“Ah, if it is true,” said Coquelin, “it is too much! Would you like me to go to see Dumas? I will find out at once.”
“No, thank you. But you have put an idea into my head.” And shaking hands with him I went off immediately to see Dumas, fils. He was just going out.
“Well, well! What is the matter? Your eyes are blazing!”
I went with him into the drawing-room and asked my question at once. He had kept his hat on and took it off to recover his self-possession. Before he could speak a word I got furiously angry—one of those rages which I sometimes have, and which are more like attacks of madness. With all that I felt of bitterness toward this man, toward Perrin, toward all this theatrical world who should have loved me and upheld me, and who betrayed me on every occasion—all that I had been accumulating of hot anger during the rehearsals, the cries of revolt against the perpetual injustice of these two men, Perrin and Dumas—I burst out with everything, in an avalanche of stinging words, which were both furious and sincere. I reminded him of his promise made in former days; of his visit to my hôtel in the Avenue de Villiers; of the cowardly and underhand manner in which he had written of me, at Perrin’s request, and on the wishes of the friends of Sophie.... I spoke vehemently, without allowing him to edge in a single word. And when, worn out, I was forced to stop, I murmured, out of breath with fatigue: “What—what—what have you to say for yourself?”
“My dear child,” he replied, much touched, “if I had examined my own conscience I should have said to myself all that you have just said to me so eloquently. But I can truly say, in order to excuse myself a little, that I really believed that you did not care at all about your theater; that you much preferred your sculpture, your painting, and your court. We have seldom talked together, and people led me to believe all that which I was perhaps too ready to believe. Your grief and anger have touched me deeply. I give you my word that the play shall keep its title of ‘L’Etrangère.’ And now, embrace me with a good grace, to show that you are no longer angry with me.”
I embraced him, and from that day we were good friends.
That evening I told the whole tale to Croizette, and I saw that she knew nothing about this wicked scheme. I was very pleased to know that.
The play was very successful. Coquelin, Febvre, and I carried off the laurels of the day.
I had just commenced in my studio, in the Avenue de Clichy, a large group, the inspiration for which I had gathered from the sad history of an old woman whom I often saw at nightfall in the Baie des Trépassés. One day I went up to her wishing to speak to her, but I was so terrified by her aspect of madness that I rushed off at once, and the guardian told me her history. She was the mother of five sons—all sailors. Two had been killed by the Germans in 1870, and three had been drowned. She had brought up the little son of her youngest boy, always keeping him far from the sea and teaching him to hate the water. She had never left the little lad; but he became so sad that he was really ill, and he said he was dying because he wanted to see the sea. “Well, make haste and get well,” said the grandmother tenderly, “and we will go and visit the sea together.” Two days later the child was better, and the grandmother left the valley in the company of her little grandson to go and see the ocean, the grave of her three sons.
It was a November day. A low sky hung over the sea limiting the horizon. The child jumped with joy. He ran, gamboled, and sang for happiness when he saw all this living water. The grandmother sat on the sand and hid her tearful eyes in her two trembling hands; then, suddenly, struck by the silence, she looked up in terror. There, in front of her she saw a boat drifting, and in the boat her boy, her little lad of eight years old, who was laughing right merrily, paddling as well as he could with one oar that he could hardly hold, and crying out: “I am going to see what there is behind the mist and I will come back.”