberries again. With the pause in singing, they began to talk about a woman who had been found hanging that morning in the building next door. It was Madame Lerat's turn, but she required to prepare herself. She dipped the corner of her napkin into a glass of water and applied it to her temples because she was too hot. Then, she asked for a thimbleful of brandy, drank it, and slowly wiped her lips.

"The 'Child of God,' shall it be?" she murmured, "the 'Child of God.'"

And, tall and masculine-looking, with her bony nose and her shoulders as square as a grenadier's she began:

"The lost child left by its mother alone Is sure of a home in Heaven above, God sees and protects it on earth from His throne, The child that is lost is the child of God's love."

Her voice trembled at certain words, and dwelt on them in liquid notes; she looked out of the corner of her eyes to heaven, whilst her right hand swung before her chest or pressed against her heart with an impressive gesture. Then Gervaise, tortured by Lantier's presence, could not restrain her tears; it seemed to her that the song was relating her own suffering, that she was the lost child, abandoned by its mother, and whom God was going to take under his protection. Clemence was now very drunk and she burst into loud sobbing and placed her head down onto the table in an effort to smother her gasps. There was a hush vibrant with emotion.

The ladies had pulled out their handkerchiefs, and were drying their eyes, with their heads erect from pride. The men had bowed their heads and were staring straight before them, blinking back their tears.

Poisson bit off the end of his pipe twice while gulping and gasping.

Boche, with two large tears trickling down his face, wasn't even bothering to squeeze the coal-dealer's knee any longer. All these drunk revelers were as soft-hearted as lambs. Wasn't the wine almost coming out of their eyes? When the refrain began again, they all let themselves go, blubbering into their plates.

But Gervaise and Virginie could not, in spite of themselves, take their eyes off the pavement opposite. Madame Boche, in her turn, caught sight of Lantier and uttered a faint cry without ceasing to besmear her face with her tears. Then all three had very anxious faces as they exchanged involuntary signs. _Mon Dieu!_ if Coupeau were to turn round, if Coupeau caught sight of the other! What a butchery! What carnage! And they went on to such an extent that the zinc-worker asked them:

"Whatever are you looking at?"

He leant forward and recognized Lantier.

"Damnation! It's too much," muttered he. "Ah! the dirty scoundrel--ah!

the dirty scoundrel. No, it's too much, it must come to an end."

And as he rose from his seat muttering most atrocious threats, Gervaise, in a low voice, implored him to keep quiet.

"Listen to me, I implore you. Leave the knife alone. Remain where you are, don't do anything dreadful."

Virginie had to take the knife which he had picked up off the table from him. But she could not prevent him leaving the shop and going up to Lantier.

Those around the table saw nothing of this, so involved were they in weeping over the song as Madame Lerat sang the last verse. It sounded like a moaning wail of the wind and Madame Putois was so moved that she spilled her wine over the table. Gervaise remained frozen with fright, one hand tight against her lips to stifle her sobs. She expected at any moment to see one of the two men fall unconscious in the street.

As Coupeau rushed toward Lantier, he was so astonished by the fresh air that he staggered, and Lantier, with his hands in his pockets, merely took a step to the side. Now the two men were almost shouting at each other, Coupeau calling the other a lousy pig and threatening to make sausage of his guts. They were shouting loudly and angrily and waving their arms violently. Gervaise felt faint and as it continued for a while, she closed her eyes. Suddenly, she didn't hear any shouting and opened her eyes. The two men were chatting amiably together.

Madame Lerat's voice rose higher and higher, warbling another verse.

Gervaise exchanged a glance with Madame Boche and Virginie. Was it going to end amicably then? Coupeau and Lantier continued to converse on the edge of the pavement. They were still abusing each other, but in a friendly way. As people were staring at them, they ended by strolling leisurely side by side past the houses, turning round again every ten yards or so. A very animated conversation was now taking place. Suddenly Coupeau appeared to become angry again, whilst the other was refusing something and required to be pressed. And it was the zinc-worker who pushed Lantier along and who forced him to cross the street and enter the shop.

"I tell you, you're quite welcome!" shouted he. "You'll take a glass of wine. Men are men, you know. We ought to understand each other."

Madame Lerat was finishing the last chorus. The ladies were singing all together as they twisted their handkerchiefs.

"The child that is lost is the child of God's love."

The singer was greatly complimented and she resumed her seat affecting to be quite broken down. She asked for something to drink because she always put too much feeling into that song and she was constantly afraid of straining her vocal chords. Everyone at the table now had their eyes fixed on Lantier who, quietly seated beside Coupeau, was devouring the last piece of Savoy cake which he dipped in his glass of wine. With the exception of Virginie and Madame Boche none of the guests knew him. The Lorilleuxs certainly scented some underhand business, but not knowing what, they merely assumed their most conceited air. Goujet, who had noticed Gervaise's emotion, gave the newcomer a sour look. As an awkward pause ensued Coupeau simply said:

"A friend of mine."

And turning to his wife, added:

"Come, stir yourself! Perhaps there's still some hot coffee left."

Gervaise, feeling meek and stupid, looked at them one after the other.

At first, when her husband pushed her old lover into the shop, she buried her head between her hands, the same as she instinctively did on stormy days at each clap of thunder. She could not believe it possible; the walls would fall in and crush them all. Then, when she saw the two sitting together peacefully, she suddenly accepted it as quite natural.

A happy feeling of languor benumbed her, retained her all in a heap at the edge of the table, with the sole desire of not being bothered. _Mon Dieu!_ what is the use of putting oneself out when others do not, and when things arrange themselves to the satisfaction of everybody? She got up to see if there was any coffee left.

In the back-room the children had fallen asleep. That squint-eyed Augustine had tyrannized over them all during the dessert, pilfering their strawberries and frightening them with the most abominable threats. Now she felt very ill, and was bent double upon a stool, not uttering a word, her face ghastly pale. Fat Pauline had let her head fall against Etienne's shoulder, and he himself was sleeping on the edge of the table. Nana was seated with Victor on the rug beside the bedstead, she had passed her arm round his neck and was drawing him towards her; and, succumbing to drowsiness and with her eyes shut, she kept repeating in a feeble voice:

"Oh! Mamma, I'm not well; oh! mamma, I'm not well."

"No wonder!" murmured Augustine, whose head was rolling about on her shoulders, "they're drunk; they've been singing like grown up persons."

Gervaise received another blow on beholding Etienne. She felt as though she would choke when she thought of the youngster's father being there in the other room, eating cake, and that he had not even expressed a desire to kiss the little fellow. She was on the point of rousing Etienne and of carrying him there in her arms. Then she again felt that the quiet way in which matters had been arranged was the best. It would not have been proper to have disturbed the harmony of the end of the dinner. She returned with the coffee-pot and poured out a glass of coffee for Lantier, who, by the way, did not appear to take any notice of her.

"Now, it's my turn," stuttered Coupeau, in a thick voice. "You've been keeping the best for the last. Well! I'll sing you 'That Piggish Child.'"

"Yes, yes, 'That Piggish Child,'" cried everyone.