It was all in his expression; he couldn't keep it out of that, and his shining good looks couldn't: ah, he was so fatally much too handsome for her! So the gap showed just there, in his admirable mask and his admirable eagerness; the yawning little chasm showed where the gentleman fell short. But she took this in, she took everything in, she felt herself do it, she heard herself say, while they paused before separation, that she quite saw the point of the meeting, as he suggested, at her tea. She would propose it to Mr. French and would let them know; and he must assuredly bring Miss Lindeck, bring her "right away," bring her soon, bring them, his fiancée and her, together somehow, and as quickly as possible—so that they should be old friends before the tea. She would propose it to Mr. French, propose it to Mr. French: that hummed in her ears as she went—after she had really got away; hummed as if she were repeating it over, giving it out to the passers, to the pavement, to the sky, and all as in wild discord with the intense little concert of her music-box. The extraordinary thing too was that she quite believed she should do it, and fully meant to; desperately, fantastically passive—since she almost reeled with it as she proceeded—she was capable of proposing anything to any one: capable too of thinking it likely Mr. French would come, for he had never on her previous proposals declined anything. Yes, she would keep it up to the end, this pretence of owing them salvation, and might even live to take comfort in having done for them what they wanted. What they wanted couldn't but be to get at the Frenches, and what Miss Lindeck above all wanted, baffled of it otherwise, with so many others of the baffled, was to get at Mr. French—for all Mr. French would want of either of them!—still more than Murray did. It was not till after she had got home, got straight into her own room and flung herself on her face, that she yielded to the full taste of the bitterness of missing a connection, missing the man himself, with power to create such a social appetite, such a grab at what might be gained by them. He could make people, even people like these two and whom there were still other people to envy, he could make them push and snatch and scramble like that—and then remain as incapable of taking her from the hands of such patrons as of receiving her straight, say, from those of Mrs. Drack. It was a high note, too, of Julia's wonderful composition that, even in the long, lonely moan of her conviction of her now certain ruin, all this grim lucidity, the perfect clearance of passion, but made her supremely proud of him.
A LODGING FOR THE NIGHT
Robert Louis Stevenson (1850-1894)
It was late in November 1456. The snow fell over Paris with rigorous, relentless persistence; sometimes the wind made a sally and scattered it in flying vortices; sometimes there was a lull, and flake after flake descended out of the black night air, silent, circuitous, interminable. To poor people, looking up under moist eyebrows, it seemed a wonder where it all came from. Master Francis Villon had propounded an alternative that afternoon, at a tavern window: was it only Pagan Jupiter plucking geese upon Olympus, or were the holy angels moulting? He was only a poor Master of Arts, he went on; and as the question somewhat touched upon divinity, he durst not venture to conclude. A silly old priest from Montargis, who was among the company, treated the young rascal to a bottle of wine in honor of the jest and the grimaces with which it was accompanied, and swore on his own white beard that he had been just such another irreverent dog when he was Villon's age.
The air was raw and pointed, but not far below freezing; and the flakes were large, damp, and adhesive. The whole city was sheeted up. An army might have marched from end to end and not a footfall given the alarm. If there were any belated birds in heaven, they saw the island like a large white patch, and the bridges like slim white spars, on the black ground of the river. High up overhead the snow settled among the tracery of the cathedral towers. Many a niche was drifted full; many a statue wore a long white bonnet on its grotesque or sainted head. The gargoyles had been transformed into great false noses, drooping toward the point. The crockets were like upright pillows swollen on one side. In the intervals of the wind there was a dull sound of dripping about the precincts of the church.
The cemetery of St. John had taken its own share of the snow. All the graves were decently covered; tall, white housetops stood around in grave array; worthy burghers were long ago in bed, benightcapped like their domiciles; there was no light in all the neighborhood but a little peep from a lamp that hung swinging in the church choir, and tossed the shadows to and fro in time to its oscillations. The clock was hard on ten when the patrol went by with halberds and a lantern, beating their hands; and they saw nothing suspicious about the cemetery of St. John.
Yet there was a small house, backed up against the cemetery wall, which was still awake, and awake to evil purpose, in that snoring district. There was not much to betray it from without; only a stream of warm vapor from the chimney-top, a patch where the snow melted on the roof, and a few half-obliterated footprints at the door. But within, behind the shuttered windows, Master Francis Villon, the poet, and some of the thievish crew with whom he consorted, were keeping the night alive and passing round the bottle.
A great pile of living embers diffused a strong and ruddy glow from the arched chimney. Before this straddled Dom Nicolas, the Picardy monk, with his skirts picked up and his fat legs bared to the comfortable warmth. His dilated shadow cut the room in half; and the firelight only escaped on either side of his broad person, and in a little pool between his outspread feet. His face had the beery, bruised appearance of the continual drinker's; it was covered with a network of congested veins, purple in ordinary circumstances, but now pale violet, for even with his back to the fire the cold pinched him on the other side. His cowl had half fallen back, and made a strange excrescence on either side of his bull neck. So he straddled, grumbling, and cut the room in half with the shadow of his portly frame.
On the right, Villon and Guy Tabary were huddled together over a scrap of parchment; Villon making a ballade which he was to call the Ballade of Roast Fish, and Tabary spluttering admiration at his shoulder. The poet was a rag of a man, dark, little, and lean, with hollow cheeks and thin black locks. He carried his four-and-twenty years with feverish animation. Greed had made folds about his eyes, evil smiles had puckered his mouth. The wolf and pig struggled together in his face. It was an eloquent, sharp, ugly, earthly countenance. His hands were small and prehensile, with fingers knotted like a cord; and they were continually flickering in front of him in violent and expressive pantomime. As for Tabary, a broad, complacent, admiring imbecility breathed from his squash nose and slobbering lips: he had become a thief, just as he might have become the most decent of burgesses, by the imperious chance that rules the lives of human geese and human donkeys.
At the monk's other hand, Montigny and Thevenin Pensete played a game of chance. About the first there clung some flavor of good birth and training, as about a fallen angel; something long, lithe, and courtly in the person; something aquiline and darkling in the face. Thevenin, poor soul, was in great feather: he had done a good stroke of knavery that afternoon in the Faubourg St. Jacques, and all night he had been gaining from Montigny. A flat smile illuminated his face; his bald head shone rosily in a garland of red curls; his little protuberant stomach shook with silent chucklings as he swept in his gains.