Ferragus - Honoré de Balzac (books you need to read txt) 📗

calumny, in short, the social tale which feasts the world has no break of continuity from one boundary to another. Before long, persons arriving at the mayor's office released him from all embarrassment. They were able to convert the _proces-verbal_ into a mere certificate of death, by recognizing the body as that of the Demoiselle Ida Gruget, corset-maker, living rue de la Corderie-du-Temple, number 14. The judiciary police of Paris arrived, and the mother, bearing her daughter's last letter. Amid the mother's moans, a doctor certified to death by asphyxia, through the injection of black blood into the pulmonary system,--which settled the matter. The inquest over, and the certificates signed, by six o'clock the same evening authority was given to bury the grisette. The rector of the parish, however, refused to receive her into the church or to pray for her. Ida Gruget was therefore wrapped in a shroud by an old peasant-woman, put into a common pine-coffin, and carried to the village cemetery by four men, followed by a few inquisitive peasant-women, who talked about the death with wonder mingled with some pity.

The widow Gruget was charitably taken in by an old lady who prevented her from following the sad procession of her daughter's funeral. A man of triple functions, the bell-ringer, beadle, and grave-digger of the parish, had dug a grave in the half-acre cemetery behind the church,--a church well known, a classic church, with a square tower and pointed roof covered with slate, supported on the outside by strong corner buttresses. Behind the apse of the chancel, lay the cemetery, enclosed with a dilapidated wall,--a little field full of hillocks; no marble monuments, no visitors, but surely in every furrow, tears and true regrets, which were lacking to Ida Gruget. She was cast into a corner full of tall grass and brambles. After the coffin had been laid in this field, so poetic in its simplicity, the grave-digger found himself alone, for night was coming on. While filling the grave, he stopped now and then to gaze over the wall along the road. He was standing thus, resting on his spade, and looking at the Seine, which had brought him the body.

"Poor girl!" cried the voice of a man who suddenly appeared.

"How you made me jump, monsieur," said the grave-digger.

"Was any service held over the body you are burying?"

"No, monsieur. Monsieur le cure wasn't willing. This is the first person buried here who didn't belong to the parish. Everybody knows everybody else in this place. Does monsieur--Why, he's gone!"

Some days had elapsed when a man dressed in black called at the house of Monsieur Jules Desmarets, and without asking to see him carried up to the chamber of his wife a large porphyry vase, on which were inscribed the words:--

INVITA LEGE
CONJUGI MOERENTI
FILIOLAE CINERES
RESTITUIT
AMICIS XII. JUVANTIBUS
MORIBUNDUS PATER.

"What a man!" cried Jules, bursting into tears.

Eight days sufficed the husband to obey all the wishes of his wife, and to arrange his own affairs. He sold his practice to a brother of Martin Falleix, and left Paris while the authorities were still discussing whether it was lawful for a citizen to dispose of the body of his wife.

* * * * *


Who has not encountered on the boulevards of Paris, at the turn of a street, or beneath the arcades of the Palais-Royal, or in any part of the world where chance may offer him the sight, a being, man or woman, at whose aspect a thousand confused thoughts spring into his mind? At that sight we are suddenly interested, either by features of some fantastic conformation which reveal an agitated life, or by a singular effect of the whole person, produced by gestures, air, gait, clothes; or by some deep, intense look; or by other inexpressible signs which seize our minds suddenly and forcibly without our being able to explain even to ourselves the cause of our emotion. The next day other thoughts and other images have carried out of sight that passing dream. But if we meet the same personage again, either passing at some fixed hour, like the clerk of a mayor's office, or wandering about the public promenades, like those individuals who seem to be a sort of furniture of the streets of Paris, and who are always to be found in public places, at first representations or noted restaurants,--then this being fastens himself or herself on our memory, and remains there like the first volume of a novel the end of which is lost. We are tempted to question this unknown person, and say, "Who are you?" "Why are you lounging here?" "By what right do you wear that pleated ruffle, that faded waistcoat, and carry that cane with an ivory top; why those blue spectacles; for what reason do you cling to that cravat of a dead and gone fashion?" Among these wandering creations some belong to the species of the Greek Hermae; they say nothing to the soul; _they are there_, and that is all. Why? is known to none. Such figure are a type of those used by sculptors for the four Seasons, for Commerce, for Plenty, etc. Some others--former lawyers, old merchants, elderly generals--move and walk, and yet seem stationary. Like old trees that are half uprooted by the current of a river, they seem never to take part in the torrent of Paris, with its youthful, active crowd. It is impossible to know if their friends have forgotten to bury them, or whether they have escaped out of their coffins. At any rate, they have reached the condition of semi-fossils.

One of these Parisian Melmoths had come within a few days into a neighborhood of sober, quiet people, who, when the weather is fine, are invariably to be found in the space which lies between the south entrance of the Luxembourg and the north entrance of the Observatoire,--a space without a name, the neutral space of Paris. There, Paris is no longer; and there, Paris still lingers. The spot is a mingling of street, square, boulevard, fortification, garden, avenue, high-road, province, and metropolis; certainly, all of that is to be found there, and yet the place is nothing of all that,--it is a desert. Around this spot without a name stand the Foundling hospital, the Bourbe, the Cochin hospital, the Capucines, the hospital La Rochefoucauld, the Deaf and Dumb Asylum, the hospital of the Val-de-Grace; in short, all the vices and all the misfortunes of Paris find their asylum there. And (that nothing may lack in this philanthropic centre) Science there studies the tides and longitudes, Monsieur de Chateaubriand has erected the Marie-Therese Infirmary, and the Carmelites have founded a convent. The great events of life are represented by bells which ring incessantly through this desert,--for the mother giving birth, for the babe that is born, for the vice that succumbs, for the toiler who dies, for the virgin who prays, for the old man shaking with cold, for genius self-deluded. And a few steps off is the cemetery of Mont-Parnasse, where, hour after hour, the sorry funerals of the faubourg Saint-Marceau wend their way. This esplanade, which commands a view of Paris, has been taken possession of by bowl-players; it is, in fact, a sort of bowling green frequented by old gray faces, belonging to kindly, worthy men, who seem to continue the race of our ancestors, whose countenances must only be compared with those of their surroundings.

The man who had become, during the last few days, an inhabitant of this desert region, proved an assiduous attendant at these games of bowls; and must, undoubtedly, be considered the most striking creature of these various groups, who (if it is permissible to liken Parisians to the different orders of zoology) belonged to the genus mollusk. The new-comer kept sympathetic step with the _cochonnet_,--the little bowl which serves as a goal and on which the interest of the game must centre. He leaned against a tree when the _cochonnet_ stopped; then, with the same attention that a dog gives to his master's gestures, he looked at the other bowls flying through the air, or rolling along the ground. You might have taken him for the weird and watchful genii of the _cochonnet_. He said nothing; and the bowl-players--the most fanatic men that can be encountered among the sectarians of any faith--had never asked the reason of his dogged silence; in fact, the most observing of them thought him deaf and dumb.

When it happened that the distances between the bowls and the _cochonnet_ had to be measured, the cane of this silent being was used as a measure, the players coming up and taking it from the icy hands of the old man and returning it without a word or even a sign of friendliness. The loan of his cane seemed a servitude to which he had negatively consented. When a shower fell, he stayed near the _cochonnet_, the slave of the bowls, and the guardian of the unfinished game. Rain affected him no more than the fine weather did; he was, like the players themselves, an intermediary species between a Parisian who has the lowest intellect of his kind and an animal which has the highest.

In other respects, pallid and shrunken, indifferent to his own person, vacant in mind, he often came bareheaded, showing his sparse white hair, and his square, yellow, bald skull, like the knee of a beggar seen through his tattered trousers. His mouth was half-open, no ideas were in his glance, no precise object appeared in his movements; he never smiled; he never raised his eyes to heaven, but kept them habitually on the ground, where he seemed to be looking for something. At four o'clock an old woman arrived, to take him Heaven knows where; which she did by towing him along by the arm, as a young girl drags a wilful goat which still wants to browse by the wayside. This old man was a horrible thing to see.

In the afternoon of the day when Jules Desmarets left Paris, his travelling-carriage, in which he was alone, passed rapidly through the rue de l'Est, and came out upon the esplanade of the Observatoire at the moment when the old man, leaning against a tree, had allowed his cane to be taken from his hand amid the noisy vociferations of the players, pacifically irritated. Jules, thinking that he recognized that face, felt an impulse to stop, and at the same instant the carriage came to a standstill; for the postilion, hemmed in by some handcarts, had too much respect for the game to call upon the players to make way for him.

"It is he!" said Jules, beholding in that human wreck, Ferragus XXIII., chief of the Devorants. Then, after a pause, he added, "How he loved her!--Go on, postilion."


ADDENDUM

Note: Ferragus is the first part of a trilogy. Part two is
entitled The Duchesse de Langeais and part three is The Girl with
the Golden Eyes. In other addendum references all three stories
are usually combined under the title The Thirteen.

The following personages appear in other stories of the Human Comedy.

Bourignard, Gratien-Henri-Victor-Jean-Joseph
The Girl with the Golden Eyes

Desmartes, Jules
Cesar Birotteau

Desmartes, Madame Jules
Cesar Birotteau