Part 7

Upon the morrow of the day when Clorinde had gone on her hired horse to give Rougon a sympathetic shake of the hand at the door of the Council of State, Rougon himself went to pay her a visit. She had made him give a solemn promise to do so. She wanted, she said, to show him something which would brighten his gloomy moods. He laughingly called her his 'pet vice'; forgot his worries when he was with her, and felt cheerful and amused. The more so as she kept his mind on the alert, for he was still seeking the key to her history, and was as yet no nearer a solution than on the first day. As he turned the corner of the Rue Marbeuf, he glanced at the house in the Rue du Colisée tenanted by Delestang, whom he fancied he had several times seen peering through the half open shutters of his study at Clorinde's window across the avenue; but to-day the shutters were closed. Delestang had probably gone off to his model-farm at La Chamade.

The door of the Balbis' house was always wide open. At the foot of the staircase Rougon met a little dark-complexioned woman, with untidy hair and a tattered yellow dress. She was biting at an orange as though it were an apple.

'Is your mistress at home, Antonia?' he asked her.

Her mouth was too full to allow her to reply, so she nodded her head energetically and smiled. Her lips were streaming with orange juice, and her little eyes, as she screwed them up, looked like drops of ink upon her dark skin.

Rougon was already accustomed to the irregular ways of the Balbis' servants, so without more ado he went up the stairs. On his way he met a big lanky man-servant, with a face like a brigand's and a long black beard, who coolly stared at him without giving him the balustrade-side. When he reached the first floor, he found himself confronted by three open doors, but saw no one about. The door on his left hand was that of Clorinde's bedroom. Curiosity prompted him to peep inside. Although it was four o'clock in the afternoon, the bed had not been made or the room tidied. Upon a screen standing in front of the bed and half concealing the tumbled coverlets, some splashed petticoats which the girl had worn on the previous day had been hung to dry, while a wash-basin, full of soapy water, stood on the floor in front of the window, and the cat of the house, a grey one, slept, comfortably curled, in the midst of a heap of garments.

It was, however, upon the second floor that Clorinde was generally to be found, in the gallery which she had successively turned into a studio, a smoking-room, a hot-house, and a summer drawing-room. As Rougon ascended upwards he heard a growing uproar of voices, shrill laughter and a noise as of furniture being overturned; and when he reached the door he could distinguish the notes of a consumptive piano and sounds of singing. He knocked at the door twice without receiving any answer, and then determined to enter.

'Ah! bravo, bravo, here he is!' cried Clorinde, clapping her hands.

Rougon, whom it was generally so difficult to put out of countenance, for a moment remained timidly on the threshold. Chevalier Rusconi, the Sardinian Minister, a handsome dark-complexioned man, who, under other circumstances, was a grave diplomatist, sat in front of the piano, the keys of which he was striking furiously so as to extract a fuller sound from the instrument. In the middle of the room deputy La Rouquette was waltzing with a chair, the back of which he amorously encircled with his arms, and he was so absorbed in his amusement that he had littered the carpet with other chairs which he had overturned. Then, in the bright light of one of the window-recesses, Clorinde stood upon the centre of a table, posing, with perfect unconcern, as the huntress Diana, in front of a young man who was sketching her with charcoal upon white canvas. Finally, on a couch, three serious-looking men with their legs crossed were silently smoking big cigars and looking at Clorinde.

'Wait a moment! don't move!' cried Chevalier Rusconi to Clorinde, who was about to jump off the table. 'I am going to make the presentations.'

Then, followed by Rougon, he said playfully, as he went past M. La Rouquette, who had dropped breathless into an easy chair: 'Monsieur La Rouquette whom you know; a future minister.' And going up to the artist, he continued: 'Signor Luigi Pozzo, my secretary; diplomatist, painter, musician, and lover.'

He had overlooked the three men on the couch, but catching sight of them as he turned round, he dropped his playful tones, bowed towards them and said in a ceremonious voice: 'Signor Brambilla, Signor Staderino, Signor Viscardi, all three political refugees.'

The three Venetians bowed without removing their cigars from their lips. Chevalier Rusconi was returning to the piano when Clorinde briskly called him back and reproached him with being a very careless master of the ceremonies. Then, motioning towards Rougon, she just said, though in a very significant and flattering tone: 'Monsieur Eugène Rougon.'

Every one bowed again; and Rougon, who for a moment had been rather afraid of some compromising pleasantry, felt surprised at the unexpected tact and dignity shown by this girl, so scantily clad in gauze. He took a seat and inquired after the Contessa Balbi, as was his custom. He even pretended every time he came that his visit was intended for the mother, as this seemed more consonant with strict propriety.

'I should have been very glad to have paid my respects to her,' he said, using the formula which he always employed under the circumstances.

'But mother is there!' exclaimed Clorinde, pointing to a corner of the room with her bow of gilded wood.

The Countess was indeed there, reclining in a deep easy chair behind a variety of other furniture. This discovery came quite as a surprise. The three political refugees had evidently been unaware of her presence, for they at once rose from their couch and bowed. Rougon went up and shook hands with her, standing while she, still lying back in her chair, answered him in monosyllables with that perpetual smile of hers which never left her, even when she was ill. Then she relapsed into listless silence, glancing every now and then into the avenue along which a stream of carriages was passing. She had probably taken up her position there in order to watch the people. And so Rougon soon left her.

Chevalier Rusconi, having again taken his seat at the piano, was trying to recall a tune, gently striking the keys and humming some Italian words in a low voice. La Rouquette, meantime, was fanning himself with his handkerchief; Clorinde was again seriously impersonating Diana, and Rougon, in the sudden calm which had come upon the room, took short steps up and down while looking at the walls. The gallery was crowded with an extraordinary collection of articles; a secrétaire, a chest, and several chairs and tables, all pushed into the middle of the apartment and forming a labyrinth of narrow passages. At one end of the room some hot-house plants, crowded together and neglected, were drooping and dying, their long, pendent leaves already turning yellow; and at the other end there was a great heap of dried sculptor's clay, in which one could still recognise the crumbling arms and legs of a statue which Clorinde had roughly moulded one day when seized with the whim of becoming an artist. Although the gallery was very large, there was only one unencumbered spot in it, a patch in front of one of the windows, a small square, which had been turned into a kind of little drawing-room, furnished with a couch and three odd easy chairs.

'You are at liberty to smoke,' said Clorinde to Rougon. He thanked her, but told her that he never smoked. Then, without turning round, the girl cried out: 'Chevalier, make me a cigarette. The tobacco is in front of you, on the piano.'

While the Chevalier was making the cigarette there was another interval of silence. Rougon, vexed at finding all these people present, felt inclined to take up his hat; however, he turned round and walked up to Clorinde; then raising his head, he said with a smile: 'Didn't you ask me to call because you had something to show me?'

She did not immediately reply, but maintained her serious pose; so he continued: 'What is it that you want to show me?'

'Myself,' she answered.

She spoke this word in a majestic tone, not moving a limb as she stood there on the table in her goddess-like posture. Rougon, in his turn becoming grave, took a step backward and scrutinised her. She was truly a superb creature, with her pure perfect profile, her slender neck, and admirable classic figure. She rested one hand upon her bow, and preserved all the antique huntress's expression of serene strength, regardless of the scantiness of her attire, contemptuous of the love of man, at once cold, haughty, and immortal.

'Charming, charming!' exclaimed Rougon, not knowing what else to say.

As a matter of fact he found her statuesque immobility rather disturbing. She looked so triumphant, so convinced of her classical beauty, that, if he had dared to express his thoughts, he would have criticised her like some marble statue, certain details of which displeased his unæsthetic eyes.

'Have you looked enough?' asked Clorinde, still serious and earnest. 'Wait a moment and you shall see something else.'

Then, of a sudden, she was no longer Diana. She dropped her bow and assumed another, and more syren-like posture. Her hands were thrown behind her head and clasped together in her hair; her bust bent slightly backwards, and, as she half-opened her lips and smiled, a stream of sunshine lighted up her face. And standing thus she looked like the very goddess of love.

Signor Brambilla, Signor Staderino, and Signor Viscardi broke into applause in all seriousness, never casting off their gloomy conspirator-like mien.

'Brava! brava! brava!'

On his side M. La Rouquette was quite frantic with enthusiasm, and Chevalier Rusconi, who had stepped up to the table to hand the girl the cigarette which he had made for her, remained transfixed there, gazing at her with ecstatic eyes and slightly jogging his head as though beating time to his admiration.

Rougon said nothing, but clasped his hands so tightly together that their joints cracked. A subtle tremor had just sped through him. He no longer thought of going away, but dropped into a chair. Clorinde had already resumed her easy, natural pose, and was laughing and smoking her cigarette with a proud twist of her lips. It would have delighted her, said she, to be an actress. She could personate anger, tenderness, modesty, fright, and with a turn of her features or an attitude hit off all sorts of different people.

'Monsieur Rougon,' she asked abruptly, 'would you like to see me imitate you when you are addressing the Chamber?' And thereupon she drew herself up to her full height, puffed herself out and thrust her fists in front of her with such droll, yet truthful, mimicry, that they all nearly killed themselves with laughing. Rougon roared like a boy. He found Clorinde adorable, indeed exquisite, but also very disturbing.

'Clorinde, Clorinde!' cried Luigi, gently tapping his easel.

She was moving about so restlessly that he was obliged to desist from his work. He had now laid his charcoal aside and was putting colour on the canvas with an earnest air. He himself remained quite serious amidst all the laughter, raising his glistening eyes to the young girl and then glancing fiercely at the men with whom she was joking. It was his own idea to paint her in the character of Diana, in a costume which had been the talk of all Paris ever since the ball at the embassy. He claimed to be her cousin, as they had both been born in the same street in Florence.

'Clorinde!' he repeated almost angrily.

'Luigi is right,' she then exclaimed, 'you are not behaving properly, gentlemen. What a noise you are making! Come, let us get on with our work.'

Then she once more assumed her Olympian attitude, again presenting the semblance of a beautiful marble image. The men remained where they were, keeping perfectly still, as though rooted to the floor. La Rouquette alone ventured to beat a gentle tattoo with his finger-tips on the arms of his chair. Rougon, for his part, sat back and gazed at Clorinde, and gradually fell into a dreamy state in which the girl seemed to him to expand into gigantic proportions. A woman was certainly a wonderful piece of mechanism, he reflected. It was a matter that he had never before thought of studying; but now he began to have vague mental glimpses of extraordinary intricacies. For a moment he was filled with a distinct consciousness of the power of those bare shoulders, which seemed strong enough to shake a world. All swam before him, and Clorinde's figure seemed to grow larger and larger till it appeared gigantic, and entirely hid the window from his sight. But he blinked his eyes sharply, and then he again saw her clearly, standing upon the table and much smaller than himself. At this his face broke into a smile, and he felt surprised that he could have entertained a moment's fear of her.

At the other end of the gallery some talk was now going on in low tones. Rougon listened from force of habit, but could only distinguish a rapid murmur of Italian syllables. Chevalier Rusconi, who had just glided behind his chair, had laid one hand on the back of the Countess's seat, and, bending over her respectfully, seemed to be telling her some long story. The Countess said nothing, but nodded every now and again. Once, however, she made an energetic gesture of negation, whereupon the Chevalier bent still closer and tranquillised her with his melodious voice, the murmur of which was like the warbling of a song-bird. At last Rougon, through his knowledge of the dialect of Provence, caught a few words which made him grave.

'Mother,' Clorinde cried abruptly, 'have you shown the Chevalier the telegram you received last night?'

'A telegram!' exclaimed the Chevalier in a loud tone.

The Countess drew a bundle of letters from her pocket and began to search amongst them. Then she handed the Chevalier a much crumpled strip of blue paper.

As soon as he had glanced over it he made a gesture of anger and astonishment. 'What!' he cried in French, forgetting the presence of the others, 'you knew this yesterday! And I only learnt it this morning!'

Clorinde indulged in a fresh burst of laughter, which increased his irritation.

'And Madame la Comtesse allows me to tell her the whole story, as though she knew nothing about it!' he continued. 'Well, as the head-quarters of the legation seem to be here, I shall call every day to see the correspondence.'

The Countess smiled. She again searched in her bundle of letters and took out a second paper which she gave the Chevalier to read. This time he seemed much pleased. Then they renewed their conversation in whispers, the Chevalier's face once more wearing a respectful smile. Before he left the Countess, he kissed her hand.

'There! we've done with business,' he said in a low voice as he took his seat at the piano again.

Then he rattled off a vulgar air which was very popular in Paris that year. But having ascertained what time it was, he suddenly sprang up to get his hat.

'Are you going?' asked Clorinde. Then she beckoned him to her, and leaning on his shoulder whispered something into his ear. He nodded and smiled; and finally said: 'Capital, capital. I will write and mention it.'

At last he bowed to the company and retired. Luigi tapped Clorinde, who was squatting on the table, with his maul-stick, in order to make her stand up again. The Countess appeared to have grown tired of watching the stream of carriages in the avenue, for she pulled the bell-rope that hung behind her as soon as she lost sight of the Chevalier's brougham, which quickly disappeared among the crowd of landaus coming back from the Bois. It was the big lanky man-servant with the brigand's face who answered her summons, leaving the door wide open behind him. Leaning heavily on his arm, she slowly crossed the room, the men standing up and bowing as she passed. She acknowledged their salutations with a smiling nod. When she reached the door, she turned and said to Clorinde: 'I have got my headache again; I'm going to lie down a little.'

'Flaminio,' called the young girl to the servant who was assisting her mother, 'put a hot iron at her feet.'

The three political refugees did not sit down again. For a few moments they remained standing in a row, finishing their cigars, the stumps of which they then threw, each with the same precise gesture, behind the heap of dry clay. And afterwards they filed past Clorinde, going off in procession.

M. La Rouquette had just commenced a serious conversation with Rougon. 'Yes, indeed,' he remarked, 'I know very well that this question of sugars is one of the greatest importance. It affects a whole branch of French commerce. But unfortunately nobody in the Chamber seems to have thoroughly studied the subject.'

Rougon, whom he bored, only answered with a nod. However, the young deputy drew closer to him, an expression of sudden gravity coming over his girlish face as he continued: 'I myself have an uncle in the sugar trade. He has one of the largest refining-houses at Marseilles. I went to stay with him for three months, and I took notes, very copious notes. I talked to the workmen and made myself conversant with the whole subject. I intended, you understand, to make a speech in the Chamber on the matter.'

In this wise he tried to show off before Rougon, giving himself a deal of trouble in order to talk to him on the only subjects which he thought would interest him; and, at the same time, being anxious to pass for a sound politician.

'And didn't you make a speech?' interposed Clorinde, who seemed to be growing impatient of M. La Rouquette's presence.

'No, I didn't,' he replied; 'I thought I'd better not. At the last moment I felt afraid that my figures might not be quite correct.'

Rougon eyed him keenly and then gravely asked him: 'Do you know how many pieces of sugar are consumed every day at the Café Anglais?'

For a moment La Rouquette seemed quite confused and stared at the other with a blank expression. Then he broke into a peal of laughter. 'Ah! very good! very good!' he cried. 'I understand now. You are chaffing me. But that's a question of sugar. What I was speaking about was a question of sugars. Very good that, eh? You'll let me repeat the joke, won't you?'

He wriggled on his chair with much self-satisfaction. The rosy hue came back to his cheeks and he seemed quite at his ease again, once more talking in his natural light manner. Clorinde attacked him on the subject of women. She had seen him, she said, two nights previously at the Variétés with a little fair person who was very plain and had hair like a poodle's. At first the young man denied the accusation; but, irritated by Clorinde's cruel remarks about the 'little poodle,' he at last forgot himself and began to defend her, saying that she was a highly respectable lady and not nearly so bad looking as Clorinde tried to make out. The girl, however, grew quite scathing, and finally M. La Rouquette cried out: 'She's expecting me now, and I must be off.'

As soon as he had closed the door behind him, Clorinde clapped her hands triumphantly, and exclaimed: 'There, he's gone at last. Good riddance to him.'

Then she jumped lightly from the table, ran up to Rougon, and gave him both her hands. Assuming her most winning look, she expressed her regret that he had not found her alone. What a lot of trouble she had had to get all those people to go! Some people couldn't understand anything! What a goose La Rouquette was with his sugars! Now, however, there was no one to disturb them, and they could talk. She had led Rougon to a couch as she was speaking, and he had sat down without releasing her hands, when Luigi began to tap his easel with his maul-stick, exclaiming in a tone of irritation: 'Clorinde! Clorinde!'

'Oh yes, of course, the portrait,' she cried, with a laugh.

Then she made her escape from Rougon, and bent down behind the artist with a soft caressing expression. How pretty his work looked, she cried. It was very good indeed; but, really, she felt rather tired and would much like a quarter of an hour's rest. He could go on with the dress in the meantime. There was no occasion for her to pose for the dress. Luigi, however, cast fiery glances at Rougon, and muttered disagreeable words. Thereupon Clorinde hastily said something to him in Italian, knitting her brows the while, though still continuing to smile. This reduced Luigi to silence, and he began to pass his brush over the canvas again.

'It's quite true what I say,' declared the girl as she came back and sat down beside Rougon; 'my left leg is quite numb.'

Then she slapped herself to make the blood circulate, she explained; and she was bending towards Rougon, her bare shoulder touching his coat, when she suddenly looked at herself and blushed deeply. And forthwith she sprang up and fetched a piece of black lace which she wrapped around her.

'I feel chilly,' she said, when she had wheeled an easy chair in front of Rougon and sat down in it.

Nothing but her bare wrists now peeped out from beneath her lace wrapper, which she had knotted round her neck. Her bust was completely concealed in its folds, and her face had turned pale and grave.

'Well, what is it that has happened to you?' she exclaimed. 'Tell me all about it.'

Then she questioned him about his fall from office with daughterly curiosity. She was a foreigner, she told him, and she made him again and again repeat certain details which she said she did not understand. She also kept on interrupting him with Italian ejaculations, and he could read in her dark eyes the interest she took in what he was telling her. Why had he quarrelled with the Emperor? How could he have brought himself to give up such a lofty position? Who were his enemies, that he should have allowed himself to be worsted in that way? And as he hesitated, unwilling to make the confessions which she tried to extort from him, she looked at him with an expression of such affectionate candour, that at last he threw off all reserve and told her the whole story from beginning to end. She soon seemed to have learnt all that she wanted to know, and then began to ask him questions quite unconnected with the matter which had first engaged her attention, questions so singular that Rougon was altogether surprised. But at last she clasped her hands and lapsed into silence. Closing her eyes she seemed buried in deep thought.

'Well?' said Rougon, with a smile.

'Oh, nothing,' she murmured, 'but this has made me quite sad.'

Rougon was touched, and tried to take hold of her hands again, but she hid them away in her lace wrapper, and they both sat there in silence for a minute or two, when she opened her eyes again and said: 'You have formed some plans, I suppose?'