3. The Daughter of the Students
The month of July—eleven years ago. The year was one of those dear, amazing years when, in Paris, everybody has a foe, a feud and a fear; everybody a flush on his face and a gleam in his eye; everybody a little adventure with the plain police, the mounted police or the Garde Républicaine. We are on the march, on the run.
The Ministry of the moment is—well, who is Prime Minister this morning? Never mind his name; he is sure to be a swindler, a “bandit.” Nothing but “bandits” among the public men. No purity among the public men; they have all, all “touched” money in the Panama affair. No; M. Duval is not an exception. He is as villainous as the rest. If you persist in your declaration that he is an exception, you must have some sinister, interested reason. You, Monsieur, are no better than M. Duval. You, too, are a bandit. I say it again, bandit, bandit, bandit. Come out and fight. Come out and——
Such a tumult, such a panic in Paris! Houses searched by the police, and hundreds of suspected persons arrested. And in the midst of the panic the good Bohemians of the Latin Quarter also rise, and march with sticks and lanterns to the house of Senator Bérenger, and smash his windows, and groan, and call upon him to come out and be slain on the spot.
Unhappy Senator Bérenger, who deemed that the Quat-z-Arts ball—the great annual ball of the students—was improper!
“It was Art,” shout the students.
“It was a shocking spectacle,” pronounces the Senator.
“Come out and be slain,” shout the students.
“Arrest them,” orders the Senator. And then—O then—a revolution in the Quarter; then, the wild, terrifying “Seven Days’ Bagarre.”
There blaze bonfires; there, arise barricades; there, lie omnibuses overturned on the Boul’ Mich’; there, march furious bands of students who charge and are charged by the police. Mercy, how we march and how we run! On the fifth day, we are bandaged, and we limp, but we resume our manifestations.
“Come out and be slain,” we yell, below the Senator’s window.
“Arrest them,” orders the Senator. “It was Art,” we almost sob, in the ear of the interviewer.
“It was a shocking spectacle,” declares the Senator.
“You must, you shall be slain,” we cry in frenzy. And then, in the Quarter, appears the Army; and the Army goes for us; and before such overwhelming odds, we fly; and twenty of us who fly and fly find ourselves at last, dishevelled and breathless, in a dim, deserted side street.
Not a sound; we are too much exhausted to speak.
A moon and stars, silence and peace. Twenty dishevelled and exhausted students, who sit on the kerbstone, on doorsteps, to rest. And then, all of a sudden, a Cry. A feeble, plaintive Cry from a doorstep: and on the doorstep, a bundle. Twenty exhausted, dishevelled students before the bundle; a bundle—that cries. An amazing discovery, a sensational surprise! The bundle is a Child; the bundle is a Gosse; the bundle is a bud of a Girl.
Twenty exhausted, dishevelled students strangely in possession of a baby; and who nurse the baby, and who seek to win her confidence, with awkward caresses, and by swinging her to and fro, and by assuring her that she is safe and sound. And, finally, twenty good Bohemians who resolve to adopt the Child, and introduce her formally to their colleagues, and proclaim her before all the good Bohemians of the Rive Gauche: “The Adopted Daughter of the Students of the Latin Quarter.” But, the name, the name? The Saint for the day is Lucie: so, Lucie. The gosse was found on the last night of the Bagarre: so, Bagarre. Thus, with the polite prefix, we get:
Mademoiselle Lucie Bagarre.
Does Paul buy books on the nursing of infants, or the bringing up of children? And Gaston; does he go blushing into a shop and stammer out a request for a baby’s complete outfit? At all events, awkwardness and unrest in the Quarter. It is such a responsibility to have a Daughter; it is such an anxiety to attend adequately to her needs! And so, after infinite discussion, it is determined that Mademoiselle Lucie Bagarre shall reside in the home of Enfants Trouvés, until the best-hearted of foster-mothers in the whole of France shall have been found.
Says Paul, gravely: “Country air is indispensable.”
Says Gaston: “Milk and eggs.”
Says Pierre: “Companions of her own age.”
Do the good Bohemians of the Latin France go forth gravely in quest of foster-mothers? Do they pass from province to province, comparing foster-mothers, testing the milk and eggs, studying local death-rates, wondering and wondering which is the healthiest and most invigorating of the various airs? At all events, Mademoiselle Lucie Bagarre is ultimately taken to a farm.
Says Paul: “Nothing better than a farm.”
Says Gaston: “Fresh milk and eggs every morn.”
Says Pierre: “Cows and ducks and hens to marvel at.”
Says Aimery: “None of the pernicious influences and surroundings of the city.”
Concludes Xavier: “We have done admirably.”
Thus, the Committee; a Committee of Five, whose duty it is to deal with the foster-mother, whose privilege it is to “look after the affairs” of Mademoiselle Lucie Bagarre. Always “sitting,” this Committee; sitting before ledgers and ink in the Taverne Lorraine, gifts and subscriptions to be acknowledged; instructions to be sent to the foster-mother; inquiries after the health of Mademoiselle Lucie Bagarre to be answered; interviewers to be received; in fine, much business in the Taverne Lorraine.
And then, all the students of the Latin Quarter have a right to demand news of Mademoiselle Lucie Bagarre; for all the students are her fathers; and so, naturally enough, they are anxious to know whether she has spoken her first word, and cut her first tooth, and staggered her first step. It is well that the Committee is patient and amiable; it is fortunate that the Committee rejoices in its work; else there would be cries of: “Laissez-moi tranquille,” and “Fichez-moi la paix” and “Décampe, ou je t’assomme.”
Now and then, the Committee visits Mademoiselle Lucie Bagarre at her farm; and on their return a general meeting is held in the Taverne Lorraine—with Paul in the chair, Paul on the health, appearance and pastimes of Mademoiselle Lucie Bagarre. Paul on the foster-mother, on the farm; Paul, also, on Mademoiselle Lucie Bagarre’s diet. Paul, finally, on Mademoiselle Lucie Bagarre’s approaching birthday. And, indeed, on each of her birthdays, the students’ adopted Daughter receives gifts and an address; and on Christmas Day and New Year’s Day, more gifts; and upon every visit of the Committee, a souvenir of some kind or another. Explains Paul most wisely: “Children like that.”
Ah me, the responsibility, the anxiety of having a Daughter! The moment comes when she has measles and chicken-pox; and then, what dark days for the father. And Mademoiselle Lucie Bagarre is no exception; Mademoiselle Lucie Bagarre has chicken-pox, has measles. In the Latin Quarter, alarm and emotion. All Mademoiselle Lucie Bagarre’s many fathers énervés and agitated. All the fathers suggesting precautions and remedies. All the fathers trying to remember what their parents did when they had chicken-pox and measles. Does the Committee study books on those diseases? At all events, the Committee is in constant communication with the farm. Also, the Committee proceeds solemnly to the farm. The telegram to Paris: “No complications. Malady following its ordinary course.” Another telegram: “Think it wiser to remain the night.” A third telegram: “Good night. Took nourishment this morning.” And in the Etudiant and the Cri du Quartier, the brilliant organs of the Quarter, the announcement in large type: “We rejoice to announce that the adopted Daughter of the students of the Latin Quarter is now allowed to take air in her garden. To all her fathers she returns her warmest thanks for their sympathy, messages and offerings. But the quite unusual number of her fathers render it impossible to thank each one of them individually.” Follows Mademoiselle Lucie Bagarre’s signature, the scrawling letters, L. B., faithfully reproduced. Says Paul: “I gave her a pencil-box. Children adore that.”
However, four years have elapsed since Mademoiselle Lucie Bagarre pained her many dear fathers by having chicken-pox. To-day, she has turned eleven, but she still resides far away from “the pernicious influences and surroundings of the city.”
Says Paul: “Country air is still indispensable.”
Says Gaston: “Always milk and eggs.”
Says Pierre: “Honest folk about her.”
Down to the farm goes the Committee: and back comes the Committee with the report that Mademoiselle Lucie Bagarre can now dive her hand into the pockets of the Committee’s dear corduroy waistcoat. She has grown; she is almost a jeune fille. How, by the way, stands her banking account? Well: but since the occasion for increasing it now presents itself, let the occasion be used to the utmost. The fête of Mi-Carême: the proceeds of the fête to be set aside for “la fille adoptive des étudiants, la petite Lucie Bagarre.” A grand bal masqué at Bullier’s. Says Paul: “In order to attract the public, we must be amazing.” All the fathers scheming how to be amazing. All the fathers painting themselves and donning fantastic costumes. All the fathers calling upon Paris to swell their fund by visiting Bullier’s. And Paris responds: Paris flocks to Bullier’s.
An amazing spectacle, and an amazing night: the good Bohemians have succeeded in being entirely amazing. Bullier’s packed; Bullier’s all light, all colour, all movement, when the Committee of Five proudly surveys the scene.
Says Paul: “Gold.”
Says Gaston: “Bank-notes.”
Says Pierre: “A dot.”
Says Aimery: “A fortune.”
Says Xavier: “A veritable heiress.”
Say the innumerable fathers: “The richissime Mademoiselle Lucie Bagarre.”
And then, toasts. And then, cheers.
And then, the resolution that an address, signed by all her fathers, shall be presented to their dear adopted Daughter: who, at this advanced noisy hour, is lying fast asleep in her farm.
VIII
MONSIEUR LE ROUÉ
Wonderful, O most wonderful M. le Roué—who could fail to admire him for the constant, anxious endeavours he makes, the innumerable secret devices he employs to appear juvenile and sprightly! That his figure may be elegant, he wears stays. That the crow’s feet may not be conspicuous he (or rather his valet) covers them over with a subtle, greasy preparation. That his moustache may not droop, he has it waxed to the extremest degree of rigidity. And that people may not say: “Old le Roué is a wreck” and “Old le Roué is played out,” he goes about the Amazing City—here, there and everywhere—with a glass in his eye and a flower in his button-hole, like the gayest of young worldlings.
However, it has to be recorded that despite all his endeavours, despite all his artifices, M. le Roué remains a shaky, shrunken old fellow, with scanty white hair, a tired, pallid face and a thin, feeble voice. Once upon a time—say forty years ago—he was deemed one of the most brilliant, the most irresistible ornaments of le Tout Paris; but to-day—forty years after—he has attained that tragic period in the life of a vain, superannuated viveur, when no one, except his valet, is permitted to see him until two o’clock in the afternoon; and thus no one, save that faithful attendant, could give us a picture of M. le Roué when, after the curtains have been drawn and daylight has been let into the room, the old gentleman is served with his cup of chocolate and morsel of dry toast.
Still, if we cannot witness his awakening, we may assuredly assume that M. le Roué is not a pleasant spectacle in the morning. And it is equally safe to suppose that his temper is detestable, his language deplorable, when the valet shaves his wan cheek, and fastens his stays, and helps him into his heavy fur coat; and thus, in a word, turns him into the impeccable if rickety old beau who lunches every day on the stroke of two o’clock in Sucré’s white-and-gold restaurant.
“Monsieur se porte bien?” inquires the maître d’hôtel, respectfully handing him the menu.
“Pas mal, pas mal,” replies M. le Roué, in his thin, feeble voice. And although the old gentleman has been advised to keep strictly to a diet of plain foods and Vichy water, both the dishes and the wines that he orders are elaborate and rich.
Once again I exclaim: “Wonderful, O most wonderful M. le Roué,” and once again I demand: “Who could fail to admire him?”
He declines to belong to the past, he refuses to go into retirement; so long as he can stand up in his stays he is heroically determined to lead the life of a viveur, a rake. See him, here in Sucré’s restaurant, revelling over his lobster; behold him kissing his trembling, white hand to the lady book-keeper, a handsome young woman with sparkling diamond earrings; and hear him, moreover, entertaining Joseph, the maître d’hôtel, with an account of the lively supper-party he presided over last night, at which Mesdemoiselles Liane de Luneville and Marguerite de Millefleurs (beautiful, brilliant ornaments of the demi-monde) were present, and Mademoiselle Pauline Boum, of the Casino de Paris, performed her latest “eccentric” dance.
All this from a gentleman half-way through the seventies! All this from a shaky, shrunken old fellow who ought, at the present moment, to be taking a careful constitutional in the Parc Monceau on the arm of some mild, elderly female relative—instead of rejoicing over lobster and Château-Yquem in Sucré’s white-and-gold restaurant.
“Monsieur is extraordinary,” says the maître d’hôtel, by way of flattery.
“Monsieur is a monster,” says the handsome lady book-keeper, shaking her diamond earrings.
And old le Roué the “Extraordinary,” old le Roué “the Monster,” smiles, winks a dim eye and laughs. But it has to be stated that his smile is a leer and that his laugh is a cackle.
From Sucré’s restaurant M. le Roué proceeds slowly, leaning heavily on his walking-stick, to a quiet, comfortable café, where he meets another heroic old rake—the Marquis de Mô.
But there is this striking difference between the two: whereas old le Roué is delicately made, frail, shrunken, old de Mô is enormous, apoplectic, with flowing white whiskers, a round, bumpy bald head, a fiery complexion and a huge gouty foot which is ever encased in a wonderful elastic shoe. Le Roué and de Mô rejoiced extravagantly together in the latter brilliant days of the Second Empire. And to-day, in the year of 1912, they love to recall their past conquests, duels, follies, and never tire of abusing the Republican régime.
“What a Government, what an age!” complains le Roué.
“Abominable—odious—sinister,” declares de Mô.
Also, our superannuated viveurs recall affectionate memories of a dear, mutual friend, the late Comte Robert de Barsac, who died last year, of a vague illness, shortly after he had riotously celebrated his seventieth birthday. The truth was, old de Barsac could not keep pace with old le Roué and old de Mô. His face became leaden in colour and his speech rambling and incoherent. And one night, he suddenly passed away in his sleep from exhaustion.
“Ce pauvre cher Robert!” exclaims le Roué sadly. “Ce pauvre cher Robert!” sighs de Mô.
Then there is another old friend, still living, of whom le Roué and de Mô speak affectionately as they sit together in their corner of the quiet, comfortable café.
She is “Madeline”—who, once upon a time, was the “star” actress at the Variétés theatre. In truth, Marguerite de Prèsles (as she figured on the bills) was something of a queen: the queen of the half-world. The newspapers of that period, in alluding to her wit, beauty and charm, called her the “exquisite Madeline”; the “adorable Madeline”; the “incomparable” Madeline de Prèsles. Le Roué and de Mô worshipped at her shrine. And to-day—forty years after—they often visit her at Pichon’s gaudy night restaurant: where the “adorable” Variétés actress of years ago makes constant rounds of the place—with tinselled boxes of chocolates and a basket of flowers!
Yes; “Madeline” sells chocolates and flowers chez Pichon! And the gold hair has turned white and the slim figure has swollen, and the once pretty, bejewelled little hands have become knotted and coarse; and the old lady herself—the former radiant “star” of the Variétés—lives in a sombre hôtel meublé on the outskirts of Paris, where she passes most of the day in making up bouquets and button-holes for the painted, rackety company that assembles nightly at Pichon’s.
Thus some romance is left in old le Roué and old de Mô. They still seek out “Madeline.” They make her presents on New Year’s Day; nor do they ever fail to remember her birthday. Once they offered her an annuity—but whilst expressing her thanks and declaring herself “touched,” she assured her old admirers that she was content with the income she derived from her speculations in flowers and chocolates: although (so she added) she held but a scornful opinion of the modern young worldlings—the young worldlings of the “odious,” “sinister” Republic—who were her customers chez Pichon. And so, attached, by force of memories and by reason of their long, constant gallantry, so attached is “Madeline” to old le Roué, and old de Mô, that when those two valiant old rakes are seized with rheumatism or gout, and are obliged most unwillingly and angrily to lie up, she pays them daily visits; and refreshes and embellishes their rooms with her flowers; and reminds them vivaciously and wittily of the epoch—the wonderful epoch—when all three of them were gay, brilliant ornaments of the Amazing City....
And now, night-time.
Behold M. le Roué dining royally, and haunting the coulisses of the Opera, and playing baccarat, with trembling hands, in the Cercle Doré, and entertaining (as we have already recorded) Mesdemoiselles Liane de Luneville and Marguerite de Millefleurs, and the eccentric Mademoiselle Pauline Boum, to supper in a gilded, bemirrored cabinet particulier.
All this he does long after the innumerable electric advertising devices (Fontain’s Perfumes—Carré’s Gloves—Cherry Brandy of the Maison Joyeux et Fils) have begun to blink and dance on the boulevards; and long after M. le Roué, with his five and seventy years, should have been tucked up in bed—his old brain at rest and his old head enveloped in a night-cap.
But M. le Roué declines to return home, M. le Roué refuses to close his dim eyes, until he has visited one of those modern rackety “American” bars—the “High Life,” for instance—where the young worldlings of to-day sit upon high stools, and absorb cocktails, crème de menthe and icy “sherry-cobblers.” And it is wonderful to witness frail, shaky M. le Roué climb up on to his stool; and the spectacle becomes still more wonderful when apoplectic, gouty old de Mô laboriously follows his example.
Thus M. le Roué goes to the “High Life,” goes here, there and everywhere, like the gayest and most adventurous of young worldlings. And wherever he goes, the waiters and attendants exclaim: “Monsieur is astonishing!” and “Monsieur is extraordinary!” and their flattery pleases the old gentleman.
“Pas mal, pas mal,” he replies in his thin, feeble voice, and with his leer.
However, there come times when M. le Roué is particularly shaky and shrunken, when he looks peculiarly superannuated and frail; and at these times he resents the obsequious compliments of the waiters.
“No, no,” he cries shrilly. “I am a very old man, and I am feeling very weak and very ill.” After which confession, he buries his head in his trembling, white hands, and mutters to himself, strangely, beneath his breath.
The waiters then look at him curiously. And old de Mô protests: “What nonsense, mon ami; what folly, mon vieux. There is nothing the matter with you. You are perfectly well.”
But old de Mô’s expression is nevertheless anxious.
Is he about to lose his last remaining companion of years ago? Is he shortly to sit in that corner of the quiet, comfortable café—alone?
He cannot but acknowledge to himself that in old le Roué’s face there is the same leaden colour and in old le Roué’s speech the same incoherency that manifested themselves in their mutual dear friend and contemporary, the late Comte Robert de Barsac, a short while before he vaguely passed away.