Shorts from Scenes from Private Life

paint her as Messalina stealing out at night from the palace of Claudius.”

“Thédore!” said a faint voice.

“I will kill her!”

“My dear⁠—”

“She is in love with that little cavalry colonel, because he rides well⁠—”

“Thédore!”

“Let me be!” said the painter in a tone almost like a roar.

It would be odious to describe the whole scene. In the end the frenzy of passion prompted the artist to acts and words which any woman not so young as Augustine would have ascribed to madness.

At eight o’clock next morning Madame Guillaume, surprising her daughter, found her pale, with red eyes, her hair in disorder, holding a handkerchief soaked with tears, while she gazed at the floor strewn with the torn fragments of a dress and the broken fragments of a large gilt picture-frame. Augustine, almost senseless with grief, pointed to the wreck with a gesture of deep despair.

“I don’t know that the loss is very great!” cried the old mistress of the Cat and Racket. “It was like you, no doubt; but I am told that there is a man on the boulevard who paints lovely portraits for fifty crowns.”

“Oh, mother!”

“Poor child, you are quite right,” replied Madame Guillaume, who misinterpreted the expression of her daughter’s glance at her. “True, my child, no one ever can love you as fondly as a mother. My darling, I guess it all; but confide your sorrows to me, and I will comfort you. Did I not tell you long ago that the man was mad! Your maid has told me pretty stories. Why, he must be a perfect monster!”

Augustine laid a finger on her white lips, as if to implore a moment’s silence. During this dreadful night misery had led her to that patient resignation which in mothers and loving wives transcends in its effects all human energy, and perhaps reveals in the heart of women the existence of certain chords which God has withheld from men.

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An inscription engraved on a broken column in the cemetery at Montmartre states that Madame de Sommervieux died at the age of twenty-seven. In the simple words of this epitaph one of the timid creature’s friends can read the last scene of a tragedy. Every year, on the second of November, the solemn day of the dead, he never passes this youthful monument without wondering whether it does not need a stronger woman than Augustine to endure the violent embrace of genius?

“The humble and modest flowers that bloom in the valley,” he reflects, “perish perhaps when they are transplanted too near the skies, to the region where storms gather and the sun is scorching.”

The Ball at Sceaux

To Henri de Balzac, his brother Honoré.

The Comte de Fontaine, head of one of the oldest families in Poitou, had served the Bourbon cause with intelligence and bravery during the war in La Vendée against the Republic. After having escaped all the dangers which threatened the royalist leaders during this stormy period of modern history, he was wont to say in jest, “I am one of the men who gave themselves to be killed on the steps of the throne.” And the pleasantry had some truth in it, as spoken by a man left for dead at the bloody battle of Les Quatre Chemins. Though ruined by confiscation, the staunch Vendéen steadily refused the lucrative posts offered to him by the Emperor Napoleon. Immovable in his aristocratic faith, he had blindly obeyed its precepts when he thought it fitting to choose a companion for life. In spite of the blandishments of a rich but revolutionary parvenu, who valued the alliance at a high figure, he married Mademoiselle de Kergarouët, without a fortune, but belonging to one of the oldest families in Brittany.

When the second revolution burst on Monsieur de Fontaine he was encumbered with a large family. Though it was no part of the noble gentlemen’s views to solicit favors, he yielded to his wife’s wish, left his country estate, of which the income barely sufficed to maintain his children, and came to Paris. Saddened by seeing the greediness of his former comrades in the rush for places and dignities under the new Constitution, he was about to return to his property when he received a ministerial despatch, in which a well-known magnate announced to him his nomination as maréchal de camp, or brigadier-general, under a rule which allowed the officers of the Catholic armies to count the twenty submerged years of Louis XVIII’s reign as years of service. Some days later he further received, without any solicitation, ex officio, the crosses of the Legion of Honor and of Saint-Louis.

Shaken in his determination by these successive favors, due, as he supposed, to the monarch’s remembrance, he was no longer satisfied with taking his family, as he had piously done every Sunday, to cry “Vive le Roi” in the hall of the Tuileries when the royal family passed through on their way to chapel; he craved the favor of a private audience. The audience, at once granted, was in no sense private. The royal drawing-room was full of old adherents, whose powdered heads, seen from above, suggested a carpet of snow. There the Count met some old friends, who received him somewhat coldly; but the princes he thought adorable, an enthusiastic expression which escaped him when the most gracious of his masters, to whom the Count had supposed himself to be known only by name, came to shake hands with him, and spoke of him as the most thorough Vendéen of them all. Notwithstanding this ovation, none of these august persons thought of inquiring as to the sum of his losses, or of the money he had poured so generously into the chests of the Catholic regiments. He discovered, a little late, that he had made war at his own cost. Towards the end of the evening he thought he might venture on a witty allusion to the state of his affairs, similar, as it was,