"It shouldn't be. I try to eliminate my personality from my books...."

"And don't you succeed?" I asked.

"I have the misfortune of being possessed of a temperament which I cannot altogether get rid of, alas!" came the pompous reply.

Another time, after re-reading "La Terre," I told him "You are a pessimist, M. Zola! You see only one side of life, the ugly and animal side; and but one kind of people... the bad kind. And to cap it all, you exaggerate. You believe yourself a 'realist,' but as a matter of fact, you are an idealist... with an ugly ideal!"

It was very evident that Zola was not pleased. Without relenting, however, I went on: "I have lived in the country for many, many years. I a.s.sure you that our peasants round Beaucourt and Belfort bear very little likeness to the brutes you describe. I have loved the peasants...."

"And I, Madame," Zola retorted severely, "I have observed them."

That night, after my guest's departure, I did not go on with "La Terre,"

but refreshed my mind by reading, for the twentieth time, "Le Crime de Sylvestre Bonnard" and felt extremely thankful to Anatole France.

I remember an Argentine mine-owner whose ambition was to meet celebrities. He saw Zola and said to me: "What! Is this the man who wrote 'L'a.s.sommoir,' 'Nana,' 'Germinal'... this little insignificant person! I had fancied him looking somewhat like Beethoven, clean-shaven, with a powerful face, a tremendous brow, glowing eyes and a mane...."

Zola overheard the remark and smiled. He rightly appreciated that kind of indirect compliment.

I happened to meet Zola on a day following one of his defeats at the election of the French Academy. A young man, pallid and very nervous but full of good intentions, said to the great writer as if to console him: "Maitre, what does it matter?... After all, not even Pascal or Moliere or Balzac was made a member of the Academy."

Zola did not reply, but a little later, when cups of tea and "pet.i.ts-fours" were being handed round, he began to describe the Morgue in an even more realistic and harrowing manner than in "Therese Raquin"!... And as he spoke, his eyes were riveted on the tactless young man, who turned livid and trembled.

Had Zola taken into account the importance of political influence in the Academical elections--as in everything else in France--he would probably have become an "Immortal." At any rate, few writers were even more worthy of a seat under the _Coupole_.

I spent pleasant hours at the Inst.i.tute. I was present at the receptions of Anatole France who obtained the seat of M. de Lesseps and of Edmond Rostand, by M. de Vogue, and at a few more of these ceremonies which play such an important part in the literary and social life of Paris. I have always felt a deep sympathy with the _recipiendaires_, whatever their degree of literary merit. For even though a man may have written books which the world will hasten to forget, that is no reason why he should be compelled to listen in public, and for an hour, to a colleague's eulogies. What an ordeal and excessive cruelty when the _recipiendaire_ happens really to deserve the panegyric!... It is positively painful to the least sensitive onlooker. The ladies, however, suffer the least, for their attention is naturally divided between the speeches and the display of new frocks and hats... an Academical Reception having long been a recognised occasion for the exhibition of the "latest creations."

Pierre Loti once described to me the mixed feelings of a _recipiendaire_ in a way that would have made any nervous writer almost tremble at the thought that the Academy might some day elect him against his will.

Our conversation took place at the wedding of one of my cousins, the bridegroom being a relation of Loti's. The melancholy author of so many evocations, of so many exotic idyls, spoke well, but in a hollow, monotonous voice.

A concert was given after the wedding and a Breton sang several of his pieces: sailor-songs, excessively strong and free.

Loti, the naval officer, and Loti, the author of "Pecheurs d'Islande,"

was carried away, and turning to me, he said: "Isn't my friend wonderful! As you listen to him, you can see the swelling ocean, you can feel the sea-breeze in your face...."

"Yes, and you can even taste the brine, smell the musty fish and... feel sea-sick!" I added, for some of the details in the song really gave one qualms.

Loti was not pleased, and to make amends I spoke about those books of his which I preferred, the "Roman d'un Spahi," "Mon Frere Yves," and "Propos d'Exil." And, as we talked, we travelled together to the Far East, and landed on an island in the South Seas, whereupon, using that gift that perhaps he alone among living men possesses, he began to describe the music and colour and even the fragrance of tropical nature with such magical power and subtlety that my senses were dazzled and bewitched....

CHAPTER V

MY SALON (_continued_)

Amongst the "faithful," I must not forget to mention Henner, "the great painter of the flesh," as he called himself in one of his rare poetical moments.

Henner was dumpy, coa.r.s.e-featured, and almost bald; had a s.h.a.ggy grey beard, and ever-begrimed hands, and wore the shabbiest and greasiest of clothes. And it came as a shock to hear this old man, unspeakably unkempt and slovenly, talk with the worst Alsatian accent about the Beauty of the Nude, and the splendour of woman, which he did in a very matter-of-fact and unpoetical manner. But besides being a great artist, he was kind, honest and simple-hearted, like his old friend Bonnat.

The painter of "Chaste Susanna," "The Magdalene," and "The Levite of the Tribe of Ephram," enjoyed nothing better than a good dinner and old Burgundy.

I was a little apprehensive when he called, for the spoilt old child could not help speaking his mind bluntly. I was once begged by an acquaintance to use my influence to make the painter accept an invitation which had been extended to him several times. The aged bachelor, who disliked all functions save good dinners in congenial and familiar surroundings, accepted, after a great deal of coaxing. He arrived late, as usual, and unkempt, as usual. He had broken his stud, after having fidgeted with it for a long time, for there were very evident marks of a struggle in the centre of his shirt front. He saw me at once and instead of going straight to the hostess he rushed up to me and exclaimed: "Why didn't you tell me you were coming too; I should never have hesitated to accept?" Then, turning to the host, he said: "Well, well, and so you are the famous M. H.... who made your fortune years ago by selling shirts. I suppose if I made a sketch of you, you'd pay me with a dozen collars. I am told you own a fine art gallery here.

I daresay you got all those modern pictures in exchange for shirts and hosiery, eh?" And he burst out laughing.

The tactless surmise happened to be correct. As a matter of fact, M. H.

had once called on my husband and abruptly proposed to supply him for life with shirts and collars in exchange for a certain painting which he fancied. I tried not to be angry. "My husband," I said, "wears only the very best shirts...."

"I quite understand that."

"And he gives them away when he has worn them once...."

M. H. saw his mistake and withdrew the offer.

I never knew Henner to be embarra.s.sed. We treated him like a member of the family, and, one day, wishing to make him understand that his nails were really too grimy, I asked him whether he wished to wash his hands before dinner.

He looked at his nails, understood, and quietly said: "I am in mourning for Alsace and Lorraine."

But if he were never embarra.s.sed, he had embarra.s.sing habits, the worst of which was that of examining the shoulders and arms of ladies in _decollete_ with unperturbed insistence. And not infrequently he would say: "Allow me, just one second; I want to feel the grain, the quality of your skin." And before the victim had time to move he would press down his hairy and grimy forefinger on her bare arm, or even on her neck.

Withdrawing his fingers, he would pa.s.s some such remark as this: "It's really wonderful. I never grow tired of feeling flesh.... It is all made of little dots--blue, white, green, pink, purple, yellow... that is what flesh is."

Countess S., a handsome lady of the Hungarian aristocracy, who had come to Paris on her honeymoon, raved about Henner's art. Meeting him one day in my house, she offered to sit for the painter. Her French was not fluent, and she meant, of course, that Henner should paint her portrait.

He readily accepted, for her complexion was milky and transparent, and her hair had that glowing copper tint which he loved so much.

A few days later I met the fair Hungarian Countess.

"How is the portrait?"

"Don't speak about it," she replied. "Your Henner is a wretch. I went to his studio with my husband. Henner said to me quickly: 'Please undress.'

Then, as if he were talking to himself, he added: 'Her body stretched on the black velvet of this couch, her hair loose... and a dark background.... It's going to be a masterpiece!' My husband was mad with rage.... At last M. Henner saw his mistake. He had only seen my hair and my complexion, and had not stopped to think whether I were a lady or a model. He apologised profusely, and offered to paint my portrait in any dress I chose, but my husband would not listen to him...."

He made a joke once of which he was very proud. Having been asked who were his favourite composers, he replied: "There are two, and they have the same name. When I want serious music I ask for some Sebastian Bach, and when I want gay music I ask for some Offen-bach!"

Henner adored music. He said so, at least. But music is usually played after dinner, and after dinner, Henner retired to the smoking room in the company of a gla.s.s of brandy, and soon went to sleep. The noise of the instruments being tuned woke him up, and he came rushing into the drawing-room shouting: "Bravo, bravo; Ach.... What a nice piece that was." And he added: "And now that I have heard this masterpiece, I must retire. I have had a good dinner, I have heard excellent music, I have met charming people, and I am going away very pleased...." And the dear old man disappeared.

I often compare him to my friend Julius Oppert, the world famous a.s.syriologist, a bent, thin, old man, with an endless nose, who wore a threadbare coat with numberless pockets, each of which contained one or several ma.n.u.scripts or books. What a good, dear man he was, and what a character! He was full of sweet little attentions to my daughter, although she never missed an opportunity of playing tricks on the old savant. He had a curious habit of filling the tail-pockets of his coat with sandwiches, and my mischievous Marthe one day put some cream puffs among some sandwiches on a plate. Oppert did not look when, according to his custom, he filled his pocket, and in went the puffs with the sandwiches, with the result that presently the cream was oozing out from his coat-tails, much to Marthe's glee.

Did he guess who was responsible for this little joke! I could not tell.... All I know is that at Christmas that year he sent Marthe, instead of a doll or a toy, a Sanskrit grammar, and on New Year's day, to me, whom he perhaps thought my daughter's accomplice, instead of flowers or marrons-glaces, his huge work on "The People and the Language of the Medes."

a.s.syriology leads me to mention M. and Mme. Dieulafoy, well known for their excavations at Suse, and their books. Every one knows that Mme.

Dieulafoy is one of the three or four women in France who are authorised to wear men's clothes. This brings back an amusing incident to me.

Mme. Dieulafoy was kindly helping me to dress, one evening, for a theatrical performance in her salons. My maid, a country girl quite new to Paris, was nowhere to be found. When I returned home, I asked her why she had left the Dieulafoys' house when she knew I wanted her. She blushed, spluttered, and finally said: "Forgive me, Madame, but I was late, and when I opened the door of your dressing-room, I saw a gentleman at your feet fastening your costume.... So I ran away, feeling that I was not needed at all!"

I laughed at the incident, just as I had laughed a few years before, when, in the Forest of Fontainebleau, I saw a short, white-haired man, wearing a smock, and painting, whom I congratulated. The "man" was Rosa Bonheur, the celebrated animal painter.

Being the wife of a well-known artist, I made the acquaintance not only of sculptors and painters, but of art lovers and collectors, amongst them Chauchard and Groult.