However, after long and painful struggles, he procured employment as a music-teacher, and made some money, which he brought to his mistress, keeping nothing for himself. From that time forward she loved him no longer. She despised him for earning so little and did not conceal her indifference, weariness, and disgust. She overwhelmed him with reproaches, irony, and abuse, in spite of which she kept him, for she had had experience of worse partners and was used to domestic quarrels. For the rest, she led a busy, serious, and rather hard life as artist and woman. Théophile loved her as he had loved her the first night, and he suffered.
“She overworks herself,” he told his celestial brother, “that is what makes her so hard to please, but I am certain she loves me. I hope soon to give her more comfort.”
And he spoke at length of an operetta at which he was working and which he hoped to have brought out at a Paris theatre. A young poet had given him the libretto. It was the story of Aline, queen of Golconda, after an eighteenth-century tale.
“I am strewing it profusely with melodies,” said Théophile; “my music comes from my heart. My heart is an inexhaustible source of melody. Unfortunately nowadays people like recondite arrangements, difficult scoring. They accuse me of being too fluid, too limpid, of not imparting enough colour to my style, not aiming at stronger effects in harmony and more vigorous contrasts. Harmony, harmony! … No doubt it has given its merits, but it does not appeal to the heart. It is melody which carries us away and ravishes us and brings smiles and tears to our eyes.” At these words he smiled and wept to himself. Then he continued with emotion:
“I am a fountain of melody. But the orchestration! there’s the rub! In Paradise, you know, Arcade, in the matter of instruments, we only possess the harp, the psaltery, and the hydraulic organ.”
Arcade was only listening to him with half an ear. He was meditating plans which filled his soul and swelled his heart.
“Do you know any angels in revolt?” he asked his companion. “As for me, I know only one, Prince Istar, with whom I have exchanged a few letters and who offered to share his attic with me while I was finding a lodging in this town, where I believe rents are very high.”
Of angels in revolt Théophile knew none. When he met a fallen spirit who had formerly been one of his comrades he shook him by the hand, for he was a faithful friend. Sometimes he saw Prince Istar. But he avoided all those bad angels who shocked him by the violence of their opinions and whose conversations plagued him to death.
“Then you don’t approve of me?” asked the impulsive Arcade.
“Friend, I neither approve of you nor blame you. I understand nothing of the ideas which trouble you. Neither do I think it good for an artist to concern himself with politics. One has quite sufficient to occupy oneself with one’s art.”
He loved his profession, and had hopes of “arriving” one day, but theatrical ways disgusted him. The only chance he saw of having his piece played was to take one or two—perhaps three—collaborators, who, without having done any work, would sign their names and share the profits. Soon Bouchotte would fail to find engagements. When she offered her services in some small hall the manager began by asking her how many shares she was taking in the business. Such customs, thought Théophile, were deplorable.
XIII
Wherein we hear the beautiful archangel Zita unfold her lofty designs and are shown the wings of Mirar, all moth-eaten, in a cupboard.
Thus talking, the two archangels had reached the Boulevard Rochechouart. As his eye lighted on a tavern, whence, through the mist, the light fell golden on the pavement, Théophile suddenly bethought himself of the Archangel Ithuriel who, in the guise of a poor but beautiful woman, was living in wretched lodgings on La Butte and came every evening to read the papers at this tavern. The musician often met her there. Her name was Zita. Théophile had never been curious enough to enquire into the opinions entertained by this archangel, but it was generally supposed that she was a Russian nihilist, and he took her to be, like Arcade, an atheist and a revolutionary. He had heard remarkable tales about her. People said she was an hermaphrodite, and that as the active and passive principles were united within her in a condition of stable equilibrium, she was an example of a perfect being, finding in herself complete and continuous satisfaction, contented yet unfortunate in that she knew not desire.
“But,” added Théophile, “I have my doubts about it. I believe she’s a woman and subject to love, like everything else that has life and breath in the Universe. Besides, someone caught her one day kissing her hand to a strapping peasant fellow.”
He offered to introduce his companion to her.
The two angels found her alone, reading. As they drew near she lifted her great eyes in whose deeps of molten gold little sparks of light were forever a-dance. Her brows were contracted into that austere fold which we see on the forehead of the Pythian Apollo; her nose was perfect and descended without a curve; her lips were compressed and imparted a disdainful and supercilious air to her whole countenance. Her tawny hair, with its gleaming lights, was carelessly adorned with the
