CHAPTER X.
At the sight of Madeleine, who was no other than the Marquise de Miranda, the happiness of Madame Dutertre was so great that for a moment all her sorrows and all her terrors for the future were forgotten; her sweet and gracious countenance beamed with joy, she could only pronounce these words in broken accents:
"Madeleine, dear Madeleine! after such a long absence, at last you have come!"
After the two young women had embraced each other Sophie said to her friend as she looked at her husband and the old man:
"Madeleine, my husband and his father,—our father, as he calls me his daughter."
The marquise, entering suddenly, had thrown herself upon Sophie's neck with such impetuous affection that Charles Dutertre could not distinguish the features of the stranger, but when, at Madame Dutertre's last words, the newly arrived friend turned toward him, he felt a sudden strange impression,—an impression so positive that, for a few minutes, he, like his wife, forgot the vindictive speech of M. Pascal.
What Charles Dutertre felt at the sight of Madeleine was a singular mixture of surprise, admiration, and almost distress, for he experienced a sort of indefinable remorse at the thought of being in that critical moment accessible to any emotion except that which pertained to the ruin which threatened him and his family.
The Marquise de Miranda would hardly, at first sight, seem capable of making so sudden and so deep an impression. Quite tall in stature, her form and waist were completely hidden under a large mantle of spring material which matched that of her dress, whose long, trailing folds scarcely permitted a view of the extremity of her little boot. It was the same with her hands, which were almost entirely concealed by the sleeves of her dress, which she wore, as was her custom, long and floating. A little hood made of crape, as white as snow, formed a framework for her distinctly oval face, and set off the tint of her complexion, for Madeleine had that dull, pale flesh-colour so often found in brunettes of a pronounced type, with large, expressive blue eyes fringed with lashes as black as her eyebrows of jet, while, by a bewitching contrast, her hair, arranged in a mass of little curls, à la Sevigné, was of that charming and delicate ash-blonde which Rubens makes flow like waves upon the shoulders of his fair naiads.
This pallid complexion, these blue eyes, these black eyebrows and blonde hair, gave to Madeleine's physiognomy a very fetching attraction; her ebony lashes were so thick, so closely set, that one might have said—like the women of the East, who by this means impart a passionate and at the same time an enervated expression to their faces—she painted with black the under part of her eyelids, almost always partially closed over their large azure-coloured pupils; her pink nostrils, changing and nervous, dilated on each side of a Greek nose exquisite in its contour; while her lips, of so warm a red that one might almost see the blood circulate under their delicate epidermis, were full but clear cut, and a little prominent, like those of an antique Erigone, and sometimes under their bright coloured edges one could see the beautiful enamel of her teeth.
But why continue this portrait? Will there not be always, however faithful our description, however highly coloured it may be, as immeasurable a distance between that and the reality as exists between a painting and a living being? It would be impossible to make perceptible that atmosphere of irresistible attraction, that magnetism, we might say, which emanated from this singular creature. That which in others would have produced a neutralising effect, seemed in her to increase her fascinations a hundredfold. The very length and amplitude of her garments, which, without revealing the contour of her figure, allowed only a sight of the end of her fingers and the extremity of her boot, added a charm to her. In a word, if the chaste drapery which falls at the feet of an antique muse, of severe and thoughtful face, enhances the dignity of her aspect, a veil thrown over the beautiful form of the Venus Aphrodite only serves to excite and inflame the imagination.