At the Sign of the Cat & Racket - Honoré de Balzac (best finance books of all time TXT) 📗

transient melancholy which comes over all young girls who are too weak to dare to resist their mother's will.

The two sisters, always plainly dressed, could not gratify the innate vanity of womanhood but by a luxury of cleanliness which became them wonderfully, and made them harmonize with the polished counters and the shining shelves, on which the old man-servant never left a speck of dust, and with the old-world simplicity of all they saw about them. As their style of living compelled them to find the elements of happiness in persistent work, Augustine and Virginie had hitherto always satisfied their mother, who secretly prided herself on the perfect characters of her two daughters. It is easy to imagine the results of the training they had received. Brought up to a commercial life, accustomed to hear nothing but dreary arguments and calculations about trade, having studied nothing but grammar, book-keeping, a little Bible-history, and the history of France in Le Ragois, and never reading any book but what their mother would sanction, their ideas had not acquired much scope. They knew perfectly how to keep house; they were familiar with the prices of things; they understood the difficulty of amassing money; they were economical, and had a great respect for the qualities that make a man of business. Although their father was rich, they were as skilled in darning as in embroidery; their mother often talked of having them taught to cook, so that they might know how to order a dinner and scold a cook with due knowledge. They knew nothing of the pleasures of the world; and, seeing how their parents spent their exemplary lives, they very rarely suffered their eyes to wander beyond the walls of their hereditary home, which to their mother was the whole universe. The meetings to which family anniversaries gave rise filled in the future of earthly joy to them.

When the great drawing-room on the second floor was to be prepared to receive company--Madame Roguin, a Demoiselle Chevrel, fifteen months younger than her cousin, and bedecked with diamonds; young Rabourdin, employed in the Finance Office; Monsieur Cesar Birotteau, the rich perfumer, and his wife, known as Madame Cesar; Monsieur Camusot, the richest silk mercer in the Rue des Bourdonnais, with his father-in-law, Monsieur Cardot, two or three old bankers, and some immaculate ladies--the arrangements, made necessary by the way in which everything was packed away--the plate, the Dresden china, the candlesticks, and the glass--made a variety in the monotonous lives of the three women, who came and went and exerted themselves as nuns would to receive their bishop. Then, in the evening, when all three were tired out with having wiped, rubbed, unpacked, and arranged all the gauds of the festival, as the girls helped their mother to undress, Madame Guillaume would say to them, "Children, we have done nothing today."

When, on very great occasions, "the portress nun" allowed dancing, restricting the games of boston, whist, and backgammon within the limits of her bedroom, such a concession was accounted as the most unhoped felicity, and made them happier than going to the great balls, to two or three of which Guillaume would take the girls at the time of the Carnival.

And once a year the worthy draper gave an entertainment, when he spared no expense. However rich and fashionable the persons invited might be, they were careful not to be absent; for the most important houses on the exchange had recourse to the immense credit, the fortune, or the time-honored experience of Monsieur Guillaume. Still, the excellent merchant's daughters did not benefit as much as might be supposed by the lessons the world has to offer to young spirits. At these parties, which were indeed set down in the ledger to the credit of the house, they wore dresses the shabbiness of which made them blush. Their style of dancing was not in any way remarkable, and their mother's surveillance did not allow of their holding any conversation with their partners beyond Yes and No. Also, the law of the old sign of the Cat and Racket commanded that they should be home by eleven o'clock, the hour when balls and fetes begin to be lively. Thus their pleasures, which seemed to conform very fairly to their father's position, were often made insipid by circumstances which were part of the family habits and principles.

As to their usual life, one remark will sufficiently paint it. Madame Guillaume required her daughters to be dressed very early in the morning, to come down every day at the same hour, and she ordered their employments with monastic regularity. Augustine, however, had been gifted by chance with a spirit lofty enough to feel the emptiness of such a life. Her blue eyes would sometimes be raised as if to pierce the depths of that gloomy staircase and those damp store-rooms. After sounding the profound cloistral silence, she seemed to be listening to remote, inarticulate revelations of the life of passion, which accounts feelings as of higher value than things. And at such moments her cheek would flush, her idle hands would lay the muslin sewing on the polished oak counter, and presently her mother would say in a voice, of which even the softest tones were sour, "Augustine, my treasure, what are you thinking about?" It is possible that two romances discovered by Augustine in the cupboard of a cook Madame Guillaume had lately discharged--_Hippolyte Comte de Douglas_ and _Le Comte de Comminges_--may have contributed to develop the ideas of the young girl, who had devoured them in secret, during the long nights of the past winter.

And so Augustine's expression of vague longing, her gentle voice, her jasmine skin, and her blue eyes had lighted in poor Lebas' soul a flame as ardent as it was reverent. From an easily understood caprice, Augustine felt no affection for the orphan; perhaps she did not know that he loved her. On the other hand, the senior apprentice, with his long legs, his chestnut hair, his big hands and powerful frame, had found a secret admirer in Mademoiselle Virginie, who, in spite of her dower of fifty thousand crowns, had as yet no suitor. Nothing could be more natural than these two passions at cross-purposes, born in the silence of the dingy shop, as violets bloom in the depths of a wood. The mute and constant looks which made the young people's eyes meet by sheer need of change in the midst of persistent work and cloistered peace, was sure, sooner or later, to give rise to feelings of love. The habit of seeing always the same face leads insensibly to our reading there the qualities of the soul, and at last effaces all its defects.

"At the pace at which that man goes, our girls will soon have to go on their knees to a suitor!" said Monsieur Guillaume to himself, as he read the first decree by which Napoleon drew in advance on the conscript classes.

From that day the old merchant, grieved at seeing his eldest daughter fade, remembered how he had married Mademoiselle Chevrel under much the same circumstances as those of Joseph Lebas and Virginie. A good bit of business, to marry off his daughter, and discharge a sacred debt by repaying to an orphan the benefit he had formerly received from his predecessor under similar conditions! Joseph Lebas, who was now three-and-thirty, was aware of the obstacle which a difference of fifteen years placed between Augustine and himself. Being also too clear-sighted not to understand Monsieur Guillaume's purpose, he knew his inexorable principles well enough to feel sure that the second would never marry before the elder. So the hapless assistant, whose heart was as warm as his legs were long and his chest deep, suffered in silence.

This was the state of the affairs in the tiny republic which, in the heart of the Rue Saint-Denis, was not unlike a dependency of La Trappe. But to give a full account of events as well as of feelings, it is needful to go back to some months before the scene with which this story opens. At dusk one evening, a young man passing the darkened shop of the Cat and Racket, had paused for a moment to gaze at a picture which might have arrested every painter in the world. The shop was not yet lighted, and was as a dark cave beyond which the dining-room was visible. A hanging lamp shed the yellow light which lends such charm to pictures of the Dutch school. The white linen, the silver, the cut glass, were brilliant accessories, and made more picturesque by strong contrasts of light and shade. The figures of the head of the family and his wife, the faces of the apprentices, and the pure form of Augustine, near whom a fat chubby-cheeked maid was standing, composed so strange a group; the heads were so singular, and every face had so candid an expression; it was so easy to read the peace, the silence, the modest way of life in this family, that to an artist accustomed to render nature, there was something hopeless in any attempt to depict this scene, come upon by chance. The stranger was a young painter, who, seven years before, had gained the first prize for painting. He had now just come back from Rome. His soul, full-fed with poetry; his eyes, satiated with Raphael and Michael Angelo, thirsted for real nature after long dwelling in the pompous land where art has everywhere left something grandiose. Right or wrong, this was his personal feeling. His heart, which had long been a prey to the fire of Italian passion, craved one of those modest and meditative maidens whom in Rome he had unfortunately seen only in painting. From the enthusiasm produced in his excited fancy by the living picture before him, he naturally passed to a profound admiration for the principal figure; Augustine seemed to be pensive, and did not eat; by the arrangement of the lamp the light fell full on her face, and her bust seemed to move in a circle of fire, which threw up the shape of her head and illuminated it with almost supernatural effect. The artist involuntarily compared her to an exiled angel dreaming of heaven. An almost unknown emotion, a limpid, seething love flooded his heart. After remaining a minute, overwhelmed by the weight of his ideas, he tore himself from his bliss, went home, ate nothing, and could not sleep.

The next day he went to his studio, and did not come out of it till he had placed on canvas the magic of the scene of which the memory had, in a sense, made him a devotee; his happiness was incomplete till he should possess a faithful portrait of his idol. He went many times past the house of the Cat and Racket; he even ventured in once or twice, under a disguise, to get a closer view of the bewitching creature that Madame Guillaume covered with her wing. For eight whole months, devoted to his love and to his brush, he was lost to the sight of his most intimate friends forgetting the world, the theatre, poetry, music, and all his dearest habits. One morning Girodet broke through all the barriers with which artists are familiar, and which they know how to evade, went into his room, and woke him by asking, "What are you going to send to the Salon?" The artist grasped his friend's hand, dragged him off to the studio, uncovered a small easel picture and a portrait. After a long and eager study of the two masterpieces, Girodet threw himself on his comrade's neck and hugged him, without speaking a word. His feelings could only be expressed as he felt them--soul to soul.

"You are in love?" said Girodet.