“You have always been good to me, Monsieur, and I wish you every happiness. But, all the same, you have driven me away.”
“You think I am a wicked man,” answered M. Bergeret. “But if I send you away, my good girl, I do it regretfully and only because it is absolutely necessary. If I can help you in any way, I shall be very glad to do so.”
Euphémie passed the back of her hand over her eyes, sniffed aloud and said softly, with big tears flowing down her cheeks:
“There’s nobody wicked here.”
She went out, closing the door behind her as noiselessly as possible, and M. Bergeret began to picture her standing at the bottom of the waiting-room in Deniseau’s office, with anxious looks fixed on the door, among the melancholy crowd of girls waiting to be hired, in her white head-dress with her blue cotton umbrella stuck between her knees.
Meanwhile Marie, the stable-girl, who had never in her life waited on anything but beasts, was filled with amazement and stupefaction at the ways of these townsfolk, till the terror that she communicated to others began to overwhelm her own mind. She squatted in her kitchen and gazed at the saucepans. Bacon soup was the only thing she could make and dialect the only language she understood. She was not even well recommended, for it turned out that she had not only lived loosely, but was in the habit of drinking brandy and even spirits of wine.
The first visitor to whom she opened the door was Captain Aspertini, who, in passing through the town, had called to see M. Bergeret. She evidently made a deep impression on the Italian savant’s mind, for no sooner had he greeted his host than he began to speak of the maid with that interest which ugliness always inspires when it is overwhelmingly terrible.
“Your maid, Monsieur Bergeret,” said he, “reminds me of that expressive face which Giotto has painted on an arch of the church at Assisi. It represents that Being to whom no one ever opens the door with a smile, and was suggested by a verse in Dante.
“That reminds me,” continued the Italian; “have you seen the portrait of Virgil in mosaic that your compatriots have just discovered at Sousse in Algeria? It is a picture of a Roman with a wide, low forehead, a square head and a strong jaw, and is not in the least like the beautiful youth whom they used to tell us was Virgil. The bust which for a long time was taken for a portrait of the poet is really a Roman copy of a Greek original of the fourth century and represents a young god worshipped in the mysteries of Eleusis. I think I may claim the honour of being the first to give the true explanation of this figure in my pamphlet on the child Triptolemus. But do you know this Virgil in mosaic, Monsieur Bergeret?”
“As well as I can judge from the photograph I have seen,” answered M. Bergeret, “this African mosaic seems the copy of an original full of character. This portrait might quite stand for Virgil, and it is by no means impossible that it is an authentic portrait of him. Your Renaissance scholars, Monsieur Aspertini, always depicted the author of the Æneid with the features of a sage. The old Venetian editions of Dante that I have turned over in our library are full of wood engravings in which Virgil wears the beard of a philosopher. The next age made him as beautiful as a young god. Now we have him with a square jaw and wearing a fringe of hair across his forehead in the Roman style. The mental effect produced by his work has varied just as much. Every literary age creates pictures from it which are entirely different according to the period. And without recalling the legends of the Middle Ages about Virgil the necromancer, it is a fact that the Mantuan is admired for reasons that change according to the period. In him Macrobius hailed the Sibyl of the Empire. It was his philosophy that Dante and Petrarch seized upon, while Chateaubriand and Victor Hugo discovered in him the forerunner of Christianity. For my part, being but a juggler with words, I only use his works as a philological pastime. You, Monsieur Aspertini, see him in the guise of a great storehouse of Roman antiquities, and that is perhaps the most solidly valuable part of the Æneid. The truth is that we are in the habit of hanging our ideas upon the letter of these ancient texts. Each generation forms a new conception of these masterpieces of antiquity and thus endows them with a kind of progressive immortality. My colleague Paul Stapfer has said many good things on this head.”