Men's Wives

by William Makepeace Thackeray

There did not seem to me to be the slightest objection to this arrangement, except that my boots were muddy, and my coat of the morning sort. But as it was quite impossible to go to Paris and back again in a quarter of an hour, and as a man may dine with perfect comfort to himself in a frock-coat, it did not occur to me to be particularly squeamish, or to decline an old friend's invitation upon a pretext so trivial.

Accordingly we walked to a small house in the Avenue de Paris, and were admitted first into a small garden ornamented by a grotto, a fountain, and several nymphs in plaster-of-Paris, then up a mouldy old steep stair into a hall, where a statue of Cupid and another of Venus welcomed us with their eternal simper; then through a salle-a-manger where covers were laid for six; and finally to a little saloon, where Fido the dog began to howl furiously according to his wont.

It was one of the old pavilions that had been built for a pleasure-house in the gay days of Versailles, ornamented with abundance of damp Cupids and cracked gilt cornices, and old mirrors let into the walls, and gilded once, but now painted a dingy French white. The long low windows looked into the court, where the fountain played its ceaseless dribble, surrounded by numerous rank creepers and weedy flowers, but in the midst of which the statues stood with their bases quite moist and green.

I hate fountains and statues in dark confined places: that cheerless, endless plashing of water is the most inhospitable sound ever heard. The stiff grin of those French statues, or ogling Canova Graces, is by no means more happy, I think, than the smile of a skeleton, and not so natural. Those little pavilions in which the old roues sported were never meant to be seen by daylight, depend on't. They were lighted up with a hundred wax-candles, and the little fountain yonder was meant only to cool their claret. And so, my first impression of Berry's place of abode was rather a dismal one. However, I heard him in the salle-a-manger drawing the corks, which went off with a CLOOP, and that consoled me.

As for the furniture of the rooms appertaining to the Berrys, there was a harp in a leather case, and a piano, and a flute-box, and a huge tambour with a Saracen's nose just begun, and likewise on the table a multiplicity of those little gilt books, half sentimental and half religious, which the wants of the age and of our young ladies have produced in such numbers of late. I quarrel with no lady's taste in that way; but heigho! I had rather that Mrs. Fitz-Boodle should read “Humphry Clinker!”

Besides these works, there was a “Peerage,” of course. What genteel family was ever without one?

I was making for the door to see Frank drawing the corks, and was bounced at by the amiable little black-muzzled spaniel, who fastened his teeth in my pantaloons, and received a polite kick in consequence, which sent him howling to the other end of the room, and the animal was just in the act of performing that feat of agility, when the door opened and madame made her appearance. Frank came behind her, peering over her shoulder with rather an anxious look.

Mrs. Berry is an exceedingly white and lean person. She has thick eyebrows, which meet rather dangerously over her nose, which is Grecian, and a small mouth with no lips—a sort of feeble pucker in the face as it were. Under her eyebrows are a pair of enormous eyes, which she is in the habit of turning constantly ceiling-wards. Her hair is rather scarce, and worn in bandeaux, and she commonly mounts a sprig of laurel, or a dark flower or two, which with the sham tour—I believe that is the name of the knob of artificial hair that many ladies sport—gives her a rigid and classical look. She is dressed in black, and has invariably the neatest of silk stockings and shoes: for forsooth her foot is a fine one, and she always sits with it before her, looking at it, stamping it, and admiring it a great deal. “Fido,” she says to her spaniel, “you have almost crushed my poor foot;” or, “Frank,” to her husband, “bring me a footstool:” or, “I suffer so from cold in the feet,” and so forth; but be the conversation what it will, she is always sure to put HER FOOT into it.

She invariably wears on her neck the miniature of her late father, Sir George Catacomb, apothecary to George III.; and she thinks those two men the greatest the world ever saw. She was born in Baker Street, Portman Square, and that is saying almost enough of her. She is as long, as genteel, and as dreary, as that deadly-lively place, and sports, by way of ornament, her papa's hatchment, as it were, as every tenth Baker Street house has taught her.

What induced such a jolly fellow as Frank Berry to marry Miss Angelica Catacomb no one can tell. He met her, he says, at a ball at Hampton Court, where his regiment was quartered, and where, to this day, lives “her aunt Lady Pash.” She alludes perpetually in conversation to that celebrated lady; and if you look in the “Baronetage” to the pedigree of the Pash family, you may see manuscript notes by Mrs. Frank Berry, relative to them and herself. Thus, when you see in print that Sir John Pash married Angelica, daughter of Graves Catacomb, Esquire, in a neat hand you find written, AND SISTER OF THE LATE SIR GEORGE CATACOMB, OF BAKER STREET, PORTMAN SQUARE: “A.B.” follows of course. It is a wonder how fond ladies are of writing in books, and signing their charming initials! Mrs. Berry's before-mentioned little gilt books are scored with pencil-marks, or occasionally at the margin with a!—note of interjection, or the words “TOO TRUE, A.B.” and so on. Much may be learned with regard to lovely woman by a look at the books she reads in; and I had gained no inconsiderable knowledge of Mrs. Berry by the ten minutes spent in the drawing-room, while she was at her toilet in the adjoining bedchamber.