Monsieur de Monpavon is walking to his death. He goes thither by the long line of the boulevards, all aflame in the direction of the Madeleine, treading once more the springy asphalt like any loiterer, his nose in the air, his hands behind his back. He has plenty of time, there is nothing to hurry him,—the hour for the rendezvous is within his control. At every step he smiles, wafts a patronizing little greeting with the ends of his fingers, or performs the great flourish of the hat of a moment ago. Everything charms him, fascinates him, from the rumbling of the watering-carts to the rattle of the blinds at the doors of cafés which overflow to the middle of the sidewalk. The approach of death gives him the acute faculties of a convalescent, sensitive to all the beauties, all the hidden poesy of a lovely hour in summer in the heart of Parisian life,—of a lovely hour which will be his last, and which he would like to prolong until night. That is the reason, doubtless, why he passes the sumptuous establishment where he usually takes his bath; nor does he pause at the Chinese Baths. He is too well known hereabout. All Paris would know what had happened the same evening. There would be a lot of ill-bred gossip in clubs and salons, much spiteful comment on his death; and the old fop, the man of breeding, wishes to spare himself that shame, to plunge and be swallowed up in the uncertainty and anonymity of suicide, like the soldiers who, on the day after a great battle, are reported neither as living, wounded or dead, but simply as missing. That is why he had been careful to keep nothing upon him that might lead to his identification or furnish any precise information for the police reports, and why he seeks the distant, out-of-the-way quarters of the vast city, where the ghastly but comforting confusion of the common grave will protect him. Already the aspect of the boulevards has changed greatly. The crowd has become compact, more active and engrossed, the houses smaller and covered with business signs. When he has passed Portes Saint-Martin and Saint-Denis, through which the swarming overflow of the faubourgs streams at all hours of the day, the provincial character of the city becomes accentuated. The old beau no longer sees any one whom he knows and can boast of being a stranger to all.
The shopkeepers, who stare curiously at him, with his display of linen, his fine frock-coat, his erect figure, take him for some famous actor out for a little healthful exercise before the play, on the old boulevard, the scene of his earliest triumphs. The wind is cooler, the twilight darkens distant objects, and while the long street is still flooded with light in those portions through which he has passed, the light fades at every step. So it is with the past when its rays fall upon him who looks back and regrets. It seems to Monpavon that he is entering the darkness. He shivers a little, but does not lose courage, and walks on with head erect and unfaltering gait.
Monsieur de Monpavon is walking to his death. Now he enters the complicated labyrinth of noisy streets where the rumble of the omnibuses blends with the thousand and one industries of the working quarters, where the hot smoke from the factories is mingled with the fever of a whole population struggling against hunger. The air quivers, the gutters smoke, the buildings tremble as the heavy drays pass and collide at the corners of the narrow streets. Suddenly the marquis stops; he has found what he wanted. Between a charcoal dealer's dark shop and an undertaker's establishment, where the spruce boards leaning against the wall cause him to shudder, is a porte-cochère surmounted by a sign, the word "Baths" on a dull lantern. He enters and crosses a damp little garden where a fountain weeps in a basin of artificial rockwork. That is just the dismal retreat he has been seeking. Who will ever dream of thinking that the Marquis de Monpavon came to that place to cut his throat? The house is at the end of the garden, a low house with green shutters, a glass door, and the false villa-like air that they all have. He orders a bath, plenty of towels, walks along the narrow corridor, and while the bath is being prepared, listening to the running water behind him, he smokes his cigar at the window, gazes at the flower-garden with its spindling lilacs, and the high wall that incloses it.
Adjoining it is a great yard, the yard of a fire-engine house with a gymnasium, whose poles and swings and horizontal bars, seen indistinctly over the wall, have the look of gibbets. A bugle rings out in the yard, and that blast carries the marquis back thirty years, reminds him of his campaigns in Algeria, the lofty ramparts of Constantine, Mora's arrival in the regiment, and duels, and select card-parties. Ah! how well life began! What a pity that those infernal cards—Ps—ps—ps—However, it's worth something to have saved one's breeding.
"Monsieur," said the attendant, "your bath is ready."
At that moment Madame Jenkins, pale and gasping for breath, entered André's studio, drawn thither by an instinct stronger than her will, by the feeling that she must embrace her child before she died. And yet, when she opened the door—he had given her a duplicate key—it was a relief to her to see that he had not returned, that her excitement, increased by a long walk, an unusual experience in her luxurious life as a woman of wealth, would have time to subside. No one in the room. But on the table the little note that he always left when he went out, so that his mother, whose visits, because of Jenkins' tyranny, had become more and more infrequent and brief, might know where he was, and either wait for him or join him. Those two had not ceased to love each other dearly, profoundly, despite the cruel circumstances which compelled them to introduce into their relations as mother and son the precautions, the clandestine mystery of a different kind of love.
"I am at my rehearsal," said the little note to-day, "I shall return about seven."
That attention from her son, whom she had not been to see for three weeks, and who persisted in expecting her none the less, brought to the mother's eyes a flood of tears which blinded her. One would have said that she had entered a new world. It was so light, so peaceful, so high, that little room which caught the last gleam of daylight on its windows, which was all aflame with the last rays of the sun already sinking below the horizon, and which seemed, like all attic rooms, carved out of a piece of sky, with its bare walls, decorated only by a large portrait, her own; nothing but her own portrait smiling in the place of honor and another in a gilt frame on the table. Yes, in very truth, the humble little lodging, which was still so light when all Paris was becoming dark, produced a supernatural impression upon her, despite the poverty of its scanty furniture, scattered through two rooms, its common chintz coverings, and its mantel adorned with two great bunches of hyacinths, the flowers that are drawn through the streets by cartloads in the morning. What a lovely, brave, dignified life she might have led there with her André! And in a moment, with the rapidity of a dream, she placed her bed in one corner, her piano in another, saw herself giving lessons, taking charge of the house, to which she brought her share of enthusiasm and courageous cheerfulness. How could she have failed to understand that that should be the duty, the pride of her widowhood? What blindness, what shameful weakness!
A sad mistake, doubtless, but one for which much extenuation might have been found in her easily influenced, affectionate nature, in the adroitness and knavery of her accomplice, who talked constantly of marriage, concealing from her the fact that he was not free himself, and when at last he was obliged to confess, drawing such a picture of the unrelieved gloom of his life, of his despair, of his love, that the poor creature, already so seriously involved in the eyes of the world, incapable of one of those heroic efforts which place one above false situations, had yielded at last, had accepted that twofold existence, at once so brilliant and so wretched, resting everything upon a lie that had lasted ten years. Ten years of intoxicating triumphs and indescribable anxiety, ten years during which she had never sung without the fear of being betrayed between two measures, during which the slightest remark concerning irregular establishments wounded her like an allusion to her own case, during which the expression of her face had gradually assumed that air of gentle humility, of a culprit demanding pardon. Then the certainty of being abandoned at some time had ruined even those borrowed joys, had caused her luxurious surroundings to wither and fade; and what agony, what suffering she had silently undergone, what never-ending humiliations, down to the last and most horrible of all!