“I feel like painting,” answered Edna. “Perhaps I shan’t always feel like it.”
“Then in God’s name paint! but don’t let the family go to the devil. There’s Madame Ratignolle; because she keeps up her music, she doesn’t let everything else go to chaos. And she’s more of a musician than you are a painter.”
“She isn’t a musician, and I’m not a painter. It isn’t on account of painting that I let things go.”
“On account of what, then?”
“Oh! I don’t know. Let me alone; you bother me.”
It sometimes entered Mr. Pontellier’s mind to wonder if his wife were not growing a little unbalanced mentally. He could see plainly that she was not herself. That is, he could not see that she was becoming herself and daily casting aside that fictitious self which we assume like a garment with which to appear before the world.
Her husband let her alone as she requested, and went away to his office. Edna went up to her atelier—a bright room in the top of the house. She was working with great energy and interest, without accomplishing anything, however, which satisfied her even in the smallest degree. For a time she had the whole household enrolled in the service of art. The boys posed for her. They thought it amusing at first, but the occupation soon lost its attractiveness when they discovered that it was not a game arranged especially for their entertainment. The quadroon sat for hours before Edna’s palette, patient as a savage, while the housemaid took charge of the children, and the drawing-room went undusted. But the housemaid, too, served her term as model when Edna perceived that the young woman’s back and shoulders were molded on classic lines, and that her hair, loosened from its confining cap, became an inspiration. While Edna worked she sometimes sang low the little air, “Ah! si tu savais!”
It moved her with recollections. She could hear again the ripple of the water, the flapping sail. She could see the glint of the moon upon the bay, and could feel the soft, gusty beating of the hot south wind. A subtle current of desire passed through her body, weakening her hold upon the brushes and making her eyes burn.
There were days when she was very happy without knowing why. She was happy to be alive and breathing, when her whole being seemed to be one with the sunlight, the color, the odors, the luxuriant warmth of some perfect Southern day. She liked then to wander alone into strange and unfamiliar places. She discovered many a sunny, sleepy corner, fashioned to dream in. And she found it good to dream and to be alone and unmolested.
There were days when she was unhappy, she did not know why—when it did not seem worth while to be glad or sorry, to be alive or dead; when life appeared to her like a grotesque pandemonium and humanity like worms struggling blindly toward inevitable annihilation. She could not work on such a day, nor weave fancies to stir her pulses and warm her blood.
XX
It was during such a mood that Edna hunted up Mademoiselle Reisz. She had not forgotten the rather disagreeable impression left upon her by their last interview; but she nevertheless felt a desire to see her—above all, to listen while she played upon the piano. Quite early in the afternoon she started upon her quest for the pianist. Unfortunately she had mislaid or lost Mademoiselle Reisz’s card, and looking up her address in the city directory, she found that the woman lived on Bienville Street, some distance away. The directory which fell into her hands was a year or more old, however, and upon reaching the number indicated, Edna discovered that the house was occupied by a respectable family of mulattoes who had chambres garnies to let. They had been living there for six months, and knew absolutely nothing of a Mademoiselle Reisz. In fact, they knew nothing of any of their neighbors; their lodgers were all people of the highest distinction, they assured Edna. She did not linger to discuss class distinctions with Madame Pouponne, but hastened to a neighboring grocery store, feeling sure that Mademoiselle would have left her address with the proprietor.
He knew Mademoiselle Reisz a good deal better than he wanted to know her, he informed his questioner. In truth, he did not want to know her at all, or anything concerning her—the most disagreeable and unpopular woman who ever lived in Bienville Street. He thanked heaven she had left the neighborhood, and was equally thankful that he did not know where she had gone.
Edna’s desire to see Mademoiselle Reisz had increased tenfold since these unlooked-for obstacles had arisen to thwart it. She was wondering who could give her the information she sought, when it suddenly occurred to her that Madame Lebrun would be the one most likely to do so. She knew it was useless to ask Madame Ratignolle, who was on the most distant terms with the musician, and preferred to know nothing concerning her. She had once been almost as emphatic in expressing herself upon the subject as the corner grocer.
Edna knew that Madame Lebrun had returned to the city, for it was the middle of November. And she also knew where the Lebruns lived, on Chartres Street.
Their home from the outside looked like a prison, with iron bars before the door and lower windows. The iron bars were a relic of the old regime, and no one had ever thought of dislodging them. At the side was a high fence enclosing the garden. A gate or door opening upon the street was locked. Edna rang the bell at this side garden gate, and stood upon the banquette, waiting to be admitted.
It was Victor who opened the gate for her. A black woman, wiping her hands upon her apron, was close at his heels. Before she saw them Edna could hear
