The Works of Guy de Maupassant, Volume 3. Guy de Maupassant
she said to herself; and the handsome man soon required money again, and she lent it to him, until at last he left suddenly, and nobody knew where he had gone to; only this much, that he had left Vevey as the companion of an old but wealthy Wallachian lady; and so this time, clever Wanda was duped.
A year afterwards she met the Brazilian unexpectedly at Lucca, with an insipid-looking, light-haired, thin Englishwoman on his arm. Wanda stood still and looked at him steadily, but he glanced at her quite indifferently; he did not choose to know her again.
The next morning, however, his valet brought her a letter from him, which contained the amount of his debt in Italian hundred liri notes, which were accompanied by a very cool excuse. Wanda was satisfied, but she wished to find out who the lady was, in whose company she constantly saw Don Escovedo.
"Don Escovedo."
An Austrian count, who had a loud and silly laugh, said:
"Who has saddled you with that yarn? The lady is Lady Nitingsdale, and his name is Romanesco."
"Romanesco?"
"Yes, he is a rich Boyar from Moldavia, where he has extensive estates."
Romanesco kept a faro bank in his apartments, and he certainly cheated, for he nearly always won; it was not long, therefore, before other people in good society at Lucca shared Madame von Chabert's suspicions, and consequently Romanesco thought it advisable to vanish as suddenly from Lucca as Escovedo had done from Vevey, and without leaving any more traces behind him.
Some time afterwards, Madame von Chabert was on the island of Heligoland, for the sea-bathing; and one day she saw Escovedo-Romanesco sitting opposite to her at the table d'hôte, in very animated conversation with a Russian lady; only his hair had turned black since she had seen him last. Evidently his light hair had become too compromising for him.
"The sea water seems to have a very remarkable effect upon your hair," Wanda said to him spitefully, in a whisper.
"Do you think so?" he replied, condescendingly.
"I fancy that at one time your hair was fair."
"You are mistaking me for somebody else," the Brazilian replied, quietly.
"I am not."
"For whom do you take me, pray?" he said with an insolent smile.
"For Don Escovedo."
"I am Count Dembizki from Valkynia," the former Brazilian said with a bow; "perhaps you would like to see my passport."
"Well, perhaps…"
And at last, he had the impudence to show her his false passport.
A year afterwards, Wanda met Count Dembizki in Baden, near Vienna. His hair was still black, but he had a magnificent, full, black beard; he had become a Greek prince, and his name was Anastasio Maurokordatos. She met him once in one of the side walks in the park, where he could not avoid her. "If it goes on like this," she called out to him in a mocking voice, "the next time I see you, you will be king of some negro tribe or other."
That time, however, the Brazilian did not deny his identity; on the contrary, he surrendered at discretion, and implored her not to betray him, and as she was not revengeful, she pardoned him, after enjoying his terror for a time, and promised him that she would hold her tongue, as long as he did nothing contrary to the laws.
"First of all, I must beg you not to gamble."
"You have only to command; and we do not know each other in future?"
"I must certainly insist on that," she said maliciously.
The Exotic Prince had, however, made the conquest of the charming daughter of a wealthy Austrian Count, and had cut out an excellent young officer who was wooing her; and he, in his despair began to make love to Frau von Chabert, and at last told her he loved her, but she only laughed at him.
"You are very cruel," he stammered in confusion.
"I? What are you thinking about?" Wanda replied, still smiling; "all I mean is, that you have directed your love to the wrong address, for Countess…"
"Do not speak of her; she is engaged to another man."
"As long as I choose to permit it," she said; "but what will you do, if I bring her back to your arms? Will you still call me cruel?"
"Can you do this?" the young officer asked, in great excitement.
"Well, supposing I can do it, what shall I be then?"
"An angel, whom I shall thank on my knees."
A few days later, the rivals met at a coffee house; the Greek prince began to lie and boast, and the Austrian officer gave him the lie direct, and in consequence, it was arranged that they should fight a duel with pistols next morning in a wood close to Baden. But as the officer was leaving the house with his second the next morning, a Police Commissary came up to him and begged him not to trouble himself any further about the matter, but another time to be more careful before accepting a challenge.
"What does it mean?" the officer asked, in some surprise.
"It means that this Maurokordatos is a dangerous swindler and adventurer, whom we have just taken into custody."
"He is not a prince?"
"No; a circus rider."
An hour later the officer received a letter from the charming Countess, in which she humbly begged for pardon; the happy lover set off to go and see her immediately, but on the way a sudden thought struck him, and so he turned back in order to thank beautiful Wanda, as he had promised, on his knees.
VIRTUE IN THE BALLET
It is a strange feeling of pleasure that the writer about the stage and the characters of the theatrical feels, when he occasionally discovers a good, honest human heart in the twilight behind the scenes. Of all the witches and semi-witches of that eternal Walpurgis night, whose boards represent the world, the ladies of the ballet have at all times and in all places been regarded at least like saints, although Hackländer repeatedly told in vain in his earlier novels, to convince us that true virtue appears in tights and short petticoats and is only to be found in ballet girls. I fear that the popular voice is right as a general rule, but is equally true that here and there one finds a pearl in the dust, and even in the dirt, and the short story that I am about to relate, will best illustrate my assertion.
Whenever a new, youthful dancer appeared at the Vienna Opera House, the habitués began to go after her, and did not rest, until the fresh young rose had been plucked by some hand or other, though often it was old and trembling. For how could those young and pretty, sometimes even beautiful girls who, with every right to life, love and pleasure, were poor and had to subsist on a very small salary, resist the seduction of the smell of flowers and of the flash of diamonds? And if one resisted it, it was love, some real, strong passion, that gave her the strength for this, generally, however, only to go after luxury all the more shamelessly and selfishly, when her lover forsook her.
At the beginning of the winter season of 185 – the pleasing news was spread among the habitués, that a girl of dazzling beauty was going to appear very shortly in the ballet at the Court Theater. When the evening came, nobody had yet seen that much discussed phenomenon, but report spread her name from mouth to mouth; it was Satanella. The moment when the troop of elastic figures in fluttering petticoats jumped onto the stage, every opera-glass in the boxes and stalls was directed on the stage, and at the same instant the new dancer was discovered, although she timidly kept in the background.
She was one of those girls who are surrounded by the bright halo of virginity, but who at the same time present a splendid type of womanhood; she had the voluptuous form of Rubens' second wife, whom they called, not untruly, the risen Green Helen, and her head with its delicate nose, its small full mouth, and its dark inquiring eyes, reminded people of the celebrated picture of the Flemish Venus in the Belvedere in Vienna.
She took the old guard of the Vienna Court Theater by storm, and the very next morning a perfect shower of billets doux, jewels and bouquets fell into the poor ballet girl's attic. For a moment she was dazzled by all this splendor and looked