Chapter 3

Tartarin is as true as Numa Roumestan; in fact they may almost be said to be sketched from the same model but in a very different temper. In "Numa Roumestan" we are shown the sober side of the Southern temperament, the sorrow it brings in the house though it displays joy in the street; and in "Tartarin" we behold only the immense comicality of the incessant incongruity between the word and the deed. Tartarin is Southern, it is true, and French; but he is very human also. There is a boaster and a liar in most of us, lying in wait for a chance to rush out and put us to shame. It is this universality of Daudet's satire that has given Tartarin its vogue on both sides of the Atlantic. The ingenuity of Tartarin's misadventures, the variety of them in Algiers and in Switzerland, the obvious reasonableness of them all, the delightful probability of these impossibilities, the frank gaiety and the unflagging high spirits,--these are precious qualities, all of them; but it is rather the essential humanness of Tartarin himself that has given him a reputation throughout the world. Very rarely indeed now or in the past has an author been lucky enough to add a single figure to the cosmopolitan gallery of fiction. Cervantes, De Foe, Swift, Le Sage, Dumas, have done it; Fielding and Hawthorne and Turgenef have not.

It is no wonder that Daudet takes pride in this. The real joy of the novelist, he declares, is to create human beings, to put on their feet types of humanity who thereafter circulate through the world with the name, the gesture, the grimace he has given them and who are cited and talked about without reference to their creator and without even any mention of him. And whenever Daudet heard some puppet of politics or literature called a Tartarin, a shiver ran through him--"the shiver of pride of a father, hidden in the crowd that is applauding his son and wanting all the time to cry out 'That's my boy!'"

V.

The time has not yet come for a final estimate of Daudet's position,--if a time ever arrives when any estimate can be final. But already has a selection been made of the masterpieces which survive, and from which an author is judged by the next generation that will have time to criticise only the most famous of the works this generation leaves behind it. We can see also that much of Daudet's later writing is slight and not up to his own high standard, although even his briefest trifle had always something of his charm, of his magic, of his seductive grace. We can see how rare an endowment he has when we note that he is an acute observer of mankind, and yet without any taint of misanthropy, and that he combines fidelity of reproduction with poetic elevation.

He is--to say once more what has already been said in these pages more than once--he is a lover of romance with an unfaltering respect for reality. We all meet with strange experiences once in our lives, with "things you could put in a story," as the phrase is; but we none of us have hairbreadth escapes every morning before breakfast. The romantic is as natural as anything else; it is the excess of the romantic which is in bad taste. It is the piling up of the agony which is disgusting. It is the accumulation upon one impossible hero of many exceptional adventures which is untrue and therefore immoral. Daudet's most individual peculiarity was his skill in seizing the romantic aspects of the commonplace. In one of his talks with his son he said that a novelist must beware of an excess of lyric enthusiasm; he himself sought for emotion, and emotion escaped when human proportions were exceeded. Balance, order, reserve, symmetry, sobriety,--these are the qualities he was ever praising. The real, the truthful, the sincere,--this is what he sought always to attain.

Daudet may lack the poignant intensity of Balzac, the lyric sweep of Hugo, the immense architectural strength of M. Zola, the implacable disinterestedness of Flaubert, the marvellous concentration of Maupassant, but he has more humor than any of them and more charm,--more sympathy than any but Hugo, and more sincerity than any but Flaubert. His is perhaps a rarer combination than any of theirs,--the gift of story-telling, the power of character-drawing, the grasp of emotional situation, the faculty of analysis, the feeling for form, the sense of style, an unfailing and humane interest in his fellow-men, and an irresistible desire to tell the truth about life as he saw it with his own eyes.

BRANDER MATTHEWS.

Columbia University, in the City of New York.

CONTENTS

Page

I. DR. JENKINS' PATIENTS 7

II. A BREAKFAST ON PLACE VENDÔME 37

III. MEMOIRS OF A CLERK.--A CASUAL GLANCE AT THE "CAISSE TERRITORIALE" 63

IV. A DÉBUT IN SOCIETY 77

V. THE JOYEUSE FAMILY 103

VI. FELICIA RUYS 128

VII. JANSOULET AT HOME 156

VIII. THE WORK OF BETHLEHEM 172

IX. GRANDMAMMA 193

X. MEMOIRS OF A CLERK.--THE SERVANTS 216

XI. THE FÊTES IN HONOR OF THE BEY 238

XII. A CORSICAN ELECTION 272

ILLUSTRATIONS

"'Take away your flowers, my dear'" _Frontispiece_

In Felicia's Studio _Page_ 26

"'His Excellency, the Duc de Mora!'" " 88

From drawings by Lucius Rossi.

THE NABOB.

A hundred years ago Le Sage wrote these words at the head of _Gil Blas_:

"As there are persons who cannot read a book without making personal application of the vicious or absurd characters they find therein, I hereby declare for the benefit of such evil-minded readers that they will err in making such application of the portraits in this book. I make public avowal that my only aim has been to represent the life of mankind as it is."

Without attempting to draw any comparison between Le Sage's novel and my own, I may say that I should have liked to place a declaration of the same nature on the first page of _The Nabob_, at the time of its publication. Several reasons prevented my doing so. In the first place, the fear that such an advertisement might seem too much like a bait thrown out to the public, an attempt to compel its attention. Secondly, I was far from suspecting that a book written with a purely literary purpose could acquire at a bound such anecdotal importance, and bring down upon me such a buzzing swarm of complaints. Indeed, such a thing was never seen before. Not a line of my work, not one of its heroes, not even a character of secondary importance, but has become a pretext for allusions and protestations. To no purpose does the author deny the imputation, swear by all the gods that there is no key to his novel--every one forges at least one, with whose assistance he claims to open that combination lock. It must be that all these types have lived, bless my soul! that they live to-day, exactly identical from head to foot. Monpavon is So-and-So, is he not? Jenkins' resemblance is striking. One man is angry because he is in it, another one because he is not in it; and, beginning with this eagerness for scandal, there is nothing, not even chance similarities of name, fatal in the modern novel, descriptions of streets, numbers of houses selected at random, that has not served to give identity to beings built of a thousand pieces and, moreover, absolutely imaginary.

The author is too modest to take all this outcry to himself. He knows how great a part the friendly or treacherous indiscretions of the newspapers have had therein; and without thanking the former more than is seemly, without too great ill-will to the latter, he resigns himself to the stormy prospect as something inevitable, and simply deems himself in duty bound to affirm that he has never, in twenty years of upright, literary toil, resorted to that element of success, neither on this occasion nor on any other. As he turned the leaves of his memory, which it is every novelist's right and duty to do, he recalled a strange episode that occurred in cosmopolitan Paris some fifteen years ago. The romance of a dazzling career that shot swiftly across the Parisian sky like a meteor evidently served as the frame-work of _The Nabob_, a picture of manners and morals at the close of the Second Empire. But around that central situation and certain well-known incidents, which it was every one's right to study and revive, what a world of fancy, what inventions, what elaboration, and, above all, what an outlay of that incessant, universal, almost unconscious observation, without which there could be no imaginative writers. Furthermore, to obtain an idea of the "crystallizing" labor involved in transporting the simplest circumstances from reality to fiction, from life to romance, one need only open the _Moniteur Officiel_ of February, 1864, and compare a certain session of the Corps Législatif with the picture that I give of it in my book. Who could have supposed that, after the lapse of so many years, this Paris, famous for its short memory, would recognize the original model in the idealized picture the novelist has drawn of him, and that voices would be raised to charge with ingratitude one who most assuredly was not his hero's "assiduous guest," but simply, in their infrequent meetings, an inquisitive acquaintance on whose mind the truth is quickly photographed, and who can never efface from his memory the images that are once imprinted thereon?

I knew the "real Nabob" in 1864. I occupied at that time a semi-official position which forced me to exhibit great reserve in my visits to that luxurious and hospitable Levantine. Later I was intimately associated with one of his brothers; but at that time the poor Nabob was far away, struggling through thickets of cruel brambles, and he was seen at Paris only occasionally. Moreover, it is very unpleasant for a courteous man to reckon thus with the dead, and to say: "You are mistaken. Although he was an agreeable host, I was not often seen at his table." Let it suffice therefore, for me to declare that, in speaking of Mère Françoise's son as I have done, it has been my purpose to represent him in a favorable light, and that the charge of ingratitude seems to me an absurdity from every standpoint. That this is true is proved by the fact that many people consider the portrait too flattering, more interesting than nature. To such people my reply is very simple: "Jansoulet strikes me as an excellent fellow; but at all events, if I am wrong, you can blame the newspapers for telling you his real name. I gave you my novel as a novel, good or bad, without any guaranty of resemblances."

As to Mora, that is another matter. Something has been said of indiscretion, of political defection. Great Heaven! I have never made a secret of it. At the age of twenty, I was connected with the office of the high functionary who has served as my model; and my friends of those days know what a serious political personage I made. The Department also must have strange recollections of that eccentric clerk with the Merovingian beard, who was always the last to arrive and the first to depart, and who never went up to the duke's private office except to ask leave of absence; of a naturally independent character, too, with hands unstained by anything like sycophancy, and so little reconciled to the Empire that, on the day when the duke proposed to him to enter his service, the future attaché deemed it his duty to declare with touching juvenile solemnity that "he was a Legitimist."

"So is the Empress," was His Excellency's reply, and he smiled with calm and impertinent condescension. I always saw him with that smile on his face, nor had I any need to look through keyholes; and I have drawn him so, as he loved to appear, in his Richelieu-Brummel attitude. History will attend to the statesman. I have exhibited him, introducing him at long range in my fictitious drama, as the worldly creature that he was and wished to be, being well assured that in his lifetime it would not have offended him to be so presented.

This is what I had to say. And now, having made these declarations in all frankness, let us return to work with all speed. My preface will seem a little short, and the curious reader will seek in vain therein the anticipated piquancy. So much the worse for him. Brief as this page may be, it is three times too long for me. Prefaces have this disadvantage, that they prevent one from writing books.

ALPHONSE DAUDET.

I.

DOCTOR JENKINS' PATIENTS.

Standing on the stoop of his little house on Rue de Lisbonne, freshly shaved, with sparkling eye, lips slightly parted, long hair tinged with gray falling over a broad coat-collar, square-shouldered, robust, and sound as an oak, the illustrious Irish doctor, Robert Jenkins, chevalier of the Medjidie and of the distinguished order of Charles III. of Spain, member of several learned and benevolent societies, founder and president of the Work of Bethlehem,--in a word, Jenkins, the Jenkins of the Jenkins Arsenical Pills, that is to say, the fashionable physician of the year 1864, and the busiest man in Paris, was on the point of entering his carriage, one morning toward the end of November, when a window on the first floor looking on the inner courtyard was thrown open, and a woman's voice timidly inquired:

"Shall you return to breakfast, Robert?"

Oh! what a bright, affectionate smile it was that suddenly illumined that handsome, apostle-like face, and how readily one could divine, in the loving good-morning that his eyes sent up to the warm white peignoir visible behind the parted hangings, one of those tranquil, undoubting conjugal passions, which custom binds with its most flexible and strongest bonds.

"No, Madame Jenkins"--he loved to give her thus publicly her title of legitimate wife, as if he felt a secret satisfaction therein, a sort of salve to his conscience with respect to the woman who made life so attractive to him--"No, do not expect me this morning. I am to breakfast on Place Vendôme."

"Ah! yes, the Nabob," said the lovely Madame Jenkins, with a very marked inflection of respect for that personage out of the _Thousand and One Nights_, of whom all Paris had been talking for a month; then, after a moment's hesitation, she whispered between the heavy hangings, very softly, very lovingly, for the doctor's ear alone: "Be sure and not forget what you promised me."

It was probably a promise very difficult to keep, for, at the reminder, the apostle's brows contracted, his smile froze upon his lips, his whole face assumed an incredibly harsh expression; but it was a matter of a moment. The faces of these fashionable physicians become very expert in lying, by the bedsides of their wealthy patients. With his most affectionate, most cordial manner, and showing a row of dazzling teeth, he replied:

"What I promised shall be done, Madame Jenkins. Now, go in at once and close your window. The mist is cold this morning."

Yes, the mist was cold, but white as snow; and, hovering outside the windows of the comfortable coupé, it lighted up with soft reflections the newspaper in the doctor's hands. Over yonder in the dark, crowded, populous quarters, in the Paris of tradesmen and workmen, they know nothing of the pretty morning mist that loiters on the broad avenues; the bustle of the waking hours, the passing and repassing of market-gardeners' wagons, omnibuses, drays loaded with old iron, soon chop it and rend it and scatter it. Each passer-by carries away a little of it on a threadbare coat, a worn muffler, or coarse gloves rubbing against each other. It drenches the shivering blouses, the waterproofs thrown over working dresses; it blends with all the breaths, hot with insomnia or alcohol, buries itself in the depths of empty stomachs, penetrates the shops which are just opening their doors, dark courtyards, staircases, where it stands on the balusters and walls, and fireless garrets. That is why so little of it remains out-of-doors. But in that open, stately portion of Paris where Dr. Jenkins' patients lived, on those broad tree-lined boulevards, those deserted quays, the mist soared immaculate, in innumerable waves, as light and fleecy as down. It was compact, discreet, almost luxurious, because the sun, slothful in his rising, was beginning to diffuse soft, purplish tints, which gave to the mist that enveloped everything, even the roofs of the rows of mansions, the aspect of a sheet of white muslin spread over scarlet cloth. One would have said that it was a great curtain sheltering the long, untroubled sleep of wealth, a thick curtain behind which nothing could be heard save the soft closing of a porte-cochère, the rattling of the milkmen's tin cans, the bells of a herd of asses trotting by, followed by the short, panting breath of their conductor, and the rumbling of Jenkins' coupé beginning its daily round.

First of all, to the hôtel de Mora. On the Quai d'Orléans, beside the Spanish embassy, stood a superb palace with its principal entrance on Rue de Lille, and a door on the riverside, and long terraces which formed a continuation of those of the embassy. Between two high, ivy-covered walls, connected by imposing stone arches, the coupé flew like an arrow, announced by two strokes of a clanging bell, which aroused Jenkins from the trance in which the perusal of his newspaper seemed to have plunged him. Then the wheels rolled less noisily over the gravel of a vast courtyard and stopped, after a graceful sweep, at the front steps, above which was spread a circular awning. One could see indistinctly through the mist half a score of carriages in a line, and the silhouettes of English grooms leading the duke's saddle-horse up and down an avenue of acacias, all leafless at that season and standing naked in their bark. Everything revealed well-ordered, pompous, assured luxury.

"It makes no difference how early I come, others are always here before me," said Jenkins, glancing at the line in which his coupé took its place; but, certain of not being compelled to wait, with head erect and a tranquil air of authority, he went up the official steps, over which so many trembling ambitions, so many stumbling anxieties passed every day.

Even in the reception-room, high-studded, and resonant as a church, which two huge fires filled with gleaming life, notwithstanding the great stoves burning day and night, the magnificence of the establishment burst upon one in warm and heady puffs. There was a suggestion of the hot-house and the drying-room as well. Great heat and abundant light; white wainscoting, white marble statues, immense windows, nothing confined or close, and yet an equable atmosphere well fitted to encompass the existence of some delicate, over-refined, nervous mortal. Jenkins expanded in that factitious sunlight of wealth; he saluted with a "good-morning, boys," the powdered Swiss with the broad gilt baldric and the footmen in short clothes and blue and gold livery, all of whom had risen in his honor, touched lightly with his finger the great cage of monkeys capering about with shrill cries, and darted whistling up the white marble stairs covered with a carpet soft and dense as a lawn, to the duke's apartments. Although he had been coming to the hôtel de Mora for six months, the good doctor had not yet become hardened to the purely physical impression of cheerfulness and lightness of heart caused by the atmosphere of that house.

Although it was the abode of the highest functionary of the Empire, there was nothing to suggest the departments or their boxes of dusty documents. The duke had consented to accept the exalted post of Minister of State and President of the Council only on condition that he need not leave his house; that he should go to the department only an hour or two a day, long enough to affix his signatures to documents that required it, and that he should hold his audiences in his bedroom. At that moment, although it was so early, the salon was full. There were serious, anxious faces, provincial prefects with shaven lips and administrative whiskers, something less arrogant in that reception-room than in their prefectures; magistrates, stern of manner, dignified of gesture; deputies full of importance, shining lights of finance, substantial manufacturers from the country; and among them could be distinguished, here and there, the thin ambitious face of a deputy councillor to some prefecture, in the garb of a solicitor, black coat and white cravat; and one and all, standing or seated, alone or in groups, silently forced with a glance the lock of that lofty door, closed upon their destinies, from which they would come forth in a moment, triumphant or crestfallen. Jenkins walked rapidly through the crowd, and every one followed with an envious eye this new arrival, whom the usher, in his chain of office, frigid and correct in his bearing, seated at a table beside the door, greeted with a smile that was both respectful and familiar.

"Who is with him?" the doctor inquired, pointing to the duke's room.

With the end of his lips, and not without a slightly ironical twinkle of the eye, the usher murmured a name, which, if they had heard it, would have angered all those exalted personages who had been waiting an hour for the _costumier_ of the opera to finish his audience.

A murmur of voices, a flash of light--Jenkins had entered the duke's presence; _he_ never waited.

Standing with his back to the fire, dressed in a blue fur-trimmed jacket, which heightened by its soft reflection the strength and haughtiness of his face, the President of the Council was superintending the drawing of a Pierrette's costume for the duchess to wear at her next ball, and giving directions with as much gravity as if he were dictating the draft of a law.

"Have very fine pleats on the ruff and none at all on the sleeves.--Good-morning, Jenkins. At your service."

Jenkins bowed and stepped forward into the enormous room, whose windows, opening on a garden that extended to the Seine, commanded one of the loveliest views in all Paris, the bridges, the Tuileries, the Louvre, interlaced with trees as black as if they were drawn in India ink on the wavering background of the mist. A broad, very low bed on a platform a few steps above the floor, two or three small lacquer screens with vague fanciful decorations in gold, denoting, as did the double doors and the heavy woollen carpet, a dread of cold carried to excess, chairs of various styles, long chairs and low chairs, placed at random, all well-stuffed and of lazy or voluptuous shapes, composed the furniture of that famous room, where the most momentous and the most trivial questions were discussed with the same gravity of tone and manner. There was a beautiful portrait of the duchess on the wall; and on the mantel a bust of the duke, the work of Felicia Ruys, which had received the honor of a medal of the first class at the recent Salon.

"Well, Jenkins, how goes it this morning?" said His Excellency, walking to meet the doctor, while the costumer was collecting his fashion plates, which were strewn about over all the chairs.

"And you, my dear duke? I fancied that you were a little pale last night at the Variétés."

"Nonsense! I was never so well. Your pills have a most amazing effect on me. I feel so lively, so vigorous. When I think how completely foundered I was six months ago!"

Jenkins, without speaking, had put his great head against the minister's jacket, at the spot where the heart beats in the majority of mankind. He listened a moment while His Excellency continued to talk in the indolent, listless tone which was one of his chief claims to distinction.