The Nabob - Alphonse Daudet (read ebook pdf TXT) 📗

cold light, made pallid by those green curtains that hang all around, in which one would fancy that the light-rays become rarefied, in order to give to the vision of the people walking about the room a certain contemplative justice, the slow crowd goes and comes, pauses, disperses itself over the seats in serried groups, and yet mixing up different sections of society more thoroughly than any other assembly, just as the weather, uncertain and changeable at this time of the year, produces a confusion in the world of clothes, causes to brush each other as they pass, the black laces, the imperious train of the great lady come to see how her portrait looks, and the Siberian furs of the actress just back from Russia and anxious that everybody should know it.
Here, no boxes, no stalls, no reserved seats, and it is this that gives to this _premiere_ in full daylight so great a charm of curiosity. Genuine ladies of fashion are able to form an opinion of those painted beauties who receive so much commendation in an artificial light; the little hat, following a new mode of the Marquise de Bois l'Hery, confronts the more than modest toilette of some artist's wife or daughter; while the model who posed for that beautiful Andromeda at the entrance, goes by victoriously, clad in too short a skirt, in wretched garments that hide her beauty beneath all the false lines of fashion. People observe, admire, criticise each other, exchange glances contemptuous, disdainful, or curious, interrupted suddenly at the passage of a celebrity, of that illustrious critic whom we seem still to see, tranquil and majestic, his powerful head framed in its long hair, making the round of the exhibits in sculpture followed by a dozen young disciples eager to hear the verdict of his kindly authority. If the sound of voices is lost beneath that immense dome, sonorous only under the two vaults of the entrance and the exit, faces take on there an astonishing intensity, a relief of movement and animation concentrated especially in the huge, dark bay where refreshments are served, crowded to overflowing and full of gesticulation, the brightly coloured hats of the women and the white aprons of the waiters gleaming against the background of dark clothes, and in the great space in the middle where the oval swarming with visitors makes a singular contrast with the immobility of the exhibited statues, producing the insensible palpitation with which their marble whiteness and their movements as of apotheosis are surrounded.
There are wings poised in giant flight, a sphere supported by four allegorical figures whose attitude of turning suggests some vague waltz-measure--a total effect of equilibrium well conveying the illusion of the sweeping onward of the earth; and there are arms raised to give the signal, bodies heroically risen, containing an allegory, a symbol which stamps them with death and immortality, secures to them a place in history, in legend, in that ideal world of museums which is visited by the curiosity or the admiration of the nations.
Although Felicia's group in bronze had not the proportions of these large pieces, its exceptional merit had caused it to be selected to adorn one of the open spaces in the middle, from which at this moment the public was holding itself at a respectful distance, watching, over the hedge of custodians and policemen, the Bey of Tunis and his suite, an array of long bernouses falling in sculptural folds, which had the effect of placing living statues opposite the other ones.
The Bey, who had been in Paris since a few days before, and was the lion of all the _premieres_, had desired to see the opening of the exhibition. He was "an enlightened prince, a friend of art," who possessed at the Bardo a gallery of remarkable Turkish paintings and chromo-lithographic reproductions of all the battles of the First Empire. The moment he entered, the sight of the big Arab greyhound had struck him as he passed. It was the _sleughi_ all over, the true _sleughi_, delicate and nervous, of his own country, the companion of all his hunting expeditions. He laughed in his black beard, felt the loins of the animal, stroked its muscles, seemed to want to urge it on still faster, while with nostrils open, teeth showing, all its limbs stretched out and unwearying in their vigorous elasticity, the aristocratic beast, the beast of prey, ardent in love and the chase, intoxicated with their double intoxication, its eyes fixed, was already enjoying a foretaste of its capture with a little end of its tongue which hung and seemed to sharpen the teeth with a ferocious laugh. When you only looked at the hound you said to yourself, "He has got him!" But the sight of the fox reassured you immediately. Beneath the velvet of his lustrous coat, cat-like almost lying along the ground, covering it rapidly without effort, you felt him to be a veritable fairy; and his delicate head with its pointed ears, which as he ran he turned towards the hound, had an expression of ironical security which clearly marked the gift received from the gods.
While an Inspector of Fine Arts, who had rushed up in all haste, with his official dress in disorder, and a head bald right down to his back, explained to Mohammed the apologue of "The Dog and the Fox," related in the descriptive catalogue with these words inscribed beneath, "Now it happened that they met," and the indication, "The property of the Duc de Mora," the fat Hemerlingue, perspiring and puffing by his Highness's side, had great difficulty to convince him that this masterly piece of sculpture was the work of the beautiful young lady whom they had encountered the previous evening riding in the Bois. How could a woman, with her feeble hands, thus mould the hard bronze, and give to it the very appearance of the living body? Of all the marvels of Paris, this was the one which caused the Bey the most astonishment. He inquired consequently from the functionary if there was nothing else to see by the same artist.
"Yes, indeed, monseigneur, another masterpiece. If your Highness will deign to step this way I will conduct you to it."
The Bey commenced to move on again with his suite. They were all admirable types, with chiselled features and pure lines, warm pallors of complexion of which even the reflections were absorbed by the whiteness of their _haiks_. Magnificently draped, they contrasted with the busts ranged on either side of the aisle they were following, which, perched on their high columns, looking slender in the open air, exiled from their own home, from the surroundings in which doubtless they would have recalled severe labours, a tender affection, a busy and courageous existence, had the sad aspect of people gone astray in their path, and very regretful to find themselves in their present situation. Excepting two or three female heads, with opulent shoulders framed in petrified lace, and hair rendered in marble with that softness of touch which gives it the lightness of a powdered wig, excepting, too, a few profiles of children with their simple lines, in which the polish of the stone seems to resemble the moistness of the living flesh, all the rest were only wrinkles, crow's-feet, shrivelled features and grimaces, our excesses in work and in movement, our nervousness and our feverishness, opposing themselves to that art of repose and of beautiful serenity.
The ugliness of the Nabob had at least energy in its favour, the vulgar side of him as an adventurer, and that expression of benevolence, so well rendered by the artist, who had taken care to underlay her plaster with a layer of ochre, which gave it almost the weather-beaten and sunburned tone of the model. The Arabs, when they saw it, uttered a stifled exclamation, "Bou-Said!" (the father of good fortune). This was the surname of the Nabob in Tunis, the label, as it were, of his luck. The Bey, for his part, thinking that some one had wished to play a trick on him in thus leading him to inspect the bust of the hated trader, regarded his guide with mistrust.
"Jansoulet?" said he in his guttural voice.
"Yes, Highness: Bernard Jansoulet, the new deputy for Corsica."
This time the Bey turned to Hemerlingue, with a frown on his brow.
"Deputy?"
"Yes, monseigneur, since this morning; but nothing is yet settled."
And the banker, raising his voice, added with a stutter:
"No French Chamber will ever admit that adventurer."
No matter. The stroke had fallen on the blind faith of the Bey in his baron financier. The latter had so confidently affirmed to him that the other would never be elected and that their action with regard to him need not be fettered or in any way hampered by the least fear. And now, instead of a man ruined and overthrown, there rose before him a representative of the nation, a deputy whose portrait in stone the Parisians were coming to admire; for in the eyes of the Oriental, an idea of distinction being mingled in spite of everything with this public exhibition, that bust had the prestige of a statue dominating a square. Still more yellow than usual, Hemerlingue internally accused himself of clumsiness and imprudence. But how could he ever have dreamed of such a thing? He had been assured that the bust was not finished. And in fact it had been there only since morning, and seemed quite at home, quivering with satisfied pride, defying its enemies with the good-tempered smile of its curling lip. A veritable silent revenge for the disaster of Saint-Romans.
For some minutes the Bey, cold and impassible as the sculptured image, gazed at it without saying anything, his forehead divided by a straight crease wherein his courtiers alone could read his anger; then, after two quick words in Arabic, to order the carriages and to reassemble his scattered suite, he directed his steps gravely towards the door of exit, without consenting to give even a glance to anything else. Who shall say what passes in these august brains surfeited with power? Even our sovereigns of the West have incomprehensible fantasies; but they are nothing compared with Oriental caprices. Monsieur the Inspector of Fine Arts, who had made sure of taking his Highness all round the exhibition and of thus winning the pretty red-and-green ribbon of the Nicham-Iftikahr, never knew the secret of this sudden flight.
At the moment when the white _haiks_ were disappearing under the porch, just in time to see the last wave of their folds, the Nabob made his entry by the middle door. In the morning he had received the news, "Elected by an overwhelming majority"; and after a sumptuous luncheon, at which the new deputy for Corsica had been extensively toasted, he came, with some of his guests, to show himself, to see himself also, to enjoy all his new glory.
The first person whom he saw as he arrived was Felicia Ruys, standing, leaning on the pedestal of a statue, surrounded by compliments and tributes of admiration, to which he made haste to add his own. She was simply dressed, clad in a black costume embroidered and trimmed with jet, tempering the severity of her attire with a glittering of reflected lights, and with a delightful little hat all made of downy plumes, the play of colour in which her hair, curled delicately on her forehead and drawn back to the neck in great waves, seemed to continue and to soften.
A crowd of artists and fashionable people were assiduous in their attentions to so great a genius allied to so much beauty; and Jenkins, bareheaded, and puffing with warm effusiveness, was going from one to the other, stimulating their enthusiasm but widening the circle around this young fame of which he constituted himself at once the guardian and the