The Complete Works: Short Stories, Novels, Plays, Poetry, Memoirs and more. Guy de Maupassant

       French

      I

      Table of Contents

      ONE day Massival, the celebrated composer of “Rebecca,” who for fifteen years, now, had been known as “the young and illustrious master,” said to his friend André Mariolle:

      “Why is it that you have never secured a presentation to Mme. Michèle de Burne? Take my word for it, she is one of the most interesting women in new Paris.”

      “Because I do not feel myself at all adapted to her surroundings.”

      “You are wrong, my dear fellow. It is a house where there is a great deal of novelty and originality; it is wideawake and very artistic. There is excellent music, and the conversation is as good as in the best salons of the last century. You would be highly appreciated — in the first place because you play so well on the violin, then because you have been very favorably spoken of in the house, and finally because you have the reputation of being select in your choice of friends.”

      Flattered, but still maintaining his attitude of resistance, supposing, moreover, that this urgent invitation was not given without the young woman being aware of it, Mariolle ejaculated a “Bah! I shall not bother my head at all about it,” in which, through the disdain that he intended to express, was evident his foregone acceptance.

      Massival continued: “Would you like to have me present you some of these days? You are already known to her through all of us who are on terms of intimacy with her, for we talk about you often enough. She is a very pretty woman of twenty-eight abounding in intelligence, who will never take a second husband, for her first venture was a very unfortunate one. She has made her abode a rendezvous for agreeable men. There are not too many clubmen or society-men found there — just enough of them to give the proper effect. She will be delighted to have me introduce you.”

      Mariolle was vanquished; he replied: “Very well, then; one of these days.”

      At the beginning of the following week the musician came to his house and asked him: “Are you disengaged tomorrow?”

      “Why, yes.”

      “Very well. I will take you to dine with Mme de Burne; she requested me to invite you. Besides, here is a line from her.”

      After a few seconds’ reflection, for form’s sake, Mariolle answered: “That is settled!”

      André Mariolle was about thirty-seven years old, a bachelor without a profession, wealthy enough to live in accordance with his likings, to travel, and even to indulge himself in collecting modern paintings and ancient knickknacks. He had the reputation of being a man of intelligence, rather odd and unsociable, a little capricious and disdainful, who affected the hermit through pride rather than through timidity. Very talented and acute, but indolent, quick to grasp the meaning of things, and capable, perhaps, of accomplishing something great, he had contented himself with enjoying life as a spectator, or rather as a dilettante. Had he been poor, he would doubtless have turned out to be a remarkable or celebrated man; born with a good income, he was eternally reproaching himself that he could never be anything better than a nobody.

      It is true that he had made more than one attempt in the direction of the arts, but they had lacked vigor. One had been in the direction of literature, by publishing a pleasing book of travels, abounding in incident and correct in style; one toward music by his violin-playing, in which he had gained, even among professional musicians, a respectable reputation; and, finally, one at sculpture, that art in which native aptitude and the faculty of rough-hewing striking and deceptive figures atone in the eyes of the ignorant for deficiencies in study and knowledge. His statuette in terra-cotta, “Masseur Tunisien,” had even been moderately successful at the Salon of the preceding year. He was a remarkable horseman, and was also, it was said, an excellent fencer, although he never used the foils in public, owing, perhaps, to the same self-distrustful feeling which impelled him to absent himself from society resorts where serious rivalries were to be apprehended.

      His friends appreciated him, however, and were unanimous in extolling his merits, perhaps for the reason that they had little to fear from him in the way of competition. It was said of him that in every case he was reliable, a devoted friend, extremely agreeable in manner, and very sympathetic in his personality.

      Tall of stature, wearing his black beard short upon the cheeks and trained down to a fine point upon the chin, with hair that was beginning to turn gray but curled very prettily, he looked one straight in the face with a pair of clear, brown, piercing eyes in which lurked a shade of distrust and hardness.

      Among his intimates he had an especial predilection for artists of every kind — among them Gaston de Lamarthe the novelist, Massival the musician, and the painters Jobin, Rivollet, De Mandol — who seemed to set a high value on his reason, his friendship, his intelligence, and even his judgment, although at bottom, with the vanity that is inseparable from success achieved, they set him down as a very agreeable and very intelligent man who had failed to score a success.

      Mariolle’s haughty reserve seemed to say: “I am nothing because I have not chosen to be anything.” He lived within a narrow circle, therefore, disdaining gallantry and the great frequented salons, where others might have shone more brilliantly than he, and might have obliged him to take his place among the lay-figures of society. He visited only those houses where appreciation was extended to the solid qualities that he was unwilling to display; and though he had consented so readily to allow himself to be introduced to Mme. Michèle de Burne, the reason was that his best friends, those who everywhere proclaimed his hidden merits, were the intimates of this young woman.

      She lived in a pretty entresol in the Rue du Général-Foy, behind the church of Saint Augustin. There were two rooms with an outlook on the street — the diningroom and a salon, the one in which she received her company indiscriminately — and two others that opened on a handsome garden of which the owner of the property had the enjoyment. Of the latter the first was a second salon of large dimensions, of greater length than width, with three windows opening on the trees, the leaves of which brushed against the awnings, a room which was embellished with furniture and ornaments exceptionally rare and simple, in the purest and soberest taste and of great value. The tables, the chairs, the little cupboards or étagères, the pictures, the fans and the porcelain figures beneath glass covers, the vases, the statuettes, the great clock fixed in the middle of a panel, the entire decoration of this young woman’s apartment attracted and held attention by its shape, its age, or its elegance. To create for herself this home, of which she was almost as proud as she was of her own person, she had laid under contribution the knowledge, the friendship, the good nature, and the rummaging instinct of every artist of her acquaintance. She was rich and willing to pay well, and her friends had discovered for her many things, distinguished by originality, which the mere vulgar amateur would have passed by with contempt. Thus, with their assistance, she had furnished this dwelling, to which access was obtained with difficulty, and where she imagined that her friends received more pleasure and returned more gladly than elsewhere.

      If was even a favorite