The Parisians — Volume 04

"Forgive!" murmured Isaura; "do you think that I, an orphan, have never longed for a friend who would speak to me thus?" And so saying, she lifted her eyes, streaming still, to his bended countenance,—eyes, despite their tears, so clear in their innocent limpid beauty, so ingenuous, so frank, so virgin-like, so unlike the eyes of 'any other woman he had encountered and admired.'

"Alas!" he said, in quick and hurried accents, "you may remember, when we have before conversed, how I, though so uncultured in your art, still recognized its beautiful influence upon human breasts; how I sought to combat your own depreciation of its rank among the elevating agencies of humanity; how, too, I said that no man could venture to ask you to renounce the boards, the lamps,—resign the fame of actress, of singer. Well, now that you accord to me the title of friend, now that you so touchingly remind me that you are an orphan, thinking of all the perils the young and the beautiful of your sex must encounter when they abandon private life for public, I think that a true friend might put the question, 'Can you resign the fame of actress, of singer?'"

"I will answer you frankly. The profession which once seemed to me so alluring began to lose its charms in my eyes some months ago. It was your words, very eloquently expressed, on the ennobling effects of music and song upon a popular audience, that counteracted the growing distaste to rendering up my whole life to the vocation of the stage; but now I think I should feel grateful to the friend whose advice interpreted the voice of my own heart, and bade me relinquish the career of actress."

Graham's face grew radiant. But whatever might have been his reply was arrested; voices and footsteps were heard behind. He turned round and saw the Venosta, the Savarins, and Gustave Rameau.

Isaura heard and saw also, started in a sort of alarmed confusion, and then instinctively retreated towards the arbour. Graham hurried on to meet the Signora and the visitors, giving time to Isaura to compose herself by arresting them in the pathway with conventional salutations.

A few minutes later Isaura joined them, and there was talk to which Graham scarcely listened, though he shared in it by abstracted monosyllables. He declined going into the house, and took leave at the gate. In parting, his eyes fixed themselves on Isaura. Gustave Rameau was by her side. That nosegay which had been left in the arbour was in her hand; and though she was bending over it, she did not now pluck and scatter the rose-leaves. Graham at that moment felt no jealousy of the fair-faced young poet beside her.

As he walked slowly back, he muttered to himself, "But am I yet in the position to hold myself wholly free? Am I, am I? Were the sole choice before me that between her and ambition and wealth, how soon it would be made! Ambition has no prize equal to the heart of such a woman; wealth no sources of joy equal to the treasures of her love."

CHAPTER III

FROM ISAURA CICOGNA TO MADAME DE GRANTMESNIL

The day after I posted my last, Mr. Vane called on us. I was in our little garden at the time. Our conversation was brief, and soon interrupted by visitors,—the Savarins and M. Rameau. I long for your answer. I wonder how he impressed you, if you have met him; how he would impress, if you met him now. To me he is so different from all others; and I scarcely know why his words ring in my ears, and his image rests in my thoughts. It is strange altogether; for though he is young, he speaks to me as if he were so much older than I,—so kindly, so tenderly, yet as if I were a child, and much as the dear Maestro might do, if he thought I needed caution or counsel. Do not fancy, Eulalie, that there is any danger of my deceiving myself as to the nature of such interest as he may take in me. Oh, no! There is a gulf between us there which he does not lose sight of, and which we could not pass. How, indeed, I could interest him at all, I cannot guess. A rich, high-born Englishman, intent on political life; practical, prosaic—no, not prosaic; but still with the kind of sense which does not admit into its range of vision that world of dreams which is familiar as their daily home to Romance and to Art. It has always seemed to me that for love, love such as I conceive it, there must be a deep and constant sympathy between two persons,—not, indeed, in the usual and ordinary trifles of taste and sentiment, but in those essentials which form the root of character, and branch out in all the leaves and blooms that expand to the sunshine and shrink from the cold,—that the worldling should wed the worldling, the artist the artist. Can the realist and the idealist blend together, and hold together till death and beyond death? If not, can there be true love between them?

By true love, I mean the love which interpenetrates the soul, and once given can never die. Oh, Eulalie, answer me, answer!

P. S.—I have now fully made up my mind to renounce all thought of the stage.

FROM MADAME DE GRANTMESNIL TOISAURA CICOGNA

MY DEAR CHILD,—how your mind has grown since you left me, the sanguine and aspiring votary of an art which, of all arts, brings the most immediate reward to a successful cultivator, and is in itself so divine in its immediate effects upon human souls! Who shall say what may be the after-results of those effects which the waiters on posterity presume to despise because they are immediate? A dull man, to whose mind a ray of that vague starlight undetected in the atmosphere of workday life has never yet travelled; to whom the philosopher, the preacher, the poet appeal in vain,—nay, to whom the conceptions of the grandest master of instrumental music are incomprehensible; to whom Beethoven unlocks no portal in heaven; to whom Rossini has no mysteries on earth unsolved by the critics of the pit,—suddenly hears the human voice of the human singer, and at the sound of that voice the walls which enclosed him fall. The something far from and beyond the routine of his commonplace existence becomes known to him. He of himself, poor man, can make nothing of it. He cannot put it down on paper, and say the next morning, "I am an inch nearer to heaven than I was last night;" but the feeling that he is an inch nearer to heaven abides with him. Unconsciously he is gentler, he is less earthly, and, in being nearer to heaven, he is stronger for earth. You singers do not seem to me to understand that you have—to use your own word, so much in vogue that it has become abused and trite—a mission! When you talk of missions, from whom comes the mission? Not from men. If there be a mission from man to men, it must be appointed from on high.

Think of all this; and in being faithful to your art, be true to yourself. If you feel divided between that art and the art of the writer, and acknowledge the first to be too exacting to admit a rival, keep to that in which you are sure to excel. Alas, my fair child! do not imagine that we writers feel a happiness in our pursuits and aims more complete than that which you can command. If we care for fame (and, to be frank, we all do), that fame does not come up before us face to face, a real, visible, palpable form, as it does to the singer, to the actress. I grant that it may be more enduring, but an endurance on the length of which we dare not reckon. A writer cannot be sure of immortality till his language itself be dead; and then he has but a share in an uncertain lottery. Nothing but fragments remains of the Phrynichus who rivalled AEschylus; of the Agathon who perhaps excelled Euripides; of the Alcaeus, in whom Horace acknowledged a master and a model; their renown is not in their works, it is but in their names. And, after all, the names of singers and actors last perhaps as long. Greece retains the name of Polus, Rome of Roscius, England of Garrick, France of Talma, Italy of Pasta, more lastingly than posterity is likely to retain mine. You address to me a question, which I have often put to myself,—"What is the distinction between the writer and the reader, when the reader says, 'These are my thoughts, these are my feelings; the writer has stolen them, and clothed them in his own words'?" And the more the reader says this, the more wide is the audience, the more genuine the renown, and, paradox though it seems, the more consummate the originality, of the writer. But no, it is not the mere gift of expression, it is not the mere craft of the pen, it is not the mere taste in arrangement of word and cadence, which thus enables the one to interpret the mind, the heart, the soul of the many. It is a power breathed into him as he lay in his cradle, and a power that gathered around itself, as he grew up, all the influences he acquired, whether from observation of external nature, or from study of men and books, or from that experience of daily life which varies with every human being. No education could make two intellects exactly alike, as no culture can make two leaves exactly alike. How truly you describe the sense of dissatisfaction which every writer of superior genius communicates to his admirers! how truly do you feel that the greater is the dissatisfaction in proportion to the writer's genius, and the admirer's conception of it! But that is the mystery which makes —let me borrow a German phrase—the cloud-land between the finite and the infinite. The greatest philosopher, intent on the secrets of Nature, feels that dissatisfaction in Nature herself. The finite cannot reduce into logic and criticism the infinite.

Let us dismiss these matters, which perplex the reason, and approach that which touches the heart, which in your case, my child, touches the heart of woman. You speak of love, and deem that the love which lasts—the household, the conjugal love—should be based upon such sympathies of pursuit that the artist should wed the artist.

This is one of the questions you do well to address to me; for whether from my own experience, or from that which I have gained from observation extended over a wide range of life, and quickened and intensified by the class of writing that I cultivate, and which necessitates a calm study of the passions, I am an authority on such subjects, better than most women can be. And alas, my child, I come to this result: there is no prescribing to men or to women whom to select, whom to refuse. I cannot refute the axiom of the ancient poet, "In love there is no wherefore." But there is a time—it is often but a moment of time—in which love is not yet a master, in which we can say, "I will love, I will not love."

Now, if I could find you in such a moment, I would say to you, "Artist, do not love, do not marry, an artist." Two artistic natures rarely combine. The artistic nature is wonderfully exacting. I fear it is supremely egotistical,—so jealously sensitive that it writhes at the touch of a rival. Racine was the happiest of husbands; his wife adored his genius, but could not understand his plays. Would Racine have been happy if he had married a Corneille in petticoats? I who speak have loved an artist, certainly equal to myself. I am sure that he loved me. That sympathy in pursuits of which you speak drew us together, and became very soon the cause of antipathy. To both of us the endeavour to coalesce was misery.

I don't know your M. Rameau. Savarin has sent me some of his writings; from these I judge that his only chance of happiness would be to marry a commonplace woman, with separation de biens. He is, believe me, but one of the many with whom New Paris abounds, who because they have the infirmities of genius imagine they have its strength.

I come next to the Englishman. I see how serious is your questioning about him. You not only regard him as a being distinct from the crowd of a salon; he stands equally apart in the chamber of your thoughts,—you do not mention him in the same letter as that which treats of Rameau and Savarin. He has become already an image not to be lightly mixed up with others. You would rather not have mentioned him at all to me, but you could not resist it. The interest you feel in him so perplexed you, that in a kind of feverish impatience you cry out to me, "Can you solve the riddle? Did you ever know well Englishmen? Can an Englishman be understood out of his island?" etc. Yes, I have known well many Englishmen; in affairs of the heart they are much like all other men. No; I do not know this Englishman in particular, nor any one of his name.

Well, my child, let us frankly grant that this foreigner has gained some hold on your thoughts, on your fancy, perhaps also on your heart. Do not fear that he will love you less enduringly, or that you will become alienated from him, because he is not an artist. If he be a strong nature, and with some great purpose in life, your ambition will fuse itself in his; and knowing you as I do, I believe you would make an excellent wife to an Englishman whom you honoured as well as loved; and sorry though I should be that you relinquished the singer's fame, I should be consoled in thinking you safe in the woman's best sphere,— a contented home, safe from calumny, safe from gossip. I never had that home; and there has been no part in my author's life in which I would not have given all the celebrity it won for the obscure commonplace of such woman-lot. Could I move human beings as pawns on a chessboard, I should indeed say that the most suitable and congenial mate for you, for a woman of sentiment and genius, would be a well-born and well-educated German; for such a German unites, with domestic habits and a strong sense of family ties, a romance of sentiment, a love of art, a predisposition towards the poetic side of life, which is very rare among Englishmen of the same class. But as the German is not forthcoming, I give my vote for the Englishman, provided only you love him. Ah, child, be sure of that. Do not mistake fancy for love. All women do not require love in marriage, but without it that which is best and highest in you would wither and die. Write to me often and tell me all. M. Savarin is right. My book is no longer my companion. It is gone from me, and I am once more alone in the world.

Yours affectionately.

P. S.—Is not your postscript a woman's? Does it not require a woman's postscript in reply? You say in yours that you have fully made up your mind to renounce all thoughts of the stage. I ask in mine, "What has the Englishman to do with that determination?"

CHAPTER IV

Some weeks have passed since Graham's talk with Isaura in the garden; he has not visited the villa since. His cousins the D'Altons have passed through Paris on their way to Italy, meaning to stay a few days; they stayed nearly a month, and monopolized much of Graham's companionship. Both these were reasons why, in the habitual society of the Duke, Graham's persuasion that he was not yet free to court the hand of Isaura became strengthened, and with that persuasion necessarily came a question equally addressed to his conscience. "If not yet free to court her hand, am I free to expose myself to the temptation of seeking to win her affection?" But when his cousin was gone, his heart began to assert its own rights, to argue its own case, and suggest modes of reconciling its dictates to the obligations which seemed to oppose them. In this hesitating state of mind he received the following note:—

VILLA ———, LAC D'ENGHIEN

MY DEAR MR. VANE,—We have retreated from Paris to the banks of this beautiful little lake. Come and help to save Frank and myself from quarrelling with each other, which, until the Rights of Women are firmly established, married folks always will do when left to themselves, especially if they are still lovers, as Frank and I are. Love is a terribly quarrelsome thing. Make us a present of a few days out of your wealth of time. We will visit Montmorency and the haunts of Rousseau, sail on the lake at moonlight, dine at gypsy restaurants under trees not yet embrowned by summer heats, discuss literature and politics, "Shakspeare and the musical glasses,"—and be as sociable and pleasant as Boccaccio's tale-tellers, at Fiesole. We shall be but a small party, only the Savarins, that unconscious sage and humourist Signora Venosta, and that dimple-cheeked Isaura, who embodies the song of nightingales and the smile of summer. Refuse, and Frank shall not have an easy moment till he sends in his claims for thirty millions against the Alabama.

    Yours, as you behave,
    LIZZIE MORLEY.

Graham did not refuse. He went to Enghien for four days and a quarter. He was under the same roof as Isaura. Oh, those happy days! so happy that they defy description. But though to Graham the happiest days he had ever known, they were happier still to Isaura. There were drawbacks to his happiness, none to hers,—drawbacks partly from reasons the weight of which the reader will estimate later; partly from reasons the reader may at once comprehend and assess. In the sunshine of her joy, all the vivid colourings of Isaura's artistic temperament came forth, so that what I may call the homely, domestic woman-side of her nature faded into shadow. If, my dear reader, whether you be man or woman, you have come into familiar contact with some creature of a genius to which, even assuming that you yourself have a genius in its own way, you have no special affinities, have you not felt shy with that creature? Have you not, perhaps, felt how intensely you could love that creature, and doubted if that creature could possibly love you? Now I think that shyness and that disbelief are common with either man or woman, if, however conscious of superiority in the prose of life, he or she recognizes inferiority in the poetry of it. And yet this self-abasement is exceedingly mistaken. The poetical kind of genius is so grandly indulgent, so inherently deferential, bows with such unaffected modesty to the superiority in which it fears it may fail (yet seldom does fail), —the superiority of common-sense. And when we come to women, what marvellous truth is conveyed by the woman who has had no superior in intellectual gifts among her own sex! Corinne, crowned at the Capitol, selects out of the whole world as the hero of her love no rival poet and enthusiast, but a cold-blooded, sensible Englishman.

Graham Vane, in his strong masculine form of intellect—Graham Vane, from whom I hope much, if he live to fulfil his rightful career—had, not unreasonably, the desire to dominate the life of the woman whom he selected as the partner of his own; but the life of Isaura seemed to escape him. If at moments, listening to her, he would say to himself, "What a companion! life could never be dull with her," at other moments he would say, "True, never dull, but would it be always safe?" And then comes in that mysterious power of love which crushes all beneath its feet, and makes us end self-commune by that abject submission of reason, which only murmurs, "Better be unhappy with the one you love than happy with one whom you do not." All such self-communes were unknown to Isaura. She lived in the bliss of the hour. If Graham could have read her heart, he would have dismissed all doubt whether he could dominate her life. Could a Fate or an Angel have said to her, "Choose,—on one side I promise you the glories of a Catalani, a Pasta, a Sappho, a De Stael, a Georges Sand, all combined into one immortal name; or, on the other side, the whole heart of the man who would estrange himself from you if you had such combination of glories,"—her answer would have brought Graham Vane to her feet. All scruples, all doubts, would have vanished; he would have exclaimed, with the generosity inherent in the higher order of man, "Be glorious, if your nature wills it so. Glory enough to me that you would have resigned glory itself to become mine." But how is it that men worth a woman's loving become so diffident when they love intensely? Even in ordinary cases of love there is so ineffable a delicacy in virgin woman, that a man, be he how refined soever, feels himself rough and rude and coarse in comparison; and while that sort of delicacy was pre-eminent in this Italian orphan, there came, to increase the humility of the man so proud and so confident in himself when he had only men to deal with, the consciousness that his intellectual nature was hard and positive beside the angel-like purity and the fairy-like play of hers.

There was a strong wish on the part of Mrs. Morley to bring about the union of these two. She had a great regard and a great admiration for both. To her mind, unconscious of all Graham's doubts and prejudices, they were exactly suited to each other. A man of intellect so cultivated as Graham's, if married to a commonplace English "Miss," would surely feel as if life had no sunshine and no flowers. The love of an Isaura would steep it in sunshine, pave it with flowers. Mrs. Morley admitted —all American Republicans of gentle birth do admit—the instincts which lead "like" to match with "like," an equality of blood and race. With all her assertion of the Rights of Woman, I do not think that Mrs. Morley would ever have conceived the possibility of consenting that the richest and prettiest and cleverest girl in the States could become the wife of a son of hers if the girl had the taint of negro blood, even though shown nowhere save the slight distinguishing hue of her finger-nails. So had Isaura's merits been threefold what they were and she had been the wealthy heiress of a retail grocer, this fair Republican would have opposed (more strongly than many an English duchess, or at least a Scotch duke, would do, the wish of a son), the thought of an alliance between Graham Vane and the grocer's daughter! But Isaura was a Cicogna, an offspring of a very ancient and very noble house. Disparities of fortune, or mere worldly position, Mrs. Morley supremely despised. Here were the great parities of alliance,—parities in years and good looks and mental culture. So, in short, she in the invitation given to them had planned for the union between Isaura and Graham. To this plan she had an antagonist, whom she did not even guess, in Madame Savarin. That lady, as much attached to Isaura as was Mrs. Morley herself, and still more desirous of seeing a girl, brilliant and parentless, transferred from the companionship of Signora Venosta to the protection of a husband, entertained no belief in the serious attentions of Graham Vane. Perhaps she exaggerated his worldly advantages, perhaps she undervalued the warmth of his affections; but it was not within the range of her experience, confined much to Parisian life, nor in harmony with her notions of the frigidity and morgue of the English national character, that a rich and high-born young man, to whom a great career in practical public life was predicted, should form a matrimonial alliance with a foreign orphan girl, who, if of gentle birth, had no useful connections, would bring no correspondent dot, and had been reared and intended for the profession of the stage. She much more feared that the result of any attentions on the part of such a man would be rather calculated to compromise the orphan's name, or at least to mislead her expectations, than to secure her the shelter of a wedded home. Moreover, she had cherished plans of her own for Isaura's future. Madame Savarin had conceived for Gustave Rameau a friendly regard, stronger than that which Mrs. Morley entertained for Graham Vane, for it was more motherly. Gustave had been familiarized to her sight and her thoughts since he had first been launched into the literary world under her husband's auspices; he had confided to her his mortification in his failures, his joy in his successes. His beautiful countenance, his delicate health, his very infirmities and defects, had endeared him to her womanly heart. Isaura was the wife of all others who, in Madame Savarin's opinion, was made for Rameau. Her fortune, so trivial beside the wealth of the Englishman, would be a competence to Rameau; then that competence might swell into vast riches if Isaura succeeded on the stage. She found with extreme displeasure that Isaura's mind had become estranged from the profession to which she had been destined, and divined that a deference to the Englishman's prejudices had something to do with that estrangement. It was not to be expected that a Frenchwoman, wife to a sprightly man of letters, who had intimate friends and allies in every department of the artistic world, should cherish any prejudice whatever against the exercise of an art in which success achieved riches and renown; but she was prejudiced, as most Frenchwomen are, against allowing to unmarried girls the same freedom and independence of action that are the rights of women—French women—when married; and she would have disapproved the entrance of Isaura on her professional career until she could enter it as a wife, the wife of an artist, the wife of Gustave Rameau.

Unaware of the rivalry between these friendly diplomatists and schemers, Graham and Isaura glided hourly more and more down the current, which as yet ran smooth. No words by which love is spoken were exchanged between them; in fact, though constantly together, they were very rarely, and then but for moments, alone with each other. Mrs. Morley artfully schemed more than once to give them such opportunities for that mutual explanation of heart which, she saw, had not yet taken place; with art more practised and more watchful, Madame Savarin contrived to baffle her hostess's intention. But, indeed, neither Graham nor Isaura sought to make opportunities for themselves. He, as we know, did not deem himself wholly justified in uttering the words of love by which a man of honour binds himself for life; and she!—what girl pure-hearted and loving truly does not shrink from seeking the opportunities which it is for the man to court? Yet Isaura needed no words to tell her that she was loved,—no, nor even a pressure of the hand, a glance of the eye; she felt it instinctively, mysteriously, by the glow of her own being in the presence of her lover. She knew that she herself could not so love unless she were beloved.

Here woman's wit is keener and truthfuller than man's. Graham, as I have said, did not feel confident that he had reached the heart of Isaura. He was conscious that he had engaged her interest, that he had attracted her fancy; but often, when charmed by the joyous play of her imagination, he would sigh to himself, "To natures so gifted what single mortal can be the all in all."

They spent the summer mornings in excursions round the beautiful neigbbourhood, dined early, and sailed on the calm lake at moonlight. Their talk was such as might be expected from lovers of books in summer holidays. Savarin was a critic by profession; Graham Vane, if not that, at least owed such literary reputation as he had yet gained to essays in which the rare critical faculty was conspicuously developed.

It was pleasant to hear the clash of these two minds encountering each other; they differed perhaps less in opinions than in the mode by which opinions are discussed. The Englishman's range of reading was wider than the Frenchman's, and his scholarship more accurate; but the Frenchman had a compact neatness of expression, a light and nimble grace, whether in the advancing or the retreat of his argument, which covered deficiencies, and often made them appear like merits. Graham was compelled, indeed, to relinquish many of the forces of superior knowledge or graver eloquence, which with less lively antagonists he could have brought into the field, for the witty sarcasm of Savarin would have turned them aside as pedantry or declamation. But though Graham was neither dry nor diffuse, and the happiness at his heart brought out the gayety of humour which had been his early characteristic, and yet rendered his familiar intercourse genial and playful, still there was this distinction between his humour and Savarin's wit,—that in the first there was always something earnest, in the last always something mocking. And in criticism Graham seemed ever anxious to bring out a latent beauty, even in writers comparatively neglected; Savarin was acutest when dragging forth a blemish never before discovered in writers universally read.

Graham did not perhaps notice the profound attention with which Isaura listened to him in these intellectual skirmishes with the more glittering Parisian. There was this distinction she made between him and Savarin,— when the last spoke she often chimed in with some happy sentiment of her own; but she never interrupted Graham, never intimated a dissent from his theories of art, or the deductions he drew from them; and she would remain silent and thoughtful for some minutes when his voice ceased. There was passing from his mind into hers an ambition which she imagined, poor girl, that he would be pleased to think he had inspired, and which might become a new bond of sympathy between them. But as yet the ambition was vague and timid,—an idea or a dream to be fulfilled in some indefinite future.

The last night of this short-lived holiday-time, the party, after staying out on the lake to a later hour than usual, stood lingering still on the lawn of the villa; and their host, who was rather addicted to superficial studies of the positive sciences, including, of course, the most popular of all, astronomy, kept his guests politely listening to speculative conjectures on the probable size of the inhabitants of Sirius, that very distant and very gigantic inhabitant of heaven who has led philosophers into mortifying reflections upon the utter insignificance of our own poor little planet, capable of producing nothing greater than Shakspeares and Newtons, Aristotles and Caesars,—mannikins, no doubt, beside intellects proportioned to the size of the world in which they flourish.

As it chanced, Isaura and Graham were then standing close to each other and a little apart from the rest. "It is very strange," said Graham, laughing low, "how little I care about Sirius. He is the sun of some other system, and is perhaps not habitable at all, except by Salamanders. He cannot be one of the stars with which I have established familiar acquaintance, associated with fancies and dreams and hopes, as most of us do, for instance, with Hesperus, the moon's harbinger and comrade. But amid all those stars there is one—not Hesperus—which has always had from my childhood a mysterious fascination for me. Knowing as little of astrology as I do of astronomy, when I gaze upon that star I become credulously superstitious, and fancy it has an influence on my life. Have you, too, any favourite star?"

"Yes," said Isaura; "and I distinguish it now, but I do not even know its name, and never would ask it."

"So like me. I would not vulgarize my unknown source of beautiful illusions by giving it the name it takes in technical catalogues. For fear of learning that name I never have pointed it out to any one before. I too at this moment distinguish it apart from all its brotherhood. Tell me which is yours."

Isaura pointed and explained. The Englishman was startled. By what strange coincidence could they both have singled out from all the host of heaven the same favourite star? "Cher Vane," cried Savarin, "Colonel Morley declares that what America is to the terrestrial system Sirius is to the heavenly. America is to extinguish Europe, and then Sirius is to extinguish the world."

"Not for some millions of years; time to look about us," said the Colonel, gravely. "But I certainly differ from those who maintain that Sirius recedes from us. I say that he approaches. The principles of a body so enlightened must be those of progress." Then addressing Graham in English, he added, "there will be a mulling in this fogified planet some day, I predicate. Sirius is a keener!"

"I have not imagination lively enough to interest myself in the destinies of Sirius in connection with our planet at a date so remote," said Graham, smiling. Then he added in a whisper to Isaura, "My imagination does not carry me further than to wonder whether this day twelvemonth— the 8th of July-we two shall both be singling out that same star, and gazing on it as now, side by side."

This was the sole utterance of that sentiment in which the romance of love is so rich that the Englishman addressed to Isaura during those memorable summer days at Enghien.

CHAPTER V

The next morning the party broke up. Letters had been delivered both to Savarin and to Graham, which, even had the day for departure not been fixed, would have summoned them away. On reading his letter, Savarin's brow became clouded. He made a sign to his wife after breakfast, and wandered away with her down an alley in the little garden. His trouble was of that nature which a wife either soothes or aggravates, according sometimes to her habitual frame of mind, sometimes to the mood of temper in which she may chance to be,—a household trouble, a pecuniary trouble.

Savarin was by no means an extravagant man. His mode of living, though elegant and hospitable, was modest compared to that of many French authors inferior to himself in the fame which at Paris brings a very good return in francs; but his station itself as the head of a powerful literary clique necessitated many expenses which were too congenial to his extreme good-nature to be regulated by strict prudence. His hand was always open to distressed writers and struggling artists, and his sole income was derived from his pen and a journal in which he was chief editor and formerly sole proprietor. But that journal had of late not prospered. He had sold or pledged a considerable share in the proprietorship. He had been compelled also to borrow a sum large for him, and the debt obtained from a retired bourgeois who lent out his moneys "by way," he said, "of maintaining an excitement and interest in life," would in a few days become due. The letter was not from that creditor; but it was from his publisher, containing a very disagreeable statement of accounts, pressing for settlement, and declining an offer of Savarin for a new book (not yet begun) except upon terms that the author valued himself too highly to accept. Altogether, the situation was unpleasant. There were many times in which Madame Savarin presumed to scold her distinguished husband for his want of prudence and thrift. But those were never the times when scolding could be of no use. It could clearly be of no use now. Now was the moment to cheer and encourage him; to reassure him as to his own undiminished powers and popularity, for he talked dejectedly of himself as obsolete and passing out of fashion; to convince him also of the impossibility that the ungrateful publisher whom Savarin's more brilliant successes had enriched could encounter the odium of hostile proceedings; and to remind him of all the authors, all the artists, whom he in their earlier difficulties had so liberally assisted, and from whom a sum sufficing to pay the bourgeois creditor when the day arrived could now be honourably asked and would be readily contributed. In this last suggestion the homely prudent good-sense of Madame Savarin failed her. She did not comprehend that delicate pride of honour which, with all his Parisian frivolities and cynicism, dignified the Parisian man of genius. Savarin could not, to save his neck from a rope, have sent round the begging-hat to friends whom he had obliged. Madame Savarin was one of those women with large-lobed ears, who can be wonderfully affectionate, wonderfully sensible, admirable wives and mothers, and yet are deficient in artistic sympathies with artistic natures. Still, a really good honest wife is such an incalculable blessing to her lord, that, at the end of the talk in the solitary alley, this man of exquisite finesse, of the undefinably high-bred temperament, and, alas! the painful morbid susceptibility, which belongs to the genuine artistic character, emerged into the open sunlit lawn with his crest uplifted, his lip curved upward in its joyous mockery, and perfectly persuaded that somehow or other he should put down the offensive publisher, and pay off the unoffending creditor when the day for payment came. Still he had judgment enough to know that to do this he must get back to Paris, and could not dawdle away precious hours in discussing the principles of poetry with Graham Vane.

There was only one thing, apart from "the begging-hat," in which Savarin dissented from his wife.—She suggested his starting a new journal in conjunction with Gustave Rameau, upon whose genius and the expectations to be formed from it (here she was tacitly thinking of Isaura wedded to Rameau, and more than a Malibran on the stage) she insisted vehemently. Savarin did not thus estimate Gustave Rameau, thought him a clever, promising young writer in a very bad school of writing, who might do well some day or other. But that a Rameau could help a Savarin to make a fortune! No; at that idea he opened his eyes, patted his wife's shoulder, and called her "enfant."

Graham's letter was from M. Renard, and ran thus:—