Honoré de Balzac: Premium Collection. Honore de Balzac
in order to dress the wound. Ginevra shuddered when she saw the long, broad gash made by the blade of a sabre on the young man’s forearm, and a moan escaped her. The stranger raised his head and smiled to her. There was something touching which went to the soul, in the care with which Servin lifted the lint and touched the lacerated flesh, while the face of the wounded man, though pale and sickly, expressed, as he looked at the girl, more pleasure than suffering. An artist would have admired, involuntarily, this opposition of sentiments, together with the contrasts produced by the whiteness of the linen and the bared arm to the red and blue uniform of the officer.
At this moment a soft half-light pervaded the studio; but a parting ray of the evening sunlight suddenly illuminated the spot where the soldier sat, so that his noble, blanched face, his black hair, and his clothes were bathed in its glow. The effect was simple enough, but to the girl’s Italian imagination it was a happy omen. The stranger seemed to her a celestial messenger, speaking the language of her own country. He thus unconsciously put her under the spell of childhood’s memories, while in her heart there dawned another feeling as fresh, as pure as her own innocence. For a short, very short moment, she was motionless and dreamy, as though she were plunged in boundless thought. Then she blushed at having allowed her absorption to be noticed, exchanged one soft and rapid glance with the wounded man, and fled with the vision of him still before her eyes.
The next day was not a class-day, but Ginevra came to the studio, and the prisoner was free to sit beside her easel. Servin, who had a sketch to finish, played the part of mentor to the two young people, who talked to each other chiefly in Corsican. The soldier related the sufferings of the retreat from Moscow; for, at nineteen years of age, he had made the passage of the Beresins, and was almost the last man left of his regiment. He described, in words of fire, the great disaster of Waterloo. His voice was music itself to the Italian girl. Brought up as a Corsican, Ginevra was, in some sense, a child of Nature; falseness was a thing unknown to her; she gave herself up without reserve to her impressions; she acknowledged them, or, rather, allowed them to be seen without the affectations of petty and calculating coquetry, characteristic of Parisian girlhood. During this day she sat more than once with her palette in one hand, her brushes in another, without touching a color. With her eyes fastened on the officer, and her lips slightly apart, she listened, in the attitude of painting a stroke which was never painted. She was not surprised to see such softness in the eyes of the young man, for she felt that her own were soft in spite of her will to keep them stern and calm. After periods like this she painted diligently, without raising her head, for he was there, near her, watching her work. The first time he sat down beside her to contemplate her silently, she said, in a voice of some emotion, after a long pause:—
“Does it amuse you to see me paint?”
That day she learned that his name was Luigi. Before separating, it was agreed between them that if, on class-days when they could not see each other, any important political event occurred, Ginevra was to inform him by singing certain Corsican melodies then agreed upon.
The following day Mademoiselle Thirion informed all the members of the class, under pledge of secrecy that Ginevra di Piombo had a lover, a young man who came during the hours for the lesson, and concealed himself in the garret beyond the studio.
“You, who take her part,” she said to Mademoiselle Roguin, “watch her carefully, and you will see how she spends her time.”
Ginevra was, therefore, observed with diabolical attention. They listened to her songs, they watched her glances. At times, when she supposed that no one saw her, a dozen pairs of eyes were furtively upon her. Thus enlightened, the girls were able to interpret truly the emotions that crossed the features of the beautiful Italian,—her gestures, the peculiar tones in which she hummed a tune, and the attention with which they saw her listen to sounds which only she could hear through the partition.
By the end of a week, Laure was the only one of Servin’s fifteen pupils who had resisted the temptation of looking at Luigi through the crevice of the partition; and she, through an instinct of weakness, still defended her beautiful friend. Mademoiselle Roguin endeavored to make her wait on the staircase after the class dispersed, that she might prove to her the intimacy of Ginevra and the young man by entering the studio and surprising them together. But Laure refused to condescend to an act of espial which no curiosity could justify, and she consequently became the object of much reprobation.
Before long Mademoiselle Thirion made known that she thought it improper to attend the classes of a painter whose opinions were tainted with patriotism and Bonapartism (in those days the terms were synonymous), and she ceased her attendance at the studio. But, although she herself forgot Ginevra, the harm she had planted bore fruit. Little by little, the other young girls revealed to their mothers the strange events which were happening at the studio. One day Matilde Roguin did not come; the next day another girl was missing, and so on, till the last three or four who were left came no more. Ginevra and Laure, her little friend, were the sole occupants of the deserted studio for three or four days.
Ginevra did not observe this falling off, nor ask the cause of her companions’ absence. As soon as she had invented means of communication with Luigi she lived in the studio in a delightful solitude, alone amid her own world, thinking only of the officer and the dangers that threatened him. Though a sincere admirer of noble characters that never betray their political faiths, she nevertheless urged Luigi to submit himself to the royal authority, that he might be released from his present life and remain in France. But to this he would not consent. If passions are born and nourished, as they say, under the influence of romantic causes, never did so many circumstances of that kind concur in uniting two young souls by one and the same sentiment. The friendship of Ginevra for Luigi and that of Luigi for Ginevra made more progress in a month than a friendship in society would make in ten years. Adversity is the touchstone of character. Ginevra was able, therefore, to study Luigi, to know him; and before long they mutually esteemed each other. The girl, who was older than Luigi, found a charm in being courted by a youth already so grand, so tried by fate,—a youth who joined to the experience of a man the graces of adolescence. Luigi, on his side, felt an unspeakable pleasure in allowing himself to be apparently protected by a woman, now twenty-five years of age. Was it not a proof of love? The union of gentleness and pride, strength and weakness in Ginevra were, to him, irresistible attractions, and he was utterly subjugated by her. In short, before long, they loved each other so profoundly that they felt no need of denying to each other their love, nor yet of telling it.
One day, towards evening, Ginevra heard the accustomed signal. Luigi scratched with a pin on the woodwork in a manner that produced no more noise than a spider might make as he fastened his thread. The signal meant that he wished to come out of his retreat.
Ginevra glanced around the studio, and not seeing Laure, opened the door; but as she did so Luigi caught sight of the little pupil and abruptly retired. Surprised at his action, Ginevra looked round, saw Laure, and said, as she went up to the girl’s easel:—
“You are staying late, my dear. That head seems to me finished; you only want a high-light,—see! on that knot of hair.”
“You would do me a great kindness,” said Laure, in a trembling voice, “if you would give this copy a few touches; for then I could carry away with me something to remind me of you.”
“Willingly,” said Ginevra, painting a few strokes on the picture. “But I thought it was a long way from your home to the studio, and it is late.”
“Oh! Ginevra, I am going away, never to return,” cried the poor girl, sadly.
“You mean to leave Monsieur Servin!” exclaimed Ginevra, less affected, however, by this news than she would have been a month earlier.
“Haven’t you noticed, Ginevra, that for some days past you and I have been alone in the studio?”
“True,” said Ginevra, as if struck by a sudden recollection. “Are all those young ladies ill, or going to be married, or are their fathers on duty at court?”
“They have left Monsieur Servin,” replied Laure.
“Why?”
“On