CHAPTER X.

The next morning Graham sent again for M. Renard. "Well," he cried, when that dignitary appeared and took a seat beside him, "chance has favoured me."

"I always counted on chance, Monsieur. Chance has more wit in its little finger than the Paris police in its whole body."

"I have ascertained the relations, on the mother's side, of Louise Duval, and the only question is how to get at them." Here Graham related what he had heard, and ended by saying, "This Victor de Mauleon is therefore my Louise Duval's uncle. He was, no doubt, taking charge of her in the year that the persons interested in her discovery lost sight of her in Paris; and surely he must know what became of her afterwards."

"Very probably; and chance may befriend us yet in the discovery of Victor de Mauleon. You seem not to know the particulars of that story about the jewels which brought him into some connection with the police, and resulted in his disappearance from Paris."

"No; tell me the particulars."

"Victor de Mauleon was heir to some 60,000 or 70,000 francs a year, chiefly on the mother's side; for his father, though the representative of one of the most ancient houses in Normandy, was very poor, having little of his own except the emoluments of an appointment in the Court of Louis Philippe.

"But before, by the death of his parents, Victor came into that inheritance, he very largely forestalled it. His tastes were magnificent. He took to 'sport,' kept a famous stud, was a great favourite with the English, and spoke their language fluently. Indeed he was considered very accomplished, and of considerable intellectual powers. It was generally said that some day or other, when he had sown his wild oats, he would, if he took to politics, be an eminent man.

Altogether he was a very strong creature. That was a very strong age under Louis Philippe. The viveurs of Paris were fine types for the heroes of Dumas and Sue,--full of animal life and spirits. Victor de Mauleon was a romance of Dumas, incarnated."

"Monsieur Renard, forgive me that I did not before do justice to your taste in polite literature."

"Monsieur, a man in my profession does not attain even to my humble eminence if he be not something else than a professional. He must study mankind wherever they are described, even in les romans. To return to Victor de Mauleon. Though he was a 'sportman,' a gambler, a Don Juan, a duel list, nothing was ever said against his honour. On the contrary, on matters of honour he was a received oracle; and even though he had fought several duels (that was the age of duels), and was reported without a superior, almost without an equal, in either weapon, the sword or the pistol, he is said never to have wantonly provoked an encounter, and to have so used his skill that he contrived never to slay, nor even gravely to wound, an antagonist.

"I remember one instance of his generosity in this respect; for it was much talked of at the time. One of your countrymen, who had never handled a fencing-foil nor fired a pistol, took offence at something M. de Mauleon had said in disparagement of the Duke of Wellington, and called him out. Victor de Mauleon accepted the challenge, discharged his pistol, not in the air--that might have been an affront--but so as to be wide of the mark, walked up to the lines to be shot at, and when missed, said, 'Excuse the susceptibility of a Frenchman loath to believe that his countryman can be beaten save by accident, and accept every apology one gentleman can make to another for having forgotten the respect due to one of the most renowned of your national heroes.' The Englishman's name was Vane. Could it have been your father?"

"Very probably; just like my father to call out any man who insulted the honour of his country, as represented by its men. I hope the two combatants became friends?"

"That I never heard; the duel was over; there my story ends."

"Pray go on."

"One day--it was in the midst of political events which would have silenced most subjects of private gossip--the beau monde was startled by the news that the Vicomte (he was then, by his father's death, Vicomte) de Mauleon had been given into the custody of the police on the charge of stealing the jewels of the d.u.c.h.esse de (the wife of a distinguished foreigner). It seems that some days before this event, the Duc, wishing to make Madame his spouse an agreeable surprise, had resolved to have a diamond necklace belonging to her, and which was of setting so old-fashioned that she had not lately worn it, reset for her birthday.

He therefore secretly possessed himself of the key to an iron safe in a cabinet adjoining her dressing-room (in which safe her more valuable jewels were kept), and took from it the necklace. Imagine his dismay when the jeweller in the Rue Vivienne to whom he carried it recognized the pretended diamonds as imitation paste which he himself had some days previously inserted into an empty setting brought to him by a Monsieur with whose name he was unacquainted. The d.u.c.h.esse was at that time in delicate health; and as the Duc's suspicions naturally fell on the servants, especially on the femme de chambre, who was in great favour with his wife, he did not like to alarm Madame, nor through her to put the servants on their guard. He resolved, therefore, to place the matter in the hands of the famous --------, who was then the pride and ornament of the Parisian police. And the very night afterwards the Vicomte de Mauleon was caught and apprehended in the cabinet where the jewels were kept, and to which he had got access by a false key, or at least a duplicate key, found in his possession. I should observe that M. de Mauleon occupied the entresol in the same hotel in which the upper rooms were devoted to the Duc and d.u.c.h.esse and their suite. As soon as this charge against the Vicomte was made known (and it was known the next morning), the extent of his debts and the utterness of his ruin (before scarcely conjectured or wholly unheeded) became public through the medium of the journals, and furnished an obvious motive for the crime of which he was accused. We Parisians, Monsieur, are subject to the most startling reactions of feeling. The men we adore one day we execrate the next. The Vicomte pa.s.sed at once from the popular admiration one bestows on a hero to the popular contempt with which one regards a petty larcener. Society wondered how it had ever condescended to receive into its bosom the gambler, the duellist, the Don Juan. However, one compensation in the way of amus.e.m.e.nt he might still afford to society for the grave injuries he had done it. Society would attend his trial, witness his demeanour at the bar, and watch the expression of his face when he was sentenced to the galleys. But, Monsieur, this wretch completed the measure of his iniquities. He was not tried at all. The Duc and d.u.c.h.esse quitted Paris for Spain, and the Duc instructed his lawyer to withdraw his charge, stating his conviction of the Vicomte's complete innocence of any other offence than that which he himself had confessed."

"What did the Vicomte confess? You omitted to state that."

"The Vicomte, when apprehended, confessed that, smitten by an insane pa.s.sion for the d.u.c.h.esse, which she had, on his presuming to declare it, met with indignant scorn, he had taken advantage of his lodgment in the same house to admit himself into the cabinet adjoining her dressing-room by means of a key which he had procured, made from an impression of the key-hole taken in wax.

"No evidence in support of any other charge against the Vicomte was forthcoming,--nothing, in short, beyond the infraction du domicile caused by the madness of youthful love, and for which there was no prosecution. The law, therefore, could have little to say against him.

But society was more rigid; and exceedingly angry to find that a man who had been so conspicuous for luxury should prove to be a pauper, insisted on believing that M. de Mauleon was guilty of the meaner, though not perhaps, in the eyes of husbands and fathers, the more heinous, of the two offences. I presume that the Vicomte felt that he had got into a dilemma from which no pistol-shot or sword-thrust could free him, for he left Paris abruptly, and has not since reappeared. The sale of his stud and effects sufficed, I believe, to pay his debts, for I will do him the justice to say that they were paid."

"But though the Vicomte de Mauleon has disappeared, he must have left relations at Paris, who would perhaps know what has become of him and of his niece."

"I doubt it. He had no very near relations. The nearest was an old celibataire of the same name, from whom he had some expectations, but who died shortly after this esclandre, and did not name the Vicomte in his will. M. Victor had numerous connections among the highest families, the Rochebriants, Chavignys, Vandemars, Pa.s.sys, Beauvilliers; but they are not likely to have retained any connection with a ruined vaurien, and still less with a niece of his who was the child of a drawing-master. But now you have given me a clew, I will try to follow it up. We must find the Vicomte, and I am not without hope of doing so.

Pardon me if I decline to say more at present. I would not raise false expectations; but in a week or two I will have the honour to call again upon Monsieur."

"Wait one instant. You have really a hope of discovering M. de Mauleon?"

"Yes. I cannot say more at present."

M. Renard departed. Still that hope, however faint it might prove, served to reanimate Graham; and with that hope his heart, as if a load had been lifted from its mainspring, returned instinctively to the thought of Isaura. Whatever seemed to promise an early discharge of the commission connected with the discovery of Louise Duval seemed to bring Isaura nearer to him, or at least to excuse his yearning desire to see more of her, to understand her better. Faded into thin air was the vague jealousy of Gustave Rameau which he had so unreasonably conceived; he felt as if it were impossible that the man whom the "Ondine of Paris"

claimed as her lover could dare to woo or hope to win an Isaura. He even forgot the friendship with the eloquent denouncer of the marriage-bond, which a little while ago had seemed to him an unpardonable offence. He remembered only the lovely face, so innocent, yet so intelligent; only the sweet voice, which had for the first time breathed music into his own soul; only the gentle hand, whose touch had for the first time sent through his veins the thrill which distinguishes from all her s.e.x the woman whom we love. He went forth elated and joyous, and took his way to Isaura's villa. As he went, the leaves on the trees under which he pa.s.sed seemed stirred by the soft May breeze in sympathy with his own delight. Perhaps it was rather the reverse: his own silent delight sympathized with all delight in awakening Nature. The lover seeking reconciliation with the loved one from whom some trifle has unreasonably estranged him, in a cloudless day of May,--if he be not happy enough to feel a brotherhood in all things happy,--a leaf in bloom, a bird in song,--then indeed he may call himself lover, but he does not know what is love.

BOOK IV.

CHAPTER I.

FROM ISAURA CICOGNA TO MADAME DE GRANTMESNIL.

It is many days since I wrote to you, and but for your delightful note just received, reproaching me for silence, I should still be under the spell of that awe which certain words of M. Savarin were well fitted to produce. Chancing to ask him if he had written to you lately, he said, with that laugh of his, good-humouredly ironical, "No, Mademoiselle, I am not one of the Facheux whom Moliere has immortalized. If the meeting of lovers should be sacred from the intrusion of a third person, however amiable, more sacred still should be the parting between an author and his work. Madame de Grantmesnil is in that moment so solemn to a genius earnest as hers,--she is bidding farewell to a companion with whom, once dismissed into the world, she can never converse familiarly again; it ceases to be her companion when it becomes ours. Do not let us disturb the last hours they will pa.s.s together."

These words struck me much. I suppose there is truth in them. I can comprehend that a work which has long been all in all to its author, concentrating his thoughts, gathering round it the hopes and fears of his inmost heart, dies, as it were, to him when he has completed its life for others, and launched it into a world estranged from the solitude in which it was born and formed. I can almost conceive that, to a writer like you, the very fame which attends the work thus sent forth chills your own love for it. The characters you created in a fairyland, known but to yourself, must lose something of their mysterious charm when you hear them discussed and cavilled at, blamed or praised, as if they were really the creatures of streets and salons.

I wonder if hostile criticism pains or enrages you as it seems to do such other authors as I have known. M. Savarin, for instance, sets down in his tablets as an enemy to whom vengeance is due the smallest scribbler who wounds his self-love, and says frankly, "To me praise is food, dispraise is poison. Him who feeds me I pay; him who poisons me I break on the wheel." M. Savarin is, indeed, a skilful and energetic administrator to his own reputation. He deals with it as if it were a kingdom,--establishes fortifications for its defence, enlists soldiers to fight for it. He is the soul and centre of a confederation in which each is bound to defend the territory of the others, and all those territories united const.i.tute the imperial realm of M. Savarin.

Don't think me an ungracious satirist in what I am thus saying of our brilliant friend. It is not I who here speak; it is himself. He avows his policy with the naivete which makes the charm of his style as writer. "It is the greatest mistake," he said to me yesterday, "to talk of the Republic of Letters. Every author who wins a name is a sovereign in his own domain, be it large or small. Woe to any republican who wants to dethrone me!" Somehow or other, when M. Savarin thus talks I feel as if he were betraying the cause of, genius. I cannot bring myself to regard literature as a craft,--to me it is a sacred mission; and in hearing this "sovereign" boast of the tricks by which he maintains his state, I seem to listen to a priest who treats as imposture the religion he professes to teach. M. Savarin's favourite eleve now is a young contributor to his journal, named Gustave Rameau. M. Savarin said the other day in my hearing, "I and my set were Young France; Gustave Rameau and his set are New Paris."

"And what is the distinction between the one and the other?" asked my American friend, Mrs. Morley.

"The set of 'Young France,'" answered M. Savarin, "had in it the hearty consciousness of youth; it was bold and vehement, with abundant vitality and animal spirits; whatever may be said against it in other respects, the power of thews and sinews must be conceded to its chief representatives. But the set of 'New Paris' has very bad health, and very indifferent spirits. Still, in its way, it is very clever; it can sting and bite as keenly as if it were big and strong. Rameau is the most promising member of the set. He will be popular in his time, because he represents a good deal of the mind of his time,--namely, the mind and the time of 'New Paris.'"

Do you know anything of this young Rameau's writings? You do not know himself, for he told me so, expressing a desire, that was evidently very sincere, to find some occasion on which to render you his homage. He said this the first time I met him at M. Savarin's, and before he knew how dear to me are yourself and your fame. He came and sat by me after dinner, and won my interest at once by asking me if I had heard that you were busied on a new work; and then, without waiting for my answer, he launched forth into praises of you, which made a notable contrast to the scorn with which he spoke of all your contemporaries,--except indeed M.

Savarin, who, however, might not have been pleased to hear his favourite pupil style him "a great writer in small things." I spare you his epigrams on Dumas and Victor Hugo and my beloved Lamartine. Though his talk was showy, and dazzled me at first, I soon got rather tired of it, even the first time we met. Since then I have seen him very often, not only at M. Savarin's, but he calls here at least every other day, and we have become quite good friends. He gains on acquaintance so far that one cannot help feeling how much he is to be pitied. He is so envious! and the envious must be so unhappy. And then he is at once so near and so far from all the things that he envies. He longs for riches and luxury, and can only as yet earn a bare competence by his labours. Therefore he hates the rich and luxurious. His literary successes, instead of pleasing him, render him miserable by their contrast with the fame of the authors whom he envies and a.s.sails. He has a beautiful head, of which he is conscious, but it is joined to a body without strength or grace. He is conscious of this too,--but it is cruel to go on with this sketch. You can see at once the kind of person who, whether he inspire affection or dislike, cannot fail to create an interest, painful but compa.s.sionate.

You will be pleased to hear that Dr. C. considers my health so improved that I may next year enter fairly on the profession for which I was intended and trained. Yet I still feel hesitating and doubtful. To give myself wholly up to the art in which I am told I could excel must alienate me entirely from the ambition that yearns for fields in which, alas! it may perhaps never appropriate to itself a rood for culture,--only wander, lost in a vague fairyland, to which it has not the fairy's birthright. O thou great Enchantress, to whom are equally subject the streets of Paris and the realm of Faerie, thou who hast sounded to the deeps that circ.u.mfluent ocean called "practical human life," and hast taught the acutest of its navigators to consider how far its courses are guided by orbs in heaven,--canst thou solve this riddle which, if it perplexes me, must perplex so many? What is the real distinction between the rare genius and the commonalty of human souls that feel to the quick all the grandest and divinest things which the rare genius places before them, sighing within themselves, "This rare genius does but express that which was previously familiar to us, so far as thought and sentiment extend"? Nay, the genius itself, however eloquent, never does, never can, express the whole of the thought or the sentiment it interprets; on the contrary, the greater the genius is, the more it leaves a something of incomplete satisfaction on our minds,--it promises so much more than it performs; it implies so much more than it announces. I am impressed with the truth of what I thus say in proportion as I re-peruse and re-study the greatest writers that have come within my narrow range of reading; and by the greatest writers I mean those who are not exclusively reasoners (of such I cannot judge), nor mere poets (of whom, so far as concerns the union of words with music, I ought to be able to judge), but the few who unite reason and poetry, and appeal at once to the common-sense of the mult.i.tude and the imagination of the few. The highest type of this union to me is Shakspeare; and I can comprehend the justice of no criticism on him which does not allow this sense of incomplete satisfaction augmenting in proportion as the poet soars to his highest. I ask again, In what consists this distinction between the rare genius and the commonalty of minds that exclaim, "He expresses what we feel, but never the whole of what we feel"? Is it the mere power over language, a larger knowledge of dictionaries, a finer ear for period and cadence, a more artistic craft in casing our thoughts and sentiments in well-selected words? Is it true what Buffon says, "that the style is the man"? Is it true what I am told Goethe said, "Poetry is form"? I cannot believe this; and if you tell me it is true, then I no longer pine to be a writer. But if it be not true, explain to me how it is that the greatest genius is popular in proportion as it makes itself akin to us by uttering in better words than we employ that which was already within us, brings to light what in our souls was latent, and does but correct, beautify, and publish the correspondence which an ordinary reader carries on privately every day between himself and his mind or his heart. If this superiority in the genius be but style and form, I abandon my dream of being something else than a singer of words by another to the music of another. But then, what then? My knowledge of books and art is wonderfully small. What little I do know I gather from very few books and from what I hear said by the few worth listening to whom I happen to meet; and out of these, in solitude and revery, not by conscious effort, I arrive at some results which appear to my inexperience original. Perhaps, indeed, they have the same kind of originality as the musical compositions of amateurs who effect a cantata or a quartette made up of borrowed details from great masters, and const.i.tuting a whole so original that no real master would deign to own it. Oh, if I could get you to understand how unsettled, how struggling my whole nature at this moment is! I wonder what is the sensation of the chrysalis which has been a silkworm, when it first feels the new wings stirring within its sh.e.l.l,--wings, alas!

they are but those of the humblest and shortest-lived sort of moth, scarcely born into daylight before it dies. Could it reason, it might regret its earlier life, and say, "Better be the silkworm than the moth."

FROM THE SAME TO THE SAME.

Have you known well any English people in the course of your life? I say well, for you must have had acquaintance with many. But it seems to me so difficult to know an Englishman well. Even I, who so loved and revered Mr. Selby,--I, whose childhood was admitted into his companionship by that love which places ignorance and knowledge, infancy and age, upon ground so equal that heart touches heart, cannot say that I understand the English character to anything like the extent to which I fancy I understand the Italian and the French. Between us of the Continent and them of the island the British Channel always flows. There is an Englishman here to whom I have been introduced, whom I have met, though but seldom, in that society which bounds the Paris world to me.

Pray, pray tell me, did you ever know, ever meet him? His name is Graham Vane. He is the only son, I am told, of a man who was a celebrite in England as an orator and statesman, and on both sides he belongs to the haute aristocratic. He himself has that indescribable air and mien to which we apply the epithet 'distinguished.' In the most crowded salon the eye would fix on him, and involuntarily follow his movements.

Yet his manners are frank and simple, wholly without the stiffness or reserve which are said to characterize the English. There is an inborn dignity in his bearing which consists in the absence of all dignity a.s.sumed. But what strikes me most in this Englishman is an expression of countenance which the English depict by the word 'open,'--that expression which inspires you with a belief in the existence of sincerity. Mrs. Morley said of him, in that poetic extravagance of phrase by which the Americans startle the English, "That man's forehead would light up the Mammoth Cave." Do you not know, Eulalie, what it is to us cultivators of art--art being the expression of truth through fiction--to come into the atmosphere of one of those souls in which Truth stands out bold and beautiful in itself, and needs no idealization through fiction? Oh, how near we should be to heaven could we live daily, hourly, in the presence of one the honesty of whose word we could never doubt, the authority of whose word we could never disobey! Mr.

Vane professes not to understand music, not even to care for it, except rarely, and yet he spoke of its influence over others with an enthusiasm that half charmed me once more back to my destined calling; nay, might have charmed me wholly, but that he seemed to think that I--that any public singer--must be a creature apart from the world,--the world in which such men live. Perhaps that is true.

CHAPTER II.

It was one of those lovely noons towards the end of May in which a rural suburb has the mellow charm of summer to him who escapes awhile from the streets of a crowded capital. The Londoner knows its charm when he feels his tread on the softening swards of the Vale of Health, or, pausing at Richmond under the budding willow, gazes on the river glittering in the warmer sunlight, and hears from the villa-gardens behind him the brief trill of the blackbird. But the suburbs round Paris are, I think, a yet more pleasing relief from the metropolis; they are more easily reached, and I know not why, but they seem more rural,--perhaps because the contrast of their repose with the stir left behind, of their redundance of leaf and blossom compared with the prim efflorescence of trees in the Boulevards and Tuileries, is more striking. However that may be, when Graham reached the pretty suburb in which Isaura dwelt, it seemed to him as if all the wheels of the loud busy life were suddenly smitten still.

The hour was yet early; he felt sure that he should find Isaura at home. The garden-gate stood unfastened and ajar; he pushed it aside and entered. I think I have before said that the garden of the villa was shut out from the road and the gaze of neighbours by a wall and thick belts of evergreens; it stretched behind the house somewhat far for the garden of a suburban villa. He paused when he had pa.s.sed the gateway, for he heard in the distance the voice of one singing,--singing low, singing plaintively. He knew it was the voice of Isaura-he pa.s.sed on, leaving the house behind him, and tracking the voice till he reached the singer.

Isaura was seated within an arbour towards the farther end of the garden,--an arbour which, a little later in the year, must indeed be delicate and dainty with lush exuberance of jessamine and woodbine; now into its iron trelliswork leaflets and flowers were insinuating their gentle way. Just at the entrance one white rose--a winter rose that had mysteriously survived its relations--opened its pale hues frankly to the noonday sun. Graham approached slowly, noiselessly, and the last note of the song had ceased when he stood at the entrance of the arbour. Isaura did not perceive him at first, for her face was bent downward musingly, as was often her wont after singing, especially when alone; but she felt that the place was darkened, that something stood between her and the sunshine. She raised her face, and a quick flush mantled over it as she uttered his name, not loudly, not as in surprise, but inwardly and whisperingly, as in a sort of fear.