Part 27

“M. Schmucke! there is a heart for you,” cried La Cibot. “Ah! he loves me, but then he is poor. It is money that deadens the heart; and you are rich! Oh, well, take a nurse, you will see what a life she will lead you; she will torment you, you will be like a cockchafer on a string. The doctor will say that you must have plenty to drink, and she will do nothing but feed you. She will bring you to your grave and rob you. You do not deserve to have a Mme. Cibot!--there! When Dr. Poulain comes, ask him for a nurse.”

“Oh fiddlestickend!” the patient cried angrily. “Will you listen to me? When I spoke of my friend Schmucke, I was not thinking of women. I know quite well that no one cares for me so sincerely as you do, you and Schmucke--”

“Have the goodness not to irritate yourself in this way!” exclaimed La Cibot, plunging down upon Pons and covering him by force with the bedclothes.

“How should I not love you?” said poor Pons.

“You love me, really?... There, there, forgive me, sir!” she said, crying and wiping her eyes. “Ah, yes, of course, you love me, as you love a servant, that is the way!--a servant to whom you throw an annuity of six hundred francs like a crust you fling into a dog’s kennel--”

“Oh! Mme. Cibot,” cried Pons, “for what do you take me? You do not know me.”

“Ah! you will care even more than that for me,” she said, meeting Pons’ eyes. “You will love your kind old Cibot like a mother, will you not? A mother, that is it! I am your mother; you are both of you my children.... Ah, if I only knew them that caused you this sorrow, I would do that which would bring me into the police-courts, and even to prison; I would tear their eyes out! Such people deserve to die at the Barriere Saint-Jacques, and that is too good for such scoundrels. ... So kind, so good as you are (for you have a heart of gold), you were sent into the world to make some woman happy!... Yes, you would have her happy, as anybody can see; you were cut out for that. In the very beginning, when I saw how you were with M. Schmucke, I said to myself, ‘M. Pons has missed the life he was meant for; he was made to be a good husband.’ Come, now, you like women.”

“Ah, yes,” said Pons, “and no woman has been mine.”

“Really?” exclaimed La Cibot, with a provocative air as she came nearer and took Pons’ hand in hers. “Do you not know what it is to love a woman that will do anything for her lover? Is it possible? If I were in your place, I should not wish to leave this world for another until I had known the greatest happiness on earth!... Poor dear! If I was now what I was once, I would leave Cibot for you! upon my word, I would! Why, with a nose shaped like that--for you have a fine nose--how did you manage it, poor cherub?... You will tell me that ‘not every woman knows a man when she sees him’; and a pity it is that they marry so at random as they do, it makes you sorry to see it.--Now, for my own part, I should have thought that you had had mistresses by the dozen--dancers, actresses, and duchesses, for you went out so much. ... When you went out, I used to say to Cibot, ‘Look! there is M. Pons going a-gallivanting,’ on my word, I did, I was so sure that women ran after you. Heaven made you for love.... Why, my dear sir, I found that out the first day that you dined at home, and you were so touched with M. Schmucke’s pleasure. And next day M. Schmucke kept saying to me, ‘Montame Zipod, he haf tined hier,’ with the tears in his eyes, till I cried along with him like a fool, as I am. And how sad he looked when you took to gadding abroad again and dining out! Poor man, you never saw any one so disconsolate! Ah! you are quite right to leave everything to him. Dear worthy man, why he is as good as a family to you, he is! Do not forget him; for if you do, God will not receive you into his Paradise, for those that have been ungrateful to their friends and left them no rentes will not go to heaven.”

In vain Pons tried to put in a word; La Cibot talked as the wind blows. Means of arresting steam-engines have been invented, but it would tax a mechanician’s genius to discover any plan for stopping a portress’ tongue.

“I know what you mean,” continued she. “But it does not kill you, my dear gentleman, to make a will when you are out of health; and in your place I might not leave that poor dear alone, for fear that something might happen; he is like God Almighty’s lamb, he knows nothing about nothing, and I should not like him to be at the mercy of those sharks of lawyers and a wretched pack of relations. Let us see now, has one of them come here to see you in twenty years? And would you leave your property to them? Do you know, they say that all these things here are worth something.”

“Why, yes,” said Pons.

“Remonencq, who deals in pictures, and knows that you are an amateur, says that he would be quite ready to pay you an annuity of thirty thousand francs so long as you live, to have the pictures afterwards. ... There is a change! If I were you, I should take it. Why, I thought he said it for a joke when he told me that. You ought to let M. Schmucke know the value of all those things, for he is a man that could be cheated like a child. He has not the slightest idea of the value of these fine things that you have! He so little suspects it, that he would give them away for a morsel of bread if he did not keep them all his life for love of you, always supposing that he lives after you, for he will die of your death. But I am here; I will take his part against anybody and everybody!... I and Cibot will defend him.”

“Dear Mme. Cibot!” said Pons, “what would have become of me if it had not been for you and Schmucke?” He felt touched by this horrible prattle; the feeling in it seemed to be ingenuous, as it usually is in the speech of the people.

“Ah! we really are your only friends on earth, that is very true, that is. But two good hearts are worth all the families in the world.--Don’t talk of families to me! A family, as the old actor said of the tongue, is the best and the worst of all things.... Where are those relations of yours now? Have you any? I have never seen them--”

“They have brought me to lie here,” said Pons, with intense bitterness.

“So you have relations!...” cried La Cibot, springing up as if her easy-chair had been heated red-hot. “Oh, well, they are a nice lot, are your relations! What! these three weeks--for this is the twentieth day, to-day, that you have been ill and like to die--in these three weeks they have not come once to ask for news of you? That’s a trifle too strong, that is!... Why, in your place, I would leave all I had to the Foundling Hospital sooner than give them one farthing!”

“Well, my dear Mme. Cibot, I meant to leave all that I had to a cousin once removed, the daughter of my first cousin, President Camusot, you know, who came here one morning nearly two months ago.”

“Oh! a little stout man who sent his servants to beg your pardon--for his wife’s blunder?--The housemaid came asking me questions about you, an affected old creature she is, my fingers itched to give her velvet tippet a dusting with my broom handle! A servant wearing a velvet tippet! did anybody ever see the like? No, upon my word, the world is turned upside down; what is the use of making a Revolution? Dine twice a day if you can afford it, you scamps of rich folk! But laws are no good, I tell you, and nothing will be safe if Louis-Philippe does not keep people in their places; for, after all, if we are all equal, eh, sir? a housemaid didn’t ought to have a velvet tippet, while I, Mme. Cibot, haven’t one, after thirty years of honest work.--There is a pretty thing for you! People ought to be able to tell who you are. A housemaid is a housemaid, just as I myself am a portress. Why do they have silk epaulettes in the army? Let everybody keep their place. Look here, do you want me to tell you what all this comes to? Very well, France is going to the dogs.... If the Emperor had been here, things would have been very different, wouldn’t they, sir?... So I said to Cibot, I said, ‘See here, Cibot, a house where the servants wear velvet tippets belongs to people that have no heart in them--’”

“No heart in them, that is just it,” repeated Pons. And with that he began to tell Mme. Cibot about his troubles and mortifications, she pouring out abuse of the relations the while and showing exceeding tenderness on every fresh sentence in the sad history. She fairly wept at last.

To understand the sudden intimacy between the old musician and Mme. Cibot, you have only to imagine the position of an old bachelor lying on his bed of pain, seriously ill for the first time in his life. Pons felt that he was alone in the world; the days that he spent by himself were all the longer because he was struggling with the indefinable nausea of a liver complaint which blackens the brightest life. Cut off from all his many interests, the sufferer falls a victim to a kind of nostalgia; he regrets the many sights to be seen for nothing in Paris. The isolation, the darkened days, the suffering that affects the mind and spirits even more than the body, the emptiness of the life,--all these things tend to induce him to cling to the human being who waits on him as a drowned man clings to a plank; and this especially if the bachelor patient’s character is as weak as his nature is sensitive and incredulous.

Pons was charmed to hear La Cibot’s tittle-tattle. Schmucke, Mme. Cibot, and Dr. Poulain meant all humanity to him now, when his sickroom became the universe. If invalid’s thoughts, as a rule, never travel beyond in the little space over which his eyes can wander; if their selfishness, in its narrow sphere, subordinates all creatures and all things to itself, you can imagine the lengths to which an old bachelor may go. Before three weeks were out he had even gone so far as to regret, once and again, that he had not married Madeleine Vivet! Mme. Cibot, too, had made immense progress in his esteem in those three weeks; without her he felt that he should have been utterly lost; for as for Schmucke, the poor invalid looked upon him as a second Pons. La Cibot’s prodigious art consisted in expressing Pons’ own ideas, and this she did quite unconsciously.

“Ah! here comes the doctor!” she exclaimed, as the bell rang, and away she went, knowing very well that Remonencq had come with the Jew.

“Make no noise, gentlemen,” said she, “he must not know anything. He is all on the fidget when his precious treasures are concerned.”

“A walk round will be enough,” said the Hebrew, armed with a magnifying-glass and a lorgnette.

The greater part of Pons’ collection was installed in a great old-fashioned salon such as French architects used to build for the old noblesse; a room twenty-five feet broad, some thirty feet in length, and thirteen in height. Pons’ pictures to the number of sixty-seven hung upon the white-and-gold paneled walls; time, however, had reddened the gold and softened the white to an ivory tint, so that the whole was toned down, and the general effect subordinated to the effect of the pictures. Fourteen statues stood on pedestals set in the corners of the room, or among the pictures, or on brackets inlaid by Boule; sideboards of carved ebony, royally rich, surrounded the walls to elbow height, all the shelves filled with curiosities; in the middle of the room stood a row of carved credence-tables, covered with rare miracles of handicraft--with ivories and bronzes, wood-carvings and enamels, jewelry and porcelain.

As soon as Elie Magus entered the sanctuary, he went straight to the four masterpieces; he saw at a glance that these were the gems of Pons’ collection, and masters lacking in his own. For Elie Magus these were the naturalist’s desiderata for which men undertake long voyages from east to west, through deserts and tropical countries, across southern savannahs, through virgin forests.

The first was a painting by Sebastian del Piombo, the second a Fra Bartolommeo della Porta, the third a Hobbema landscape, and the fourth and last a Durer--a portrait of a woman. Four diamonds indeed! In the history of art, Sebastian del Piombo is like a shining point in which three schools meet, each bringing its pre-eminent qualities. A Venetian painter, he came to Rome to learn the manner of Raphael under the direction of Michael Angelo, who would fain oppose Raphael on his own ground by pitting one of his own lieutenants against the reigning king of art. And so it came to pass that in Del Piombo’s indolent genius Venetian color was blended with Florentine composition and a something of Raphael’s manner in the few pictures which he deigned to paint, and the sketches were made for him, it is said, by Michael Angelo himself.