4
From this time forth, I saw him always once, and sometimes twice a day—in the afternoons, when he regularly gave me the promised French lesson; and occasionally in the mornings, provided the weather was neither too cold nor too damp for him to join me in the grounds. For Monsieur Maurice was not strong. He could not with impunity face snow, and rain, and our keen Rhenish north-east winds; and it was only when the wintry sun shone out at noon and the air came tempered from the south, that he dared venture from his own fire-side. When, however, there shone a sunny day, with what delight I used to summon him for a walk, take him to my favourite points of view, and show him the woodland nooks that had been my chosen haunts in summer! Then, too, the unwonted colour would come back to his pale cheek, and the smile to his lips, and while the ramble and the sunshine lasted he would be all jest and gaiety, pelting me with dead leaves, chasing me in and out of the plantations, and telling me strange stories, half pathetic, half grotesque, of Dryads, and Fauns, and Satyrs—of Bacchus, and Pan, and Polyphemus—of nymphs who became trees, and shepherds who were transformed to fountains, and all kinds of beautiful wild myths of antique Greece—far more beautiful and far more wild than all the tales of gnomes and witches in my book of Hartz legends.
At other times, when the weather was cold or rainy, he would take down his “Musée Napoléon,” a noble work in eight or ten volumes, and show me engravings after pictures by great masters in the Louvre, explaining them to me as we went along, painting in words the glow and glory of the absent colour, and steeping my childish imagination in golden dreams of Raphael and Titian, and Paulo Veronese.
And sometimes, too, as the dusk came on and the firelight brightened in the gathering gloom, he would take up his guitar, and to the accompaniment of a few slight chords sing me a quaint old French chanson of the feudal times; or an Arab chant picked up in the tent or the Nile boat; or a Spanish ballad, half love-song, half litany, learned from the lips of a muleteer on the Pyrenean border.
For Monsieur Maurice, whatever his present adversities, had travelled far and wide at some foregone period of his life—in Syria, and Persia; in northernmost Tartary and the Siberian steppes; in Egypt and the Nubian desert, and among the perilous wilds of central Arabia. He spoke and wrote with facility some ten or twelve languages. He drew admirably, and had a profound knowledge of the Italian schools of art; and his memory was a rich storehouse of adventure and anecdote, legend and song.
I am an old woman now, and Monsieur Maurice must have passed away many a year ago upon his last long journey; but even at this distance of time, my eyes are dimmed with tears when I remember how he used to unlock that storehouse for my pleasure, and ransack his memory for stories either of his own personal perils by flood and field, or of the hairbreadth 'scapes of earlier travellers. For it was his amusement to amuse me; his happiness to make me happy. And I in return loved him with all my childish heart. Nay, with something deeper and more romantic than a childish love—say rather with that kind of passionate hero-worship which is an attribute more of youth than of childhood, and, like the quality of mercy, blesseth him that gives even more than him that takes.
“What dreadful places you have travelled in, Monsieur Maurice!” I exclaimed one day. “What dangers you have seen!”
He had been showing me a little sketchbook full of Eastern jottings, and had just explained how a certain boat therein depicted had upset with him on a part of the Upper Nile so swarming with alligators that he had to swim for his life, and even so, barely scrambled up the slimy bank in time.
“He who travels far courts many kinds of death,” replied Monsieur Maurice; “but he escapes that which is worst—death from ennui.”