“He always carried a volume of your poems in his pocket or under his arm. And how he recited your songs! The poor young man was lovelorn. He thought he was in love with me but I knew he was intoxicated with love. He was a poet. And he set some of your songs to music most charmingly. I presume I encouraged his attentions and his visits—the poor young man was so helpless, so child-like, and I was so eager to hear him hum your songs—but when he began to make violent love to me I realized I had gone too far with him. I told him I could not love him—I could not love anybody—and that, besides, I was married. But I could not get rid of him. He was the most helpless creature I have ever known and the most sentimental. It was pitiful. I pitied him from the bottom of my heart and gave him some financial assistance. He took it, but he was not a parasite. He was just helpless. I then decided to return to Paris. I had exacted a promise from my mother that she would not mention my husband’s name. And I have been living with her ever since. I have never discussed the source of her income but I know she has always received a monthly stipend from a well known noble family in Germany—it may be from my father—and her allowance is quite liberal.”
“Armes Kind,” Albert murmured affectionately.
She paused. Marguerite, overdressed and overperfumed—large hipped and full-breasted, with rouged fleshy cheeks—came to bid Albert goodbye. She leaned over him and kissed his forehead but he made no attempt to raise his eyelid. He only murmured au revoir, and as he turned his face to one side a deep sadness flitted across his cadaverous cheeks. As Marguerite turned to leave, she turned around and gave the young girl a quizzical look.
When the outside door closed the invalid stretched out his hand toward his visitor and she replaced her hand into his.
“Du letzte Blume meines larmoyanten Herbstes,” he murmured, caressing her hand.
A moment later he added, “You won’t leave me now, since you have at last appeared, my last ray of sunshine. All my friends have left me—all—” There was a checked sob in his breast.
“Never, never, never!—” There were tears in her voice.
“Don’t cry, holdes Herz, life is a comedy, and death its final scene. Last night I dreamt I was dead and hugely enjoyed the ceremony of my burial.”
He gave a soft laugh and his bloodless lips puckered like those of a pouting child.
“They laid me in a gorgeous mausoleum of costly marble, and the walls were bas reliefs of grotesque scenes, sacred and profane—all the utterances of my whole life seemed illustrated on those walls. When they lowered my coffin I began to laugh and could not stop laughing even when they screwed on the lid. Then all of a sudden, as if by magic, I noticed a dark-blue flower spring from the ground at the foot of my tomb. It looked like a passion flower from which were suspended all the instruments of torture used during the Inquisition in Spain. All at once the passion flower assumed human form; it was a living being; it had the sweet face of a charming young woman; a sweet, sad face, full of tenderness and love, was leaning over my dead body. I stared in amazement. It was your sweet countenance, liebstes Kind, and hot burning tears were dripping from your eyes and falling upon my dead face. Ah, these dreams! Since the earliest recollections of my childhood I have always been dreaming—my days and nights were veritably different existences. So, you see, I have really lived longer than most men. You must multiply my age by two. I have long passed the century mark. Yes, indeed, I am a centenarian.”