15274 lines
730 KiB
Plaintext
15274 lines
730 KiB
Plaintext
MADAME BOVARY
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C 1857
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BY GUSTAVE FLAUBERT
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This edition edited and digitized by
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NEW WAVE PUBLISHERS
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2103 N. Liberty St.
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Portland, OR 97217
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Currently in the public domain.
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PART 1
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CHAPTER ONE
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We were in the study-hall when the headmaster entered,
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followed by a new boy not yet in school uniform and by the
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handy man carrying a large desk. Their arrival disturbed the
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slumbers of some of us, but we all stood up in our places as
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though rising from our work.
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The headmaster motioned us to be seated, then, turning
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to the teacher:
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"Monsieur Roger," he said in an undertone, "here's a
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pupil I'd like you to keep your eye on. I'm putting him in
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the last year of the lower school. If he does good work and
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behaves himself we'll move him up to where he ought to be at
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his age."
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The newcomer, who was hanging back in the corner so
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that the door half hid him from view, was a country lad of
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about fifteen, taller than any of us. He had his hair cut
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in bangs like a cantor in a village church, and he had a
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gentle, timid look. He wasn't broad in the shoulders, but
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his green jacket with its black buttons seemed tight under
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the arms; and through the vents of his cuffs we could see red
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wrists that were clearly unaccustomed to being covered. His
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yellowish breeches were hiked up by his suspenders, and from
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them emerged a pair of blue-stockinged legs. He wore heavy
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shoes, hobnailed and badly shined.
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We began to recite our lessons. He listened avidly, as
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though to a sermon, he didn't dare even cross his legs or
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lean on his elbows, and at two o'clock, when the bell rang
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for the next class, the teacher had to tell him to line up
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with the rest of us.
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We always flung our caps on the floor when entering a
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classroom, to free our hands. We hurled them under the seats
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from the doorway itself, in such a way that they struck the
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wall and raised a cloud of dust. That was "how it was done."
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But whether he had failed to notice this ritual or had
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not dared join in observance of it, his cap was still in his
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lap when we'd finished reciting our prayer. It was a head-
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gear of composite order, containing elements of an ordinary
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hat, a hussar's busby, a lancer's cap, a sealskin cap, and a
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nightcap; one of those wretched things whose mute hideousness
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suggests unplumbed depths, like an idiot's face. Ovoid and
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stiffened with whalebone, it began with three convex strips,
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then followed alternating lozenges of velvet and rabbit's fur,
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separated by a red band. Then came a kind of bag, terminating
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in a cardboard-lined polygon intricately decorated with braid.
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From this hung a long, excessively thin cord ending in a kind
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of tassel of gold netting. The cap was new, its peak was
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shiny.
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"Stand up," said the teacher.
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He rose. His cap dropped to the floor. Everyone began
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to laugh.
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He bent over for it. A boy beside him sent it down again
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with his elbow. Once again he picked it up.
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"How about getting rid of your helmet?" suggested the
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teacher, who was something of a wit.
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Another loud laugh from the students confused the poor
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fellow. He didn't know whether to keep the cap in his hand,
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drop it on the floor, or put it on his head. He sat down
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again and placed it in his lap.
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"Stand up," repeated the professor, "and tell me your
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name."
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The new boy mumbled a name that was unintelligible.
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"Say it again!"
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The same jumble of syllables came out, drowned in the
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jeers of the class.
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"Louder!" cried the teacher. "Louder!"
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With desperate resolve the new boy opened a mouth that
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seemed enormous, and as though calling someone he cried at
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the top of his lungs the word "Charbovari!"
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This touched off a roar that rose crescendo, punctuated
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with shrill screams. There was a shrieking, a banging of
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desks as everyone yelled, "Charbovari! Charbovari!" Then
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the din broke up into isolated cries that slowly diminished,
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occasionally starting up again along a line of desks where a
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stifled laugh would burst out here and there like a half-
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spent firecracker.
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But a shower of penalties gradually restored order, and
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the teacher, finally grasping the name Charles Bovary after
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it had been several times spelled out and repeated and he
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had read it aloud himself, at once commanded the poor devil
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to sit in the dunce's seat, at the foot of the platform. He
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began to move toward it, then hesitated.
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"What are you looking for?" the teacher demanded.
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"My c--" the new boy said timidly, casting an uneasy
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glance around him.
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"Everybody will stay and write five hundred lines!"
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Like Neptune's "Quos ego," those words, furiously
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uttered, cut short the threat of a new storm. "Quiet!" the
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indignant teacher continued, mopping his forehead with a
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handkerchief he took from his toque. "As for you," he said
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to the new boy, "you'll copy out for me twenty times all the
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tenses of ridiculus sum."
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Then, more gently, "You'll find your cap. No one has
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stolen it."
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All was calm again. Heads bent over copybooks, and for
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the next two hours the new boy's conduct was exemplary, even
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though an occasional spitball, sent from the nib of a pen,
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struck him wetly in the face. He wiped himself each time
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with his hand, and otherwise sat there motionless, his eyes
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lowered.
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That evening, in study period, he took his sleeveguards
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from his desk, arranged his meager equipment, and carefully
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ruled his paper. We saw him working conscientiously, looking
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up every word in the dictionary, taking great pains. It was
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doubtless thanks to this display of effort that he was not
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demoted to a lower form. For while he had a fair knowledge
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of grammatical rules, his translations lacked elegance. He
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had begun his Latin with this village priest. His thrifty
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parents had sent him away to school as late as possible.
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His father, Monsieur Charles-Denis-Bartholome Bovary,
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had been an army surgeon's aide, forced to leave the service
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about 1812 as a result of involvement in a conscription
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scandal. He had then turned his personal charms to advantage,
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picking up a dowry of 60,000 francs brought to him by a knit-
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goods dealer's daughter who had fallen in love with his
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appearance. He was a handsome man, much given to bragging and
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clanking his spurs. His side whiskers merged with his
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mustache, his fingers were always loaded with rings, his
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clothes were flashy. He had the look of a bully and the easy
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cajoling ways of a traveling salesman. Once married, he
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lived off his wife's money for two or three years. He ate
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well, rose late, smoked big porcelain pipes, stayed out every
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night to see a show, spent much of his time in cafes. His
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father-in-law died and left very little. This made him
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indignant, and he "went into textiles" and lost some money.
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Then he retired to the country, with the intention of "making
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things pay." But he knew as little about crops as he did
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about calico, and since he rode his horses instead of working
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them in the fields, drank his cider bottled instead of
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selling it by the barrel, ate his best poultry, and greased
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his hunting boots with the fat from his pigs, he soon realized
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that the had better give up all idea of profit-making.
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So for two hundred francs a year he rented, in a village
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on the border of Normandy and Picardy, a dwelling that was
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half farm, half gentleman's residence, and there, surly,
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eaten by discontent, cursing heaven, envying everyone, he
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shut himself up at the age of forty-five, disgusted with
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mankind, he said, and resolved to live in peace.
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His wife had been mad about him at the beginning. In
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her love she had tendered him a thousand servilities that
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had alienated him all the more. Once sprightly, all outgoing
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and affectionate, with age she had grown touchy, nagging and
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nervous, like stale wine turning to vinegar. At first she
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had suffered uncomplainingly, watching him chase after every
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trollop in the village and having him come back to her at
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night from any one of twenty disgusting places surfeited and
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stinking of drink. Then her pride rebelled. She withdrew
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into her shell, and swallowing her rage she bore up stoically
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until her death. She was always busy, always doing things.
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She was constantly running to lawyers, to the judge, remember-
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ing when notes fell due and obtaining renewals. And at home
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she was forever ironing, sewing, washing, keeping an eye on
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the hired men, figuring their wages. Monsieur, meanwhile,
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never lifted a finger. He sat smoking in the chimney corner
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and spitting into the ashes, continually falling into a grumpy
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doze and waking to utter uncomplimentary remarks.
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When she had a child it had to be placed out with a wet
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nurse. And then later, when the little boy was back with
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its parents, he was pampered like a prince. His mother
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stuffed him with jams and jellies. His father let him run
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barefoot, and fancied himself a disciple of Rousseau to the
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point of saying he'd be quite willing to have the boy go
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naked like a young animal. To counter his wife's maternal
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tendencies he tried to form his son according to a certain
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virile ideal of childhood and to harden his constitution by
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subjecting him to strict discipline, Spartan-style. He sent
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him to bed without a fire, taught him to take great swigs of
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rum and to ridicule religious processions. But the child
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was pacific by nature, and such training had little effect.
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His mother kept him tied to her apron-strings. She made him
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paper cutouts, told him stories, and conversed with him in
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endless bitter-sweet monologues full of coaxing chatter. In
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the isolation of her life she transferred to her baby all
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her own poor frustrated ambitions. She dreamed of glamorous
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careers, She saw him tall, handsome, witty, successful, a
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bridge builder or a judge. She taught him to read, and even,
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on an old piano she had, to sing two or three sentimental
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little songs. But from Monsieur Bovary, who cared little
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for culture, all this brought merely the comment that it was
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"useless." Could they ever afford to give him an education,
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to buy him a practice or a business? Besides, "with enough
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nerve a man could always get ahead in the world." Madame
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Bovary pursed her lips, and the boy ran wild in the village.
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He followed the hired men and chased crows, pelting
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them with clods of earth until they flew off. He ate the
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wild blackberries that grew along the ditches, looked after
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the turkeys with a long stick, pitched hay, roamed the woods,
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played hopscotch in the shelter of the church porch when it
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rained, and on important feast-days begged the sexton to let
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him toll the bells so that he could hang with his full weight
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from the heavy rope and feel it sweep him off his feet as it
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swung in its arc.
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He throve like an oak. His hands grew strong and his
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complexion ruddy.
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When he was twelve, his mother had her way. He began
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his studies. The priest was asked to tutor him. But the
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lessons were so short and irregular that they served little
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purpose. They took place at odd hurried moments. In the
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sacristy between a baptism and a funeral. Or else the
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priest would send for him after the Angelus, when his parish
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business was over for the day. They would go up to his
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bedroom and begin, midges and moths fluttering around the
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candle. There in the warmth the child would fall asleep,
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and the old man, too, would soon be dozing and snoring, his
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hands folded over his stomach and his mouth open. Other
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times, as Monsieur le cure was returning from a sick-bed
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with the holy oils, he would catch sight of Charles
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scampering in the fields, and would call him over and
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lecture him for a few minutes, taking advantage of the
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occasion to make him conjugate a verb right there, under a
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tree. Rain would interrupt them, or some passer-by whom
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they knew. However, he was always satisfied with him, and
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even said that "the young fellow had a good memory."
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Things weren't allowed to stop there. Madame was
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persistent. Shamed into consent; or, rather, his resistance
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worn down, Monsieur gave in without further struggle. They
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waited a year, until the boy had made his First Communion,
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then six months more, and finally Charles was sent to the
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lycee in Rouen. His father delivered him himself, toward
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the end of October, during the fortnight of the Saint-Romain
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fair.
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It would be very difficult today for any of us to say
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what he was like. There was nothing striking about him. He
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played during recess, worked in study-hall, paid attention
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in class, slept soundly in the dormitory, ate heartily in
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the refectory. His local guardian was a wholesale hardware
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dealer in the rue Ganterie, who called for him one Sunday a
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month after early closing, sent him for a walk along the
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riverfront to look at the boats, then brought him back to
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school by seven, in time for supper. Every Thursday night
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Charles wrote a long letter to his mother, using red ink and
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three seals. Then he looked over his history notes, or
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leafed through an old volume of Anacharsis that lay around
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the study-hall. When his class went for outings he talked
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with the school servant who accompanied them, a countryman
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like himself.
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By working hard he managed to stay about in the middle
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of the class. Once he even got an honorable mention in
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natural history. But before he finished upper school his
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parents took him out of the lycee entirely and sent him to
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study medicine, confident that he could get his baccalaureate
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degree anyway by making up the intervening years on his own.
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His mother chose a room for him, four flights up over-
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looking the stream called the Eau-de-Robec, in the house of
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a dyer she knew. She arranged for his board, got him a table
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and two chairs, and sent home for an old cherry bed. And to
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keep her darling warm she bought him a small cast-iron stove
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and a load of wood. Then after a week she went back to her
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village, urging him a thousand times over to behave himself
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now that he was on his own.
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The curriculum that he read on the bulletin board
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staggered him. Courses in anatomy, pathology, pharmacy,
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chemistry, botany, clinical practice, therapeutics, to say
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nothing of hygiene and materia medica. Names of unfamiliar
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etymology that were like so many doors leading to solemn
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shadowy sanctuaries.
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He understood absolutely nothing of any of it. He
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listened in vain. He could not grasp it. Even so, he
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worked. He filled his notebooks, attended every lecture,
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never missed hospital rounds. In the performance of his daily
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task he was like a mill-horse that treads blindfolded in a
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circle, utterly ignorant of what he is grinding.
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To save him money, his mother sent him a roast of veal
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each week by the stagecoach, and off this he lunched when he
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came in from the hospital, warming his feet by beating them
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against the wall. Then he had to hurry off to lectures, to
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the amphitheatre, to another hospital, crossing the entire
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city again when he returned. At night, after eating the
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meager dinner his landlord provided, he climbed back up to
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his room, back to work. Steam rose from his damp clothes as
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he sat beside the red-hot stove.
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On fine summer evenings, at the hour when the warm
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streets are empty and servant girls play at shuttlecock in
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front of the houses, he would open his window and lean out.
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The stream, which makes this part of Rouen a kind of squalid
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little Venice, flowed just below, stained yellow, purple or
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blue between its bridges and railings. Workmen from the dye
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plants, crouching on the bank, washed their arms in the
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water. Above him, on poles projecting from attics, skeins
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of cotton were drying in the open. And beyond the roof-tops
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stretched the sky, vast and pure, with the red sun setting.
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How good it must be in the country! How cool in the beech
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grove! And he opened his nostrils wide, longing for a whiff
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of the fresh and fragrant air, but none was ever wafted to
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where he was.
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He grew thinner and taller, and his face took on a kind
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of plaintive expression that almost made it interesting.
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The fecklessness that was part of his nature soon led
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him to break all his good resolutions. One day he skipped
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rounds, the next, a lecture. Idleness, he found, was to his
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taste, and gradually he stayed away entirely.
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He began to go to cafes. Soon he was crazy about
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dominoes. To spend his evenings shut up in a dirty public
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room, clinking black-dotted pieces of sheep's bone on a
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marble table, seemed to him a marvelous assertion of his
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freedom that raised him in his own esteem. It was like an
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initiation into the world, admission to a realm of forbidden
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delights, and every time he entered the cafe the feel of the
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doorknob in his hand gave him a pleasure that was almost
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sensual. Now many things pent up within him burst their
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bonds. He learned verses by heart and sang them at student
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gatherings, developed an enthusiasm for Beranger, learned to
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make punch, and knew, at long last, the joys of love.
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Thanks to that kind of preparation he failed completely
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the examination that would have entitled him to practice
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medicine as an offcier de sante. And his parents were waiting
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for him at home that very night at celebrate his success!
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He set out on foot. At the outskirts of the village he
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stopped, sent someone for his mother, and told her all.
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She forgave him, laying his downfall to the unfairness of
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the examiners, and steadied him by promising to make all
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explanations. (It was five years before Monsieur Bovary
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learned the truth. By that time it was an old story and he
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could accept it, especially since he couldn't conceive of
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his own offspring as being stupid.)
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Charles set to work again and crammed ceaselessly,
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memorizing everything on which he could possibly be
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questioned. He passed with a fairly good grade. What a
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wonderful day for his mother! Everyone was asked to dinner.
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Where should he practice? At Tostes. In that town
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there was only one elderly doctor, whose death Madame
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Bovary had long been waiting for, and the old man hadn't yet
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breathed his last when Charles moved in across the road as
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his successor.
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But it wasn't enough to have raised her son, sent him
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into medicine, and discovered Tostes for him to practice in.
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He had to have a wife. She found him one, a huissier's
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widow in Dieppe, forty-five years old, with twelve hundred
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francs a year.
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Ugly though she was, and thin as a lath, with a face as
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spotted as a meadow in springtime, Madame Dubuc unquestionably
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had plenty of suitors to choose from. To gain her ends Madame
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Bovary had to get rid of all the rivals, and her outwitting of
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one of them, a butcher whose candidacy was favored by the
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local clergy, was nothing short of masterly.
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Charles had envisaged marriage as the beginning of a
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better time, thinking that he would have greater freedom and
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be able to do as he liked with himself and his money. But
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it was his wife who ruled. In front of company he had to say
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certain things and not others, he had to eat fish on Friday,
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dress the way she wanted, obey her when she ordered him to
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dun nonpaying patients. She opened his mail, watched his
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every move, and listened through the thinness of the wall
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when there were women in his office.
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She had to have her cup of chocolate every morning.
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There was no end to the attentions she required. She
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complained incessantly of her nerves, of pains in her chest,
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of depressions and faintnesses. The sound of anyone moving
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about near her made her ill. When people left her she couldn't
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bear her loneliness. When they came to see her it was, of
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course, "to watch her die." When Charles came home in the
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evening she would bring her long thin arms out from under
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her bedclothes, twine them around his neck, draw him down
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beside her on the edge of the bed, and launch into the tale
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of her woes. He was forgetting her, he was in love with
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someone else! How right people had been, to warn her that
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he'd make her unhappy! And she always ended by asking him
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to give her a new tonic and a little more love.
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PART 1
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CHAPTER TWO
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One night about eleven o'clock they were awakened by a
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noise; a horse had stopped just at their door. The maid
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opened the attic window and parleyed for some time with a man
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who stood in the street below. He had been sent to fetch the
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doctor, he had a letter. Nastasie came downstairs, shivering,
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turned the key in the lock and pushed back the bolts one by
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one. The man left his horse, followed the maid, and entered
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the bedroom at her heels. Out of his gray-tasseled woolen
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cap he drew a letter wrapped in a piece of cloth, and with a
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careful gesture handed it to Charles, who raised himself on
|
||
his pillow to read it. Nastasie stood close to the bed,
|
||
holding the light. Madame had modestly turned her back and
|
||
lay facing the wall.
|
||
|
||
This letter, sealed with a small blue wax seal, begged
|
||
Monsieur Bovary to come immediately to a farm called Les
|
||
Bertaux, to set a broken leg. Now, from Tostes to Les Bertaux
|
||
is at least fifteen miles, going by way of Longueville And
|
||
|
||
Saint-Victor. It was a pitch-black night. Madame Bovary was
|
||
fearful lest her husband meet with an accident. So it was
|
||
decided that the stable hand who had brought the letter should
|
||
start out ahead, and that Charles should follow three hours
|
||
later, by that time there would be a moon. A boy would be
|
||
sent out to meet him, to show him the way to the farm and open
|
||
the field gates.
|
||
|
||
About four o'clock in the morning Charles set out for Les
|
||
Bertaux, wrapped in a heavy coat. He was still drowsy from
|
||
his warm sleep, and the peaceful trot of his mare lulled him
|
||
like the rocking of a cradle. Whenever she stopped of her own
|
||
accord in front of one of those spike-edged holes that farmers
|
||
dig along the roadside to protect their crops, he would wake
|
||
up with a start, quickly remember the broken leg, and try to
|
||
recall all the fractures he had ever seen. The rain had
|
||
stopped, day was breaking, and on the leafless branches of the
|
||
apple trees birds were perched motionless, ruffling up their
|
||
little feathers in the cold morning wind. The countryside
|
||
stretched flat as far as eye could see, and the tufts of trees
|
||
clustered around the farmhouses were widely spaced dark purple
|
||
stains on the vast gray surface that merged at the horizon
|
||
into the dull tone of the sky. From time to time Charles
|
||
would open his eyes, and then, his senses dimmed by a return
|
||
of sleep, he would fall again into a drowsiness in which
|
||
recent sensations became confused with older memories to give
|
||
him double visions of himself, as husband and as student,
|
||
lying in bed as he had been only an hour or so before, and
|
||
walking through a surgical ward as in the past. In his mind
|
||
the hot smell of poultices mingled with the fresh smell of
|
||
the dew, he heard at once the rattle of the curtain rings on
|
||
hospital beds, and the sound of his wife's breathing as she
|
||
lay asleep. At Vassonville he saw a little boy sitting in
|
||
the grass beside a ditch.
|
||
|
||
"Are you the doctor?" the child asked.
|
||
|
||
And when Charles answered, he took his wooden shoes in
|
||
his hands and began to run in front of him.
|
||
|
||
As they continued on their way, the officier de sante
|
||
gathered from what his guide told him that Monsieur Rouault
|
||
must be a very well-to-do farmer indeed. He had broken his
|
||
leg the previous evening, on his way back from celebrating
|
||
Twelfth Night at the home of a neighbor. His wife had been
|
||
dead for two years. He had with him only his "demoiselle,"
|
||
his daughter, who kept house for him.
|
||
|
||
Now the road was more deeply rutted, they were approaching
|
||
Les Bertaux. The boy slipped through an opening in a hedge,
|
||
disappeared, then reappeared ahead, opening a farmyard gate
|
||
from within. The horse was slipping on the wet grass, Charles
|
||
had to bend low to escape over-hanging branches. Kenneled
|
||
watchdogs were barking, pulling at their chains. As he passed
|
||
through the gate of Les Bertaux, his horse took fright and
|
||
shied wildly.
|
||
|
||
It was a porsperous-looking farm. Through the open upper-
|
||
halves of the stable doors great plough-horses could be seen
|
||
placidly feeding from new racks. Next to the out-buildings
|
||
stood a big manure pile, and in among the chickens and turkeys
|
||
pecking at its steaming surface were five or six peacocks,
|
||
favorite show pieces of cauchois farmyards. The sheepfold was
|
||
long, the barn lofty, its walls as smooth as your hand. In
|
||
the shed were two large carts and four ploughs complete with
|
||
whips, horse collars and full trappings, the blue wool pads
|
||
gray under the fine dust that sifted down from the lofts. The
|
||
farmyard sloped upwards, planted with symmetrically spaced
|
||
trees, and from near the pond came the merry sound of a flock
|
||
of geese.
|
||
|
||
A young woman wearing a blue merino dress with three
|
||
flounces came to the door of the house to greet Monsieur
|
||
Bovary, and she ushered him into the kitchen, where a big open
|
||
fire was blazing. Around its edges the farm hands' breakfast
|
||
was bubbling in small pots of assorted sizes. Damp clothes
|
||
were drying inside the vast chimney-opening. The fire shovel,
|
||
the tongs, and the nose of the bellows, all of colossal
|
||
proportions, shone like polished steel, and along the walls
|
||
hung a lavish array of kitchen utensils, glimmering in the
|
||
bright light of the fire and in the first rays of the sun that
|
||
were now beginning to come in through the windowpanes.
|
||
|
||
Charles went upstairs to see the patient. He found him
|
||
in bed, sweating under blankets, his nightcap lying where he
|
||
had flung it. He was a stocky little man of fifty, fair-
|
||
skinned, blue-eyed, bald in front and wearing earrings. On a
|
||
chair beside him was a big decanter of brandy, he had been
|
||
pouring himself drinks to keep up his courage. But as soon
|
||
as he saw the doctor he dropped his bluster, and instead of
|
||
cursing as he had been doing for the past twelve hours he
|
||
began to groan weakly.
|
||
|
||
The fracture was a simple one, without complications of
|
||
any kind. Charles couldn't have wished for anything easier.
|
||
Then he recalled his teachers' bedside manner in accident
|
||
cases, and proceeded to cheer up his patient with all kinds
|
||
of facetious remarks, a truly surgical attention, like the
|
||
oiling of a scalpel. For splints, they sent someone to bring
|
||
a bundle of laths from the carriage shed. Charles selected
|
||
one, cut it into lengths and smoothed it down with a piece of
|
||
broken window glass, while the maidservant tore sheets for
|
||
bandages and Mademoiselle Emma tried to sew some pads. She
|
||
was a long time finding her workbox, and her father showed
|
||
his impatience. She made no reply, but as she sewed she kept
|
||
pricking her fingers and raising them to her mouth to suck.
|
||
|
||
Charles was surprised by the whiteness of her fingernails.
|
||
They were almond-shaped, tapering, as polished and shining as
|
||
Dieppe ivories. Her hands, however, were not pretty, not pale
|
||
enough, perhaps, a little rough at the knuckles, and they were
|
||
too long, without softness of line. The finest thing about
|
||
her was her eyes. They were brown, but seemed black under the
|
||
long eyelashes, and she had an open gaze that met yours with
|
||
fearless candor.
|
||
|
||
When the binding was done, the doctor was invited by
|
||
Monsieur Rouault himself to "have something" before he left.
|
||
|
||
Charles went down to the parlor on the ground floor. At
|
||
the foot of a great canopied bed, it calico hangings printed
|
||
with a design of people in Turkish dress, there stood a little
|
||
table on which places had been laid for two, a silver mug
|
||
beside each plate. From a tall oaken cupboard facing the
|
||
window came an odor of orris root and damp sheets. In corners
|
||
stood rows of grain sacks, the overflow from the granary,
|
||
which was just adjoining, approached by three stone steps.
|
||
The room's only decoration, hanging from a nail in the center
|
||
of the flaking green-painted wall, was a black pencil drawing
|
||
of a head of Minerva framed in gold and inscribed at the
|
||
bottom in Gothic letters "To my dear Papa."
|
||
|
||
They spoke about the patient first, and then about the
|
||
weather, about the bitter cold, about the wolves that roamed
|
||
the fields at night, Mademoiselle Rouault didn't enjoy country
|
||
life, especially now, with almost the full responsibility of
|
||
the farm on her shoulders. The room was chilly, and she
|
||
shivered as she ate. Charles noticed that her lips were full,
|
||
and that she had the habit of biting them in moments of
|
||
silence.
|
||
|
||
Her neck rose out of the low fold of a white collar. The
|
||
two black sweeps of her hair, pulled down from a fine center
|
||
part that followed the curve of her skull, were so sleek that
|
||
each seemed to be one piece. Covering all but the very tips
|
||
of her ears, it was gathered at the back into a large chignon,
|
||
and toward the temples it waved a bit, a detail that the
|
||
country doctor now observed for the first time in his life.
|
||
Her skin was rosy over her cheekbones. A pair of shell-rimmed
|
||
eyeglasses, like a man's, was tucked between two buttons of
|
||
her bodice.
|
||
|
||
When Charles came back downstairs after going up to take
|
||
leave of Monsieur Rouault, he found her standing with her
|
||
forehead pressed against the windowpane, looking out at the
|
||
garden, where the beanpoles had been thrown down by the wind.
|
||
She turned around.
|
||
|
||
"Are you looking for something?' she asked.
|
||
|
||
"For my riding crop," he said.
|
||
|
||
And he began to rummage on the bed, behind doors, under
|
||
chairs. It had fallen on the floor between the grainbags and
|
||
the wall. Mademoiselle Emma caught sight of it and reached
|
||
for it, bending down across the sacks. Charles hurried over
|
||
politely, and as he, too, stretched out his arm he felt his
|
||
body in slight contact with the girl's back, bent there
|
||
beneath him. She stood up, blushing crimson, and glanced at
|
||
him over her shoulder as she handed him his crop.
|
||
|
||
Instead of returning to Les Bertaux three days later, as
|
||
he had promised, he went back the very next day, then twice a
|
||
week regularly, not to mention unscheduled calls he made from
|
||
time to time, as though by chance.
|
||
|
||
Everything went well; the bone knit according to the
|
||
rules, and after forty-six days, when Monsieur Rouault was seen
|
||
trying to get around his farmyard by himself, everyone began to
|
||
think of Monsieur Bovary as a man of great competence. Monsieur
|
||
Rouault said he wouldn't have been better mended by the biggest
|
||
doctors of Yvetot or even Rouen.
|
||
|
||
As for Charles, he didn't ask himself why he enjoyed going
|
||
to Les Bertaux. Had he thought of it, he would doubtless have
|
||
attributed his zeal to the seriousness of the case, or perhaps
|
||
to the fee he hoped to earn. Still, was that really why his
|
||
visits to the farm formed so charming a contrast to the drabness
|
||
of the rest of his life? On such days he would rise early, set
|
||
off at a gallop, urge his horse, and when he was almost there he
|
||
would dismount to dust his shoes on the grass, and put on his
|
||
black gloves. He enjoyed the moment of arrival, the feel of the
|
||
gate as it yielded against his shoulder. He enjoyed the rooster
|
||
crowing on the wall, the farm boys coming to greet him. He
|
||
enjoyed the barn and the stables. He enjoyed Monsieur Rouault,
|
||
who would clap him in the palm of the hand and call him his
|
||
"savior." He enjoyed hearing Mademoiselle Emma's little sabots
|
||
on the newly washed flagstones of the kitchen floor. With their
|
||
high heels they made her a little taller, and when she walked in
|
||
them ahead of him their wooden soles kept coming up with a quick,
|
||
sharp, tapping sound against the leather of her shoes.
|
||
|
||
She always accompanied him to the foot of the steps outside
|
||
the door. If his horse hadn't been brought around she would wait
|
||
there with him. At such moments they had already said good-bye,
|
||
and stood there silent. The breeze eddied around her, swirling
|
||
the stray wisps of hair at her neck, or sending her apron strings
|
||
flying like streamers around her waist. Once she was standing
|
||
there on a day of thaw, when the bark of the trees in the farm-
|
||
yard was oozing sap and the snow was melting on the roofs. She
|
||
went inside for her parasol, and opened it. The parasol was a
|
||
rosy iridescent silk, and the sun pouring through it painted the
|
||
white skin of her face with flickering patches of light. Beneath
|
||
it she smiled at the springlike warmth, and drops of water could
|
||
be heard falling one by one on the taut moire.
|
||
|
||
During the first period of Charles' visits to Les Bertaux,
|
||
Madame Bovary never failed to ask about the patient's progress,
|
||
and in her double-entry ledger she had given Monsieur Rouault
|
||
a fine new page to himself. But when she heard that he had a
|
||
daughter she began to make inquiries, and she learned that
|
||
Mademoiselle Rouault had had her schooling in a convent, with
|
||
the Ursuline nuns, had received, as the saying went, a "fine
|
||
education," in the course of which she had been taught dancing,
|
||
geography, drawing, needlework and a little piano. Think of
|
||
that!
|
||
|
||
"So that's why he brightens up when he goes there! That's
|
||
why he wears his new waistcoat, even in the rain! Ah! So she's
|
||
at the bottom of it!"
|
||
|
||
Instinctively she hated her. At first she relieved her
|
||
feelings by making insinuations. Charles didn't get them. Then
|
||
she let fall parenthetical remarks which he left unanswered out
|
||
of fear of a storm, and finally she was driven to point-blank
|
||
reproaches which he didn't know how to answer. Why was it that
|
||
he kept going back to Les Bertaux, now that Monsieur Rouault was
|
||
completely mended and hadn't even paid his bill? Ah! Because
|
||
there was a certain person there. Somebody who knew how to talk.
|
||
Somebody who did embroidery. Somebody clever. That's what he
|
||
enjoyed, he had to have city girls! And she went on:
|
||
|
||
"Rouault's daughter, a city girl! Don't make me laugh!
|
||
The grandfather was a shepherd, and there's a cousin who
|
||
barely escaped sentence for assault and battery. Scarcely
|
||
good reasons for giving herself airs, for wearing silk dresses
|
||
to church like a countess! Besides, her father, poor fellow,
|
||
if it hadn't been for last year's colza crop he'd have been
|
||
hard put to it to pay his debts."
|
||
|
||
For the sake of peace, Charles stopped going to Les
|
||
Bertaux. Heloise had made him swear, his hand on his prayer
|
||
book, that he would never go back there again. She had
|
||
accomplished it after much sobbing and kissing, in the midst
|
||
of a great amorous explosion. He yielded, but the strength
|
||
of his desire kept protesting against the servility of his
|
||
behavior, and with a naive sort of hypocrisy he told himself
|
||
that this very prohibition against seeing her implicitly
|
||
allowed him to love her. And then the widow he was married to
|
||
was skinny, she was long in the tooth, all year round she wore
|
||
a little black shawl with a corner hanging down between her
|
||
shoulder blades, her rigid form was always sheathed in dresses
|
||
that were like scabbards. They were always too short, they
|
||
showed her ankles, her big shoes, and her shoelaces criss-
|
||
crossing their way up her gray stockings.
|
||
|
||
Charles' mother came to see them from time to time, but
|
||
after a few days she invariably took on her daughter-in-law's
|
||
sharpness against her son, and like a pair of knives they kept
|
||
scarifying him with their comments and criticisms. He oughtn't
|
||
to eat so much! Why always offer a drink to everyone who
|
||
called? So pigheaded not to wear flannel underwear!
|
||
|
||
Early in the spring it happened that a notary in Ingou-
|
||
ville, custodian of the Widow Dubuc's capital, sailed away one
|
||
fine day, taking with him all his clients' money. To be sure,
|
||
Heloise still owned her house in the rue Saint-Francois in
|
||
Dieppe, as well as a six thousand franc interest in a certain
|
||
ship, nevertheless, of the great fortune she'd always talked
|
||
so much about, nothing except a few bits of furniture and some
|
||
clothes had ever been seen in the household. Now, inevitably,
|
||
everything came under investigation. The house in Dieppe, it
|
||
turned out, was mortgaged up to it eaves, what she had placed
|
||
with the notary, God only knew, and her share in the boat
|
||
didn't amount to more than three thousand. So she'd been
|
||
lying, lying all along, the dear, good lady! In his rage the
|
||
older Monsieur Bovary dashed a chair to pieces on the floor
|
||
and accused his wife of ruining their son's life by yoking
|
||
him to such an ancient nag, whose harness was worth even less
|
||
than her carcass. They came to Tostes. The four of them had
|
||
it out. There were scenes. The weeping Heloise threw herself
|
||
into her husband's arms and appealed to him to defend her
|
||
against his parents. Charles began to take her part. The
|
||
others flew into a rage and left.
|
||
|
||
But, "the fatal blow had been struck." A week later she
|
||
was hanging out washing in her yard when suddenly she began to
|
||
spit blood, and the next day, while Charles was looking the
|
||
other way, drawing the window curtain, she gave a cry, then a
|
||
sigh, and fainted. She was dead! Who would have believed it?
|
||
|
||
When everything was over at the cemetery, Charles returned
|
||
to the house. There was no one downstairs, and he went up to
|
||
the bedroom. One of her dresses was still hanging in the alcove.
|
||
He stayed there until dark, leaning against the writing desk,
|
||
his mind full of sad thoughts. Poor thing! She had loved him,
|
||
after all.
|
||
|
||
PART 1
|
||
|
||
CHAPTER THREE
|
||
|
||
One morning Monsieur Rouault came to pay Charles for
|
||
setting his leg, seventy-five francs in two-francs pieces,
|
||
with a turkey thrown in for good measure. He had heard of
|
||
his bereavement, and offered him what consolation he could.
|
||
|
||
"I know what it is," he said, patting him on the shoulder.
|
||
"I've been through just what you're going through. When I
|
||
lost my wife I went out into the fields to be by myself. I
|
||
lay down under a tree and cried. I talked to God, told him
|
||
all kinds of crazy things. I wished I were dead, like the
|
||
maggoty moles I saw hanging on the branches. And when I
|
||
thought of how other men were holding their wives in their
|
||
arms at that very moment, I began to pound my stick on the
|
||
ground. I was almost out of my mind. I couldn't eat. The
|
||
very thought of going to a cafe made me sick, you'd never
|
||
believe it. Well, you know, what with one day gradually
|
||
nosing out another, and spring coming on top of winter and
|
||
then fall after the summer, it passed bit by bit, drop by
|
||
drop. It just went away, it disappeared. I mean it grew
|
||
less and less. There's always part of it you never get rid
|
||
of entirely. You always feel something here." And he put
|
||
his hand on his chest. "But it happens to us all, and you
|
||
mustn't let yourself go, you mustn't want to die just because
|
||
other people are dead. You must brace up, Monsieur Bovary.
|
||
Things will get better. Come and see us. My daughter talks
|
||
about you every once in a while. She says you've probably
|
||
|
||
forgotten her. Spring will soon be here. You and I'll go
|
||
out after a rabbit, it will take your mind off things."
|
||
|
||
Charles took his advice. He went back to Les Bertaux.
|
||
He found it unchanged since yesterday, since five months
|
||
before, that is. The pear trees were already in flower, and
|
||
the sight of Monsieur Rouault coming and going normally
|
||
around the place made everything livelier.
|
||
|
||
The farmer seemed to think that the doctor's grief-
|
||
stricken condition called for a special show of consideration,
|
||
and he urged him to keep his hat on, addressed him in a low
|
||
voice as though he were ill, and even pretended to be angry
|
||
that no one had thought to cook him something special and
|
||
light, like custard or stewed pears. He told him funny
|
||
stories. Charles found himself laughing, but then the thought
|
||
of his wife returned to sober him. By the end of the meal he
|
||
had forgotten her again.
|
||
|
||
He thought of her less and less as he grew used to living
|
||
alone. The novelty and pleasure of being independent soon
|
||
made solitude more bearable. Now he could change his meal
|
||
hours at will, come and go without explanation, stretch out
|
||
across the bed if he was particularly tired. So he pampered
|
||
and coddled himself and accepted all the comforting everyone
|
||
offered. Besides, his wife's death had helped him quite a bit
|
||
professionally. For a month or so everyone had kept saying,
|
||
"Poor young man! What a tragedy!" His reputation grew, more
|
||
and more patients came. Now he went to Les Bertaux whenever
|
||
he pleased. He was aware of a feeling of hope, nothing very
|
||
specific, a vague happiness. He thought himself better-
|
||
looking when he stood at the mirror to brush his whiskers.
|
||
|
||
One day he arrived about three o'clock. Everyone was
|
||
in the fields. He went into the kitchen, and at first didn't
|
||
see Emma. The shutters were closed. The sun, streaming in
|
||
between the slats, patterned the floor with long thin stripes
|
||
that broke off at the corners of the furniture and quivered
|
||
on the ceiling. On the table, flies were climbing up the
|
||
sides of glasses that had recently been used, and buzzing as
|
||
they struggled to keep from drowning in the cider at the
|
||
bottom. The light coming down the chimney turned the soot
|
||
on the fireback to velvet and gave a bluish cast to the cold
|
||
ashes. Between the window and the hearth Emma sat sewing.
|
||
Her shoulders were bare, beaded with little drops of sweat.
|
||
|
||
Country-style, she offered him something to drink. He
|
||
refused, she insisted, and finally suggested with a laugh
|
||
that he take a liqueur with her. She brought a bottle of
|
||
curacao from the cupboard, reached to a high shelf for two
|
||
liqueur glasses, filled one to the brim and poured a few
|
||
drops in the other. She touched her glass to his and raised
|
||
it to her mouth. Because it was almost empty she had to
|
||
bend backwards to be able to drink, and with her head tilted
|
||
back, her neck and lips outstretched, she began to laugh at
|
||
tasting nothing. And then the tip of her tongue came out
|
||
from between her small teeth and began daintily to lick the
|
||
bottom of the glass.
|
||
|
||
She sat down again and resumed her work. She was darn-
|
||
ing a white cotton stocking. She sewed with her head bowed,
|
||
and she did not speak, nor did Charles. A draft was coming
|
||
in under the door and blowing a little dust across the stone
|
||
floor. He watched it drift, and was aware of a pulsating
|
||
sound inside his head. That, and the clucking of a laying
|
||
hen outside in the yard. From time to time Emma cooled her
|
||
cheeks with the palms of her hands, and then cooled her hands
|
||
against the iron knobs of the tall andirons.
|
||
|
||
She complained that the heat had been giving her dizzy
|
||
spells, and asked whether sea bathing would help. Then she
|
||
began to talk about her convent school and Charles about his
|
||
lycee. Words came to them both. They went upstairs to her
|
||
room. She showed him her old music exercise books, and the
|
||
little volumes and the oak-leaf wreaths, the latter now lying
|
||
abandoned in the bottom of a cupboard, that she had won as
|
||
prizes. Then she spoke of her mother, and the cemetery, and
|
||
took him out to the garden to see the bed where she picked
|
||
flowers the first Friday of every month to put on her grave.
|
||
But their gardener had no understanding of such things, farm
|
||
help was so trying! She would love, if only for the winter,
|
||
to live in the city, though she had to say that it was really
|
||
in summer, with the days so long, that the country was most
|
||
boring of all. Depending on what she talked about, her voice
|
||
was clear, or shrill, or would grow suddenly languorous and
|
||
trail off almost into a murmur, as though she were speaking
|
||
to herself. One moment she would be gay and wide-eyed. The
|
||
next, she would half shut her eyelids and seem to be drowned
|
||
in boredom, her thoughts miles away.
|
||
|
||
That evening, on his homeward ride, Charles went over
|
||
one by one the things she had said, trying to remember her
|
||
exact words and sense their implications, in an effort to
|
||
picture what her life had been like before their meeting.
|
||
But in his thoughts he could never see her any differently
|
||
from the way she had been when he had seen her the first time,
|
||
or as she had been just now when he left her. Then he won-
|
||
dered what could become of her, whether she would marry, and
|
||
whom. Alas! Monsieur Rouault was very rich, and she . . . so
|
||
beautiful! But Emma's face appeared constantly before his
|
||
eyes, and in his ears there was a monotonous throbbing, like
|
||
the humming of a top. "But why don't you get married! Why
|
||
don't you get married!" That night he didn't sleep, his throat
|
||
was tight, he was thirsty. He got up to drink from his water
|
||
jug and opened the window. The sky was covered with stars, a
|
||
hot wind was blowing, dogs were barking in the distance. He
|
||
stared out in the direction of Les Bertaux.
|
||
|
||
After all, he thought, nothing would be lost by trying,
|
||
and he resolved to ask his question when the occasion presented
|
||
itself. But each time it did, the fear of not finding the
|
||
proper words paralyzed his lips.
|
||
|
||
Actually, Rouault wouldn't have been a bit displeased to
|
||
have someone take his daughter off his hands. She was of no
|
||
use to him on the farm. He didn't really hold it against her,
|
||
being of the opinion that she was too clever to have anything
|
||
to do with farming, that accursed occupation that had never
|
||
made a man a millionaire. Far from having grown rich at it,
|
||
the poor fellow was losing money every year. He more than
|
||
held his own in the market place, where he relished all the
|
||
tricks of the trade, but no one was less suited than he to
|
||
the actual growing of crops and the managing of a farm. He
|
||
never lifted a finger if he could help it, and never spared
|
||
any expense in matters of daily living. He insisted on good
|
||
food, a good fire, and a good bed. He liked his cider hard,
|
||
his leg of mutton rare, his coffee well laced with brandy. He
|
||
took his meals in the kitchen, alone, facing the fire, at a
|
||
little table that was brought in to him already set, like on
|
||
the stage.
|
||
|
||
So when he noticed that Charles tended to be flushed in
|
||
his daughter's presence, meaning that one of these days he
|
||
would ask for her hand, he pondered every aspect of the
|
||
question well in advance. Charles was a bit namby-pamby, not
|
||
his dream of a son-in-law. But he was said to be reliable,
|
||
thrifty, very well educated, and he probably wouldn't haggle
|
||
too much over the dowry. Moreover, Rouault was soon going to
|
||
have to sell twenty-two of his acres. He owed considerable
|
||
to the mason and considerable to the harness-maker and the
|
||
cider press needed a new shaft. "If he asks me for her," he
|
||
said to himself, "I won't refuse."
|
||
|
||
Toward the beginning of October, Charles spent three days
|
||
at Les Bertaux. The last day had slipped by like the others,
|
||
with the big step put off from one minute to the next. Rouault
|
||
was escorting him on the first lap of his homeward journey.
|
||
They were walking along a sunken road. They were just about to
|
||
part, the moment had come. Charles gave himself to the corner
|
||
of the hedge, and finally, when they had passed it. "Monsieur
|
||
Rouault," he murmured, "there's something I'd like to say to
|
||
you."
|
||
|
||
They stopped. Charles fell silent.
|
||
|
||
"Well, tell me what's on your mind! I know it already
|
||
anyway!" Rouault said with a gentle laugh.
|
||
|
||
"Monsieur Rouault . . . Monsieur Rouault . . ." Charles
|
||
stammered.
|
||
|
||
"Personally, I wouldn't like anything better,: continued
|
||
the farmer. "I imagine the child agrees with me, but we'd
|
||
better ask her. I'll leave you here now, and go back to the
|
||
house. If it's `Yes', now listen to what I'm saying, you
|
||
won't have to come in, there are too many people around, and
|
||
besides she'd be too upset. But to take you off the anxious
|
||
seat I'll slam a shutter against the wall. You can look back
|
||
and see, if you lean over the hedge."
|
||
|
||
And he went off.
|
||
|
||
Charles tied his horse to a tree. He hastily stationed
|
||
himself on the path and waited. Half an hour went by. Then
|
||
he counted nineteen minutes by his watch. Suddenly there was
|
||
a noise against the wall. The shutter had swung back, the
|
||
catch was still quivering.
|
||
|
||
The next morning he was at the farm by nine. Emma
|
||
blushed when he entered, laughing a little in an attempt to
|
||
be casual. Rouault embraced his future son-in-law. They
|
||
postponed all talk of financial arrangements. There was
|
||
plenty of time, since the wedding couldn't decently take
|
||
place before the end of Charles' mourning, that is, toward
|
||
the spring of the next year.
|
||
|
||
It was a winter of waiting. Mademoiselle Rouault busied
|
||
herself with her trousseau. Part of it was ordered in Rouen,
|
||
and she made her slips and nightcaps herself, copying fashion
|
||
drawings that she borrowed. Whenever Charles visited the farm
|
||
they spoke about preparations for the wedding, discussing
|
||
which room the dinner should be served in, wondering how many
|
||
courses to have and what the entrees should be.
|
||
|
||
Emma herself would have liked to be married at midnight,
|
||
by torchlight. But Rouault wouldn't listen to the idea. So
|
||
there was the usual kind of wedding, with forty-three guests,
|
||
and everybody was sixteen hours at table, and the festivities
|
||
began all over again the next day and even carried over a
|
||
little into the days following.
|
||
|
||
PART 1
|
||
|
||
CHAPTER FOUR
|
||
|
||
The invited guests arrived early in a variety of
|
||
vehicles. One-horse shays, two-wheeled charabancs, old gigs
|
||
without tops, vans with leather curtains. And the young men
|
||
from the nearest villages came in farm-carts, standing one
|
||
behind the other along the sides and grasping the rails to
|
||
keep from being thrown, for the horses trotted briskly and
|
||
the roads were rough. They came from as far as twenty-five
|
||
miles away, from Goderville, from Normanville, from Cany.
|
||
All the relations of both families had been asked, old
|
||
quarrels had been patched up, letters sent to acquaintances
|
||
long lost sight of.
|
||
|
||
From time to time the crack of a whip would be heard
|
||
behind the hedge, then after a moment the gate would open and
|
||
a cart would roll in. It would come at a gallop as far as
|
||
the doorstep, then stop with a lurch, and out would pour its
|
||
passengers, rubbing their knees and stretching their arms.
|
||
The ladies wore country-style headdresses and city-style
|
||
gowns, with gold watch chains, tippets (the ends crossed and
|
||
tucked into their belts), or small colored fichus attached
|
||
at the back with pins and leaving the neck bare. The boys,
|
||
attired exactly like their papas, looked ill at ease in their
|
||
new clothes (and indeed many of them were wearing leather
|
||
shoes that day for the first time in their lives). And next
|
||
to them would be some speechless, gangling girl of fourteen
|
||
or sixteen, probably their cousin or their older sister,
|
||
flushed and awkward in her white First Communion dress let
|
||
down for the occasion, her hair sticky with scented pomade,
|
||
terribly worried lest she dirty her gloves. Since there
|
||
weren't enough stable hands to unharness all the carriages,
|
||
the men rolled up their sleeves and went to it themselves.
|
||
According to their social status, they wore tail coats, frock
|
||
coats, long jackets or short jackets. The tail coats were
|
||
worthy garments, each of them a prized family possession
|
||
taken out of the closet only on great occasions. The frock
|
||
coats had great flaring skirts that billowed in the wind,
|
||
cylindrical collars, and pockets as capacious as bags. The
|
||
long jackets were double-breasted, of coarse wool, and
|
||
usually worn with a cap of some kind, its peak trimmed with
|
||
brass. And the short jackets were very short indeed, with
|
||
two back buttons set close together like a pair of eyes, and
|
||
stiff tails that looked as though a carpenter had hacked them
|
||
with his axe out of a single block of wood. A few guests
|
||
(these, of course, would sit at the foot of the table) wore
|
||
dress smocks, that is, smocks with turned-down collars, fine
|
||
pleating at the back, and stitched belts low on the hips.
|
||
|
||
And the shirts! They bulged like breastplates. Every
|
||
man was freshly shorn. Ears stood out from heads, faces were
|
||
of a holiday smoothness. Some of the guests from farthest
|
||
away, who had got up before dawn and had to shave in the
|
||
dark, had slanting gashes under their noses, or patches of
|
||
skin the size of a three-franc piece peeled from their jaws.
|
||
During the journey their wounds had been inflamed by the
|
||
wind, and as a result red blotches adorned many a big beaming
|
||
white face.
|
||
|
||
Since the mayor's office was scarcely more than a mile
|
||
from the farm, the wedding party went there on foot and came
|
||
back the same way after the church ceremony. The procession
|
||
was compact at first, like a bright sash festooning the
|
||
countryside as it followed the narrow path winding between
|
||
the green grain fields. But soon it lengthened out and broke
|
||
up into different groups, which lingered to gossip along the
|
||
way. The fiddler went first, the scroll of his violin gay
|
||
with ribbons. Then came the bridal pair, then their families,
|
||
then their friends in no particular order. And last of all
|
||
the children, having a good time pulling the bell-shaped
|
||
flowers from the oat stalks or playing among themselves out
|
||
of sight of their elders. Emma's gown was too long, and
|
||
trailed a little. From time to time she stopped to pull it
|
||
up, and at such moments she would carefully pick off the
|
||
coarse grasses and thistle spikes with her gloved fingers,
|
||
as Charles waited empty-handed beside her. Rouault, in a
|
||
new silk hat, the cuffs of his black tail coat coming down
|
||
over his hands as far as his fingertips, had given his arm
|
||
to the older Madame Bovary. The older Monsieur Bovary, who
|
||
looked on all these people with contempt, and had come
|
||
wearing simply a single-breasted overcoat of military cut,
|
||
was acting the barroom gallant with a young peasant girl.
|
||
She bobbed and blushed, tongue-tied and confused. The other
|
||
members of the wedding party discussed matter of business,
|
||
or played tricks behind each other's backs, their spirits
|
||
already soaring in anticipation of the fun. If they
|
||
listened, they could hear the steady scraping of the fiddle
|
||
in the fields. When the fiddler realized that he had left
|
||
everyone far behind, he stopped for breath, carefully rubbed
|
||
his bow with rosin to make his strings squeak all the better,
|
||
and then set off again on his course, raising and lowering
|
||
the neck of his violin to keep time. The sound of the
|
||
instrument frightened away all the birds for a long distance
|
||
ahead.
|
||
|
||
The table was set up in the carriage shed. On it were
|
||
four roasts of beef, six fricassees of chicken, a veal
|
||
casserole, three legs of mutton, and in the center a charming
|
||
little suckling pig flanked by four andouilles a l'oseille,
|
||
pork sausages flavored with sorrel. At the corners stood
|
||
decanters of brandy. The sweet cider foamed up around its
|
||
corks, and before anyone was seated, every glass had been
|
||
filled to the brim with wine. Great dishes of yellow
|
||
custard, their smooth surfaces decorated with the newlyweds'
|
||
initials in candy-dot arabesques, were set trembling whenever
|
||
the table was given the slightest knock. The pies and cakes
|
||
had been ordered from a caterer in Yvetot. Since he was just
|
||
starting up in the district, he had gone to considerable
|
||
pains, and when dessert time came he himself brought to the
|
||
table a wedding cake that drew exclamations from all. Its
|
||
base was a square of blue cardboard representing a temple
|
||
with porticos and colonnades and adorned on all sides with
|
||
stucco statuettes standing in niches spangled with gold-paper
|
||
stars. The second tier was a mediaeval castle in gateau de
|
||
Savoie, surrounded by miniature fortifications of angelica,
|
||
almonds, raisins, and orange sections. And finally, on the
|
||
topmost layer, which was a green meadow, with rocks, jelly
|
||
lakes, and boats of hazelnut shells. A little Cupid was
|
||
swinging in a chocolate swing. The tips of the two uprights,
|
||
the highest points of the whole, were two real rosebuds.
|
||
|
||
The banquet went on till nightfall. Those who grew
|
||
tired of sitting took a stroll in the yard or played a kind
|
||
of shuffleboard in the barn, then they returned to table. A
|
||
few, toward the end, fell asleep and snored. But everything
|
||
came to life again with the coffee. There were songs,
|
||
displays of strength. The men lifted weights, played the
|
||
game of passing their heads under their arms while holding
|
||
one thumb on the table, tried to raise carts to their
|
||
shoulders. Dirty jokes were in order, the ladies were kissed.
|
||
In the evening, when it came time to go, the horses, stuffed
|
||
with oats to the bursting point, could scarcely be forced
|
||
between the shafts. They kicked and reared, broke their
|
||
harness, brought curses or laughs from their masters. And
|
||
all night long, under the light of the moon on the country
|
||
roads, runaway carts were bouncing along ditches at a gallop,
|
||
leaping over gravel piles and crashing into banks, with women
|
||
leaning out trying desperately to seize the reins.
|
||
|
||
Those who stayed at Les Bertaux spent the night drinking
|
||
in the kitchen. The children fell asleep on the floor.
|
||
|
||
The bride had begged her father that she be spared the
|
||
usual pranks. However, a fishmonger cousin (who had actually
|
||
brought a pair of soles as a wedding present) was just
|
||
beginning to spurt water from his mouth through the keyhole
|
||
when Rouault came along and stopped him, explaining that the
|
||
importance of his son-in-law's position didn't permit such
|
||
unseemliness. The cousin complied very grudgingly. In his
|
||
heart he accused Rouault of being a snob, and he joined a
|
||
group of four or five other guests, who had happened several
|
||
times in succession to be given inferior cuts of meat at
|
||
table and so considered that they, too, had been badly
|
||
treated. The whole group sat there whispering derogatory
|
||
things about their host, and in veiled language expressed
|
||
hopes for his downfall.
|
||
|
||
The older Madame Bovary hadn't opened her mouth all day.
|
||
No one had consulted her about her daughter-in-law's bridal
|
||
dress, or the arrangements for the party. She went up to bed
|
||
early. Her husband didn't accompany her. Instead, he sent
|
||
to Saint-Victor for cigars and sat up till dawn smoking and
|
||
drinking kirsch and hot water. This variety of grog was new
|
||
to his fellow guests, and made him feel that their respect
|
||
for him rose all the higher.
|
||
|
||
Charles was far from being a wag. He had been dull
|
||
throughout the festivities, responding but feebly to the
|
||
witticisms, puns, doubles-entendres, teasings and dubious
|
||
jokes that everyone had felt obliged to toss at him from the
|
||
moment they had sat down to the soup.
|
||
|
||
The next day, however, he seemed a different man. It
|
||
was he who gave the impression of having lost his virginity
|
||
overnight. The bride made not the slightest sign that could
|
||
be taken to betray anything at all. Even the shrewdest were
|
||
nonplused, and stared at her with the most intense curiosity
|
||
whenever she came near. But Charles hid nothing. He
|
||
addressed her as "ma femme," using the intimate "tu," kept
|
||
asking everyone where she was and looking for her everywhere,
|
||
and often took her out into the yard, where he could be
|
||
glimpsed through the trees with his arm around her waist,
|
||
leaning over her as they walked, his head rumpling the yoke
|
||
of her bodice.
|
||
|
||
Two days after the wedding the bridal pair left, because
|
||
of his patients Charles could stay away no longer. Rouault
|
||
had them driven to Tostes in his cart, going with them him-
|
||
self as far as Vassonville. There he kissed his daughter a
|
||
last time, got out, and retraced his way. When he had walked
|
||
about a hundred yards he stopped. The sight of the cart
|
||
disappearing in the distance, its wheels spinning in the dust,
|
||
made him utter a deep sigh. He remembered his own wedding,
|
||
his own earlier days, his wife's first pregnancy. He, too,
|
||
had been very happy, the day he had taken her from her
|
||
father's house to his own. She had ridden pillion behind him
|
||
as their horse trotted over the snow, for it had been close
|
||
to Christmas and the fields were white. She had clutched him
|
||
with one arm, her basket hooked over the other. The wind was
|
||
whipping the long lace streamers of her coiffure cauchoise so
|
||
that at times they blew across his mouth, and by turning his
|
||
head he could see her rosy little face close behind his
|
||
shoulder, smiling silently at him under the gold buckle of
|
||
her bonnet. From time to time she would warm her fingers by
|
||
sliding them inside his coat. How long ago it all was! Their
|
||
boy would be thirty if he were alive today! Then he looked
|
||
back again, and there was nothing to be seen on the road. He
|
||
felt dismal, like a stripped and empty house, and as tender
|
||
memories and black thoughts mingled in his brain, dulled by
|
||
the vapors of the feast, he considered for a moment turning
|
||
his steps toward the church. But he was afraid that the sight
|
||
of it might make him even sadder, so he went straight home.
|
||
|
||
Monsieur and Madame Charles reached Tostes about six
|
||
o'clock. The neighbors came to their windows to see their
|
||
doctor's new wife.
|
||
|
||
The elderly maidservant appeared, greeted them, apolo-
|
||
gized for not having dinner ready, and suggested that Madame,
|
||
in the meantime, might like to make a tour of inspection of
|
||
her house.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 1
|
||
|
||
CHAPTER FIVE
|
||
|
||
The brick house-front was exactly flush with the street,
|
||
or rather the road. Behind the door hung a coat with a short
|
||
cape, a bridle, and a black leather cap. And on the floor in
|
||
a corner lay a pair of gaiters still caked with mud. To the
|
||
right was the parlor, which served as both dining and sitting
|
||
room. A canary-yellow wallpaper, set off at the top by a
|
||
border of pale flowers, rippled everywhere on its loose
|
||
canvas lining. White calico curtains edged with red braid
|
||
hung crosswise down the length of the windows. And on the
|
||
narrow mantelpiece a clock ornamented with a head of Hippo-
|
||
crates stood proudly between two silver-plated candlesticks
|
||
under oval glass domes. Across the hall was Charles' small
|
||
consulting room, about eighteen feet wide, with a table,
|
||
three straight chairs and an office armchair. There was a
|
||
fir bookcase with six shelves, occupied almost exclusively
|
||
by a set of the Dictionary of the Medical Sciences, its pages
|
||
uncut but its binding battered by a long succession of
|
||
owners. Cooking smells seeped through the wall during office
|
||
hours, and the patient's coughs and confidences were quite
|
||
audible in the kitchen. In the rear, opening directly into
|
||
the yard, which contained the stables, was a big ramshackle
|
||
room with an oven, now serving as woodshed, wine bin and
|
||
store room. It was filled with old junk, empty barrels,
|
||
broken tools, and a quantity of other objects, all dusty and
|
||
nondescript.
|
||
|
||
The long narrow garden ran back between two clay walls
|
||
covered with espaliered apricot trees to the thorn hedge
|
||
that marked it off from the fields. In the middle was a
|
||
slate sundial on a stone pedestal. Four beds of scrawny
|
||
rose bushes were arranged symmetrically around a square
|
||
plot given over to vegetables. At the far end, under some
|
||
spruces, a plaster priest stood reading his breviary.
|
||
|
||
Emma went up to the bedrooms. The first was empty. In
|
||
the second, the conjugal chamber, a mahogany bed stood in an
|
||
alcove hung with red draperies. A box made of seashells
|
||
adorned the chest of drawers, and on the desk near the window,
|
||
standing in a decanter and tied with white satin ribbon, was
|
||
a bouquet of orange blossoms. A bride's bouquet. The other
|
||
bride's bouquet! She stared at it. Charles noticed, picked
|
||
it up, and took it to the attic. And as her boxes and bags
|
||
were brought up and placed around her, she sat in an armchair
|
||
and thought of her own bridal bouquet, which was packed in
|
||
one of those very boxes, wondering what would be done with it
|
||
if she were to die.
|
||
|
||
She spent the first few days planning changes in the
|
||
house. She took the domes off the candlesticks, had the
|
||
parlor repapered, the stairs painted, and seats made to go
|
||
around the sundial in the garden. She even made inquiries
|
||
as to the best way of installing a fountain and a fish pond.
|
||
And her husband, knowing that she liked to go for drives,
|
||
bought a secondhand two-wheeled buggy. With new lamps and
|
||
quilted leather mudguards it looked almost like a tilbury.
|
||
|
||
He was happy now, without a care in the world. A meal
|
||
alone with her, a stroll along the highway in the evening,
|
||
the way she touched her hand to her hair, the sight of her
|
||
straw hat hanging from a window hasp, and many other things
|
||
in which it had never occurred to him to look for pleasure.
|
||
Such now formed the steady current of his happiness. In bed
|
||
in the morning, his head beside hers on the pillow, he would
|
||
watch the sunlight on the downy gold of her cheeks, half
|
||
covered by the scalloped tabs of her nightcap. Seen from so
|
||
close, her eyes appeared larger than life, especially when
|
||
she opened and shut her eyelids several times on awakening.
|
||
Black when looked at in shadow, dark blue in bright light,
|
||
they seemed to contain layer upon layer of color, thicker
|
||
and cloudier beneath, lighter and more transparent toward
|
||
the lustrous surface. As his own eyes plunged into those
|
||
depths, he saw himself reflected there in miniature down to
|
||
his shoulders, his foulard on his head, his nightshirt open.
|
||
After he had dressed she would go to the window and watch
|
||
him leave for his rounds. She would lean out between two
|
||
pots of geraniums, her elbows on the sill, her dressing gown
|
||
loose around her. In the street, Charles would strap on his
|
||
spurs at the mounting-block, and she would continue to talk
|
||
to him from above, blowing down to him some bit of flower or
|
||
leaf she bitten off in her teeth. It would flutter down
|
||
hesitantly, weaving semicircles in the air like a bird, and
|
||
before reaching the ground it would catch in the tangled
|
||
mane of the old white mare standing motionless at the door.
|
||
From the saddle Charles would send her a kiss. She would
|
||
respond with a wave, then she would close the window, and
|
||
he was off. And on the endless dusty ribbon of the highway,
|
||
on sunken roads vaulted over by branches, on paths between
|
||
stands of grain that rose to his knees, the sun on his
|
||
shoulders and the morning air in his nostrils, his heart
|
||
full of the night's bliss, his spirit at peace and his flesh
|
||
content, he would ride on his way ruminating his happiness,
|
||
like someone who keeps savoring, hours later, the fragrance
|
||
of the truffles he has eaten for dinner.
|
||
|
||
Up until now, had there ever been a happy time in his
|
||
life? His years at the lycee, where he had lived shut in
|
||
behind high walls, lonely among richer, cleverer schoolmates
|
||
who laughed at his country accent and made fun of his clothes
|
||
and whose mothers brought them cookies in their muffs on
|
||
visiting days? Or later, when he was studying medicine and
|
||
hadn't enough in his purse to go dancing with some little
|
||
working girl who might have become his mistress? After that
|
||
he had lived fourteen months with the widow, whose feet in
|
||
bed had been like icicles. But now he possessed, and for
|
||
always, this pretty wife whom he so loved. The universe, for
|
||
him, went not beyond the silken circuit of her petticoat.
|
||
And he would reproach himself for not showing her his love,
|
||
and yearn to be back with her. He would gallop home, rush
|
||
upstairs, his heart pounding. Emma would be at her dressing
|
||
table. He would creep up silently behind her and kiss her.
|
||
She would cry out in surprise.
|
||
|
||
He couldn't keep from constantly touching her comb, her
|
||
rings, everything she wore. Sometimes he gave her great
|
||
full-lipped kisses on the cheek, or a whole series of tiny
|
||
kisses up her bare arm, from her fingertips to her shoulder.
|
||
And half amused, half annoyed, she would push him away as one
|
||
does an importunate child.
|
||
|
||
Before her marriage she had thought that she had love
|
||
within her grasp. But since the happiness which she had
|
||
expected this love to bring her hadn't come, she supposed
|
||
she must have been mistaken. And Emma tried to imagine just
|
||
what was meant, in life, by the words "bliss," "passion,"
|
||
and "rapture." Words that had seemed so beautiful to her in
|
||
books.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 1
|
||
|
||
CHAPTER SIX
|
||
|
||
She had read Paul and Virginia, and had dreamed of the
|
||
bamboo cabin, of the Negro Domingo and the dog Fidele. And
|
||
especially she dreamed that she, too, had a sweet little
|
||
brother for a devoted friend, and that he climbed trees as
|
||
tall as church steeples to pluck her their crimson fruit,
|
||
and came running barefoot over the sand to bring her a bird's
|
||
nest.
|
||
|
||
When she was thirteen, her father took her to the city
|
||
to enter her as a boarder in the convent. They stayed at a
|
||
hotel near Saint-Gervais, where their supper plates were
|
||
decorated with scenes from the life of Mademoiselle de La
|
||
Valliere. The explanatory captions, slashed her and there
|
||
by knife scratches, were all in praise of piety, the sensi-
|
||
bilities of the heart, and the splendors of the court.
|
||
|
||
Far from being unhappy in the convent, at first, she
|
||
enjoyed the company of the nuns. It was fun when they took
|
||
her to the chapel, down a long corridor from the refectory.
|
||
She rarely played during recess, and she was very quick at
|
||
catechism. It was always Mademoiselle Rouault who answered
|
||
Monsieur le vicaire's hardest questions. As she continued
|
||
to live uninterruptedly in the insipid atmosphere of the
|
||
classrooms, among the white-faced women with their brass
|
||
crucifixes dangling from their rosaries, she gently succumbed
|
||
to the mystical languor induced by the perfumes of the altar,
|
||
the coolness of the holy-water fonts, the gleaming of the
|
||
candles. Instead of following the Mass she kept her prayer
|
||
book open at the holy pictures with their sky-blue borders.
|
||
And she loved the Good Shepherd, the Scared Heart pierced
|
||
by sharp arrows, and poor Jesus stumbling and falling under
|
||
his cross. To mortify herself she tried to go a whole day
|
||
without eating. She looked for some vow that she might
|
||
accomplish.
|
||
|
||
When she went to confession she invented small sins in
|
||
order to linger on her knees there in the darkness, her hands
|
||
joined, her face at the grille, the priest whispering just
|
||
above her. The metaphors constantly used in sermons,
|
||
"betrothed," "spouse," "heavenly lover," "mystical marriage,"
|
||
excited her in a thrilling new way.
|
||
|
||
Every evening before prayers a piece of religious writing
|
||
was read aloud in study hall. During the week it would be
|
||
some digest of Biblical history or the Abbe Frayssinous'
|
||
lectures. On Sunday it was always a passage from the Genie
|
||
du Christianisme, offered as entertainment. How intently she
|
||
listened, the first times, to the ringing lamentations of
|
||
|
||
that romantic melancholy, echoed and re-echoed by all the
|
||
voices of earth and heaven! Had her childhood been spent in
|
||
cramped quarters behind some city shop, she might have been
|
||
open to the lyric appeal of nature, which usually reaches us
|
||
only by way of literary interpretations. But she knew too
|
||
much about country life. She was well acquainted with lowing
|
||
herds, with dairy maids and ploughs. From such familiar,
|
||
peaceful aspects, she turned to the picturesque. She loved
|
||
the sea for its storms alone, cared for vegetation only when
|
||
it grew here and there among ruins. She had to extract a
|
||
kind of personal advantage from things, and she rejected as
|
||
useless everything that promised no immediate gratification,
|
||
for her temperament was more sentimental than artistic, and
|
||
what she was looking for was emotions, not scenery.
|
||
|
||
At the convent there was an old spinster who came for
|
||
a week every month to look after the linen. As a member of
|
||
an ancient noble family ruined by the Revolution she was a
|
||
protegee of the archdiocese, and she ate at the nuns table
|
||
in the refectory and always stayed for a chat with them
|
||
before returning upstairs to her work. The girls often
|
||
slipped out of study-hall to pay her a visit. She had a
|
||
repertoire of eighteenth-century love songs, and sang them in
|
||
a low voice as she sewed. She told stories, kept the girls
|
||
abreast of the news, did errands for them in the city, and to
|
||
the older ones would surreptitiously lend one of the novels
|
||
she always carried in her apron pocket. Novels of which the
|
||
good spinster herself was accustomed to devour long chapters
|
||
in the intervals of her task. They were invariably about
|
||
love affairs, lovers, mistresses, harassed ladies swooning in
|
||
remote pavilions. Couriers were killed at every relay, horses
|
||
ridden to death on every page. There were gloomy forests,
|
||
broken hearts, vows, sobs, tears and kisses, skiffs in the
|
||
moonlight, nightingales in thickets. The noblemen were all
|
||
brave as lions, gentle as lambs, incredibly virtuous, always
|
||
beautifully dressed, and wept copiously on every occasion.
|
||
For six months, when she was fifteen, Emma begrimed her hands
|
||
with this dust from old lending libraries. Later, reading
|
||
Walter Scott, she became infatuated with everything historical
|
||
and dreamed about oaken chests and guardrooms and troubadours.
|
||
She would have liked to live in some old manor, like those
|
||
long-waisted chatelaines who spent their days leaning out of
|
||
fretted Gothic casements, elbow on parapet and chin in hand,
|
||
watching a white-plumed knight come galloping out of the
|
||
distance on a black horse. At that time she worshipped Mary
|
||
Queen of Scots, and venerated women illustrious or ill-
|
||
starred. In her mind Joan of Arc, Heloise, Agnes Sorel, La
|
||
Belle Ferroniere and Clemence Isaure stood out like comets on
|
||
the shadowy immensity of history. And here and there (though
|
||
less clearly outlined than the others against the dim back-
|
||
ground, and quite unrelated among themselves) were visible
|
||
also St. Louis and his oak, the dying Bayard, certain atro-
|
||
cities of Louis XI, bits of the Massacre of St. Bartholomew,
|
||
the plumed crest of Henri IV, and, always, the memory of the
|
||
hotel plates glorifying Louis XIV.
|
||
|
||
The sentimental songs she sang in music class were all
|
||
about little angels with golden wings, madonnas, lagoons,
|
||
gondoliers, mawkish compositions that allowed her to glimpse,
|
||
through the silliness of the words and the indiscretions of
|
||
the music, the alluring, phantasmagoric realm of genuine
|
||
feeling. Some of her schoolmates brought to the convent the
|
||
keepsake albums they had received as New Year's gifts. They
|
||
had to hide them, it was very exciting, they could be read
|
||
only at night, in the dormitory. Careful not to harm the
|
||
lovely satin bindings, Emma stared bedazzled at the names of
|
||
the unknown authors, counts or viscounts, most of them, who
|
||
had written their signatures under their contributions.
|
||
|
||
She quivered as she blew back the tissue paper from each
|
||
engraving. It would curl up into the air, then sink gently
|
||
down against the page. Behind a balcony railing a young man
|
||
in a short cloak clasped in his arms a girl in a white dress,
|
||
a chatelaine bag fastened to her belt. Or there were portraits
|
||
of unidentified aristocratic English beauties with blond curls,
|
||
staring out at you with their wide light-colored eyes from
|
||
under great straw hats. Some were shown lolling in carriages,
|
||
gliding through parks. Their greyhound ran ahead, and two
|
||
little grooms in white knee breeches drove the trotting horses.
|
||
Others, dreaming on sofas, an opened letter lying beside them,
|
||
gazed at the moon through a window that was half open, half
|
||
draped with a black curtain. Coy maidens with tears on their
|
||
cheeks kissed turtledoves through the bars of Gothic bird
|
||
cages. Or, smiling, their cheeks practically touching their
|
||
own shoulders, they pulled the petals from daisies with
|
||
pointed fingers that curved up at the ends like Eastern
|
||
slippers. Then there were sultans with long pipes swooning
|
||
under arbors in the arms of dancing girls. There were
|
||
Giaours, Turkish sabres, fezzes. And invariably there were
|
||
blotchy, pale landscapes of fantastic countries. Pines and
|
||
palms growing together, tigers on the right, a lion on the
|
||
left, tartar minarets on the horizon, Roman ruins in the
|
||
foreground, a few kneeling camels. All of it set in a very
|
||
neat and orderly virgin forest, with a great perpendicular
|
||
sunbeam quivering in the water. And standing out on the
|
||
water's surface, scratched in white on the steel-gray back-
|
||
ground, a few widely spaced floating swans.
|
||
|
||
The bracket lamp above Emma's head shone down on those
|
||
pictures of every corner of the world as she turned them over
|
||
one by one in the silence of the dormitory, the only sound,
|
||
coming from the distance, that of some belated cab on the
|
||
boulevards.
|
||
|
||
When her mother died, she wept profusely for several
|
||
days. She had a memorial picture made for herself from the
|
||
dead woman's hair. And in a letter filled with sorrowful
|
||
reflections on life that she sent to Les Bertaux, she begged
|
||
to be buried, when her time came, in the same grave. Her
|
||
father thought she must be ill, and went to see her. Emma
|
||
was privately pleased to feel that she had so very quickly
|
||
attained this ideal of ethereal languor, inaccessible to
|
||
mediocre spirits. So she let herself meander along Lamar-
|
||
tinian paths, listening to the throbbing of harps on lakes,
|
||
to all the songs of dying swans, to the falling of every
|
||
leaf, to the flight of pure virgins ascending to heaven,
|
||
and to the voice of the Eternal speaking in the valleys.
|
||
Gradually these things began to bore her, but she refused to
|
||
admit it and continued as before, first out of habit, then
|
||
out of vanity. Until one day she discovered with surprise
|
||
that the whole mood had evaporated, leaving her heart as free
|
||
of melancholy as her brow was free of wrinkles.
|
||
|
||
The good nuns, who had been taking her vocation quite
|
||
for granted, were greatly surprised to find that Mademoiselle
|
||
Rouault was apparently slipping out of their control. And
|
||
indeed they had so deluged her with prayers, retreats, novenas
|
||
and sermons, preached so constantly the respect due the saints
|
||
and the martyrs, and given her so much good advice about
|
||
modest behavior and the saving of her soul, that she reacted
|
||
like a horse too tightly reined. She balked, and the bit fell
|
||
from her teeth. In her enthusiasms she had always looked for
|
||
something tangible. She had loved the church for its flowers,
|
||
music for its romantic words, literature for its power to stir
|
||
the passions. And she rebelled before the mysteries of faith
|
||
just as she grew ever more restive under discipline, which was
|
||
antipathetic to her nature. When her father took her out of
|
||
school no one was sorry to see her go. The Mother Superior,
|
||
indeed, remarked that she had lately been displaying a certain
|
||
lack of reverence toward the community.
|
||
|
||
Back at home, Emma at first enjoyed giving orders to the
|
||
servants, then grew sick of country life and longed to be
|
||
back in the convent. By the time Charles first appeared at
|
||
Les Bertaux she thought that she was cured of illusions, that
|
||
she had nothing more to learn, and no great emotions to look
|
||
forward to.
|
||
|
||
But in her eagerness for a change, or perhaps overstimu-
|
||
lated by this man's presence, she easily persuaded herself
|
||
that love, that marvelous thing which had hitherto been like
|
||
a great rosy-plumaged bird soaring in the splendors of poetic
|
||
skies, was at last within her grasp. And now she could not
|
||
bring herself to believe that the uneventful life she was
|
||
leading was the happiness of which she had dreamed.
|
||
|
||
PART 1
|
||
|
||
CHAPTER SEVEN
|
||
|
||
She reflected occasionally that these were, nevertheless,
|
||
the most beautiful days of her life, the honeymoon days, as
|
||
people called them. To be sure, their sweetness would be best
|
||
enjoyed far off, in one of those lands with exciting names
|
||
where the first weeks of marriage can be savored so much more
|
||
deliciously and languidly! The postchaise with its blue silk
|
||
curtains would have climbed slowly up the mountain roads, and
|
||
the postilion's song would have re-echoed among the cliffs,
|
||
mingling with the tinkling of goat bells and the dull roar of
|
||
waterfalls. They would have breathed the fragrance of lemon
|
||
trees at sunset by the shore of some bay. And at night, alone
|
||
on the terrace of a villa, their fingers intertwined, they
|
||
would have gazed at the stars and planned their lives. It
|
||
seemed to her that certain portions of the earth must produce
|
||
happiness, as though it were a plant native only to those
|
||
soils and doomed to languish elsewhere. Why couldn't she be
|
||
leaning over the balcony of some Swiss chalet? Or nursing
|
||
her melancholy in a cottage in Scotland, with a husband clad
|
||
in a long black velvet coat and wearing soft leather shoes, a
|
||
high-crowned hat and fancy cuffs!
|
||
|
||
She might have been glad to confide all these things to
|
||
someone. But how speak about so elusive a malaise, one that
|
||
keeps changing its shape like the clouds and its direction
|
||
like the winds? She could find no words, and hence neither
|
||
occasion nor courage came to hand.
|
||
|
||
Still, if Charles had made the slightest effort, if he
|
||
had had the slightest inkling, if his glance had a single
|
||
time divined her thought, it seemed to her that her heart
|
||
would have been relieved of its fullness as quickly and
|
||
easily as a tree drops its ripe fruit at the touch of a
|
||
hand. But even as they were brought closer together by the
|
||
details of daily life, she was separated from him by a
|
||
growing sense of inward detachment.
|
||
|
||
Charles' conversation was flat as a sidewalk, a place
|
||
of passage for the ideas of every man. They wore drab every
|
||
day clothes, and they inspired neither laughter nor dreams.
|
||
When he had lived in Rouen, he said, he had never had any
|
||
interest in going to the theatre to see the Parisian company
|
||
that was acting there. He couldn't tell her the meaning of
|
||
a riding term she had come upon in a novel.
|
||
|
||
Wasn't it a man's role, though, to know everything?
|
||
Shouldn't he be expert at all kinds of things, able to initi-
|
||
ate you into the intensities of passion, the refinements of
|
||
life, all the mysteries? This man could teach you nothing.
|
||
He knew nothing, he wished for nothing. He took it for
|
||
granted that she was content, and she resented his settled
|
||
calm, his serene dullness, the very happiness she herself
|
||
brought him.
|
||
|
||
She drew occasionally, and Charles enjoyed nothing more
|
||
than standing beside her watching her bent over her sketch-
|
||
book, half shutting his eyes the better to see her work, or
|
||
rolling her bread-crumb erasers between his thumb and finger.
|
||
As for the piano, the faster her fingers flew the more he
|
||
marveled. She played with dash, swooping up and down the
|
||
keyboard without a break. The strings of the old instrument
|
||
jangled as she pounded, and when the window was open it
|
||
could be heard to the end of the village. The huissier's
|
||
clerk often stopped to listen as he passed on the road,
|
||
bareheaded, shuffling along in slippers, holding in his hand
|
||
the notice he was about to post.
|
||
|
||
Moreover, Emma knew how to run her house. She let
|
||
Charles' patients know how much they owed him, writing them
|
||
nicely phrased letters that didn't sound like bills. When
|
||
a neighbor came to Sunday dinner she always managed to think
|
||
up some attractive dish. She would arrange greengages in a
|
||
pyramid on a bed of vine leaves. She served her jellies not
|
||
in their jars but neatly turned out on a plate, she spoke of
|
||
buying finger bowls for dessert. All this redounded greatly
|
||
to Bovary's credit.
|
||
|
||
He came to esteem himself the higher for having such a
|
||
wife. He had two of her pencil sketches framed in wide
|
||
frames, and hung them proudly in the parlor, at the end of
|
||
long green cords. Citizens returning from Mass saw him
|
||
standing on his doorsteps, wearing a splendid pair of carpet
|
||
slippers.
|
||
|
||
He came home from his rounds late, ten o'clock, some-
|
||
times midnight. He was hungry at that hour, and since the
|
||
servant had gone to bed it was Emma who served him. He would
|
||
take off his coat to be more comfortable at table, tell her
|
||
every person he had seen, every village he had been to, every
|
||
prescription he had written. And he would complacently eat
|
||
what was left of the stew, pare his cheese, munch an apple,
|
||
pour himself the last drop of wine. Then he would go up to
|
||
bed, fall asleep the minute he was stretched on his back, and
|
||
begin to snore.
|
||
|
||
He had so long been used to wearing cotton nightcaps
|
||
that he couldn't get his foulard to stay on his head, and in
|
||
the morning his hair was all over his face and white with
|
||
down. The strings of his pillowcase often came undone
|
||
during the night. He always wore heavy boots, with deep
|
||
creases slanting from instep to ankle and the rest of the
|
||
uppers so stiff that they seemed to be made of wood. He
|
||
said that they were "plenty good enough for the country."
|
||
|
||
His mother approved his thriftiness. As in the past,
|
||
she came to visit him whenever there was a particularly
|
||
violent crisis in her own home. And yet she seemed to be
|
||
prejudiced against her new daughter-in-law. She considered
|
||
her "too grand in her tastes for the kind of people they
|
||
were." The younger Bovarys ran through wood, sugar and
|
||
candles at the rate of some great establishment. And the
|
||
amount of charcoal they used would have done the cooking for
|
||
twenty-five. She rearranged Emma's linen in the closets and
|
||
taught her to check on the butcher when he delivered the
|
||
meat. Emma listened to these lectures. Madame Bovary did
|
||
not stint herself. And all day there would be a tremulous-
|
||
lipped exchange of "ma fille" and "ma mere," each of the
|
||
ladies uttering the sugary words in a voice that quivered
|
||
with rage.
|
||
|
||
In Madame Dubuc's day the older woman had known herself
|
||
to be the favorite. But now Charles' love for Emma seemed
|
||
to her a desertion, an invasion of her own right. And she
|
||
looked on sadly at Charles' happiness, like a ruined man
|
||
staring through a window at revelers in a house that was
|
||
once his own. Using the device of "Do you remember?" she
|
||
reminded him of everything she had suffered and sacrificed
|
||
|
||
for his sake, and contrasting all this with Emma's careless
|
||
ways she pointed out how wrong he was to adore his wife to
|
||
the exclusion of herself.
|
||
|
||
Charles didn't know what to answer. He respected his
|
||
mother, and his love for his wife was boundless. He con-
|
||
sidered the former's opinions infallible, and yet Emma seemed
|
||
to him perfect. After the older Madame Bovary's departure
|
||
he made a fainthearted attempt to repeat one of two of the
|
||
milder things he had heard her say, using her own phraseology.
|
||
But with a word or two Emma convinced him he was wrong, and
|
||
sent him back to his patients.
|
||
|
||
Throughout all this, following formulas she believed
|
||
efficacious, she kept trying to experience love. Under the
|
||
moonlight in the garden she would recite to Charles all the
|
||
amorous verses she knew by heart, and sing him soulful
|
||
sighing songs. But it all left her as unruffled as before,
|
||
and Charles, too, seemed as little lovesick, as little
|
||
stirred, as ever.
|
||
|
||
Having thus failed to produce the slightest spark of
|
||
love in herself, and since she was incapable of understanding
|
||
what she didn't experience, or of recognizing anything that
|
||
wasn't expressed in conventional terms, she reached the
|
||
conclusion that Charles' desire for her was nothing very
|
||
extraordinary. His transports had become regularized. He
|
||
embraced her only at certain times. This had now become a
|
||
habit like any other. Like a dessert that could be counted
|
||
on to end a monotonous meal.
|
||
|
||
A gamekeeper whom Monsieur had cured of pneumonia made
|
||
Madame a present of a little Italian greyhound bitch, and
|
||
she took her with her whenever she went for a stroll. She
|
||
did this every now and then, for the sake of a moment's
|
||
solitude, a momentary relief from the everlasting sight of
|
||
the back garden and the dusty road.
|
||
|
||
She would walk to the avenue of beeches at Banneville,
|
||
near the abandoned pavilion at the corner of the wall along
|
||
the fields. Rushes grow in the ditch there, tall and sharp-
|
||
edged among the grass.
|
||
|
||
Once arrived she would look around her, to see whether
|
||
anything had changed since the last time she had come. The
|
||
foxgloves and the wallflowers were where they had been.
|
||
Clumps of nettles were still growing around the stones.
|
||
Patches of lichen still clung along the three windows, whose
|
||
perennially closed shutters were rotting away from their
|
||
rusty iron bars. Her thoughts would be vague at first,
|
||
straying like her dog, who would be running in circles,
|
||
barking at yellow butterflies, chasing field mice, nibbling
|
||
poppies at the edge of a wheat field. Then her ideas would
|
||
gradually focus, and sitting on the grass, jabbing it with
|
||
little pokes of her parasol, Emma would ask herself again
|
||
and again, "Why . . . why . . . did I ever marry?"
|
||
|
||
She wondered whether some different set of circumstances
|
||
might not have resulted in her meeting some different man,
|
||
and she tried to picture those imaginary circumstances. The
|
||
life they would have brought her, the unknown other husband.
|
||
However she imagined him, he wasn't a bit like Charles. He
|
||
might have been handsome, witty, distinguished, magnetic, the
|
||
kind of man her convent schoolmates had doubtless married.
|
||
What kind of lives were they leading now? Cities and the
|
||
busy streets, buzzing theatres, brilliant balls. Such
|
||
surroundings afforded them unlimited opportunities for deep
|
||
emotions and exciting sensations. But her life was as cold
|
||
as an attic facing north. And boredom, like a silent spider,
|
||
was weaving its web in the shadows, in every corner of her
|
||
heart. She remembered Prize Days, when she had gone up onto
|
||
the stage to receive her little wreaths. She had been so
|
||
charming, with her braids, her white dress, her prunella-
|
||
cloth slippers. Gentlemen had leaned over, when she was back
|
||
in her seat, and paid her compliments. The courtyard had
|
||
been full of carriages. Guests called good-bye to her as
|
||
they rolled away. The music teacher with his violin case
|
||
bowed to her as he passed. How far away it all was! How far!
|
||
|
||
She would call Djali, take her between her knees, stroke
|
||
her long delicate head. "Kiss your mistress," she would say,
|
||
"you happy, carefree thing." The slender Djali would yawn
|
||
slowly, as a dog does, and the melancholy look in her eyes
|
||
would touch Emma, and she would liken her to herself, talking
|
||
to her aloud as though comforting someone in distress.
|
||
|
||
Sometimes squalls blew up, winds that suddenly swept in
|
||
from the sea over the plateau of the pays de Caux and filled
|
||
the countryside with fresh, salt-smelling air. The whistling
|
||
wind would flatten the reeds and rustle the trembling beech
|
||
leaves, while the tops of the trees swayed and murmured. Emma
|
||
would pull her shawl close about her shoulders and get up.
|
||
|
||
Under the double row of trees a green light filtered
|
||
down through the leaves onto the velvety moss that crunched
|
||
softly beneath her feet. The sun was setting. The sky
|
||
showed red between the branches, and the identical trunks of
|
||
the straight line of trees were like a row of brown columns
|
||
against a golden backdrop. A terror would seize her, she
|
||
would call Djali and walk quickly back to Tostes along the
|
||
highway. There she would sink into a armchair, and sit
|
||
silent all evening.
|
||
|
||
Then, late in September, something exceptional happened.
|
||
She was invited to La Vaubyessard, home of the marquis
|
||
d`Andervilliers.
|
||
|
||
The marquis had been a member of the cabinet under the
|
||
Restoration, and now, hoping to re-enter political life, he
|
||
was paving the way for his candidature to the Chamber of
|
||
Deputies. He made generous distributions of firewood among
|
||
the poor in the winter, and in sessions of the departmental
|
||
council he was always eloquent in demanding better roads for
|
||
his district. During the hot weather he had had a mouth
|
||
abscess, which Charles had relieved, miraculously it seemed,
|
||
by a timely nick of the scalpel. His steward, sent to
|
||
Tostes to pay the bill for the operation, reported that
|
||
evening that he had seen some superb cherries in the
|
||
doctor's little garden. The cherry trees at La Vaubyessard
|
||
weren't doing well. Monsieur le marquis asked Charles for
|
||
a few grafts, made a point of going to thank him personally,
|
||
saw Emma, and noticed that she had a pretty figure and
|
||
didn't curtsy like a peasant. So at the chateau it was
|
||
decided that the doctor and his young wife could be invited
|
||
without any transgression of the limits of condescension,
|
||
and at the same time could be counted on to behave with
|
||
decorum among their betters.
|
||
|
||
One Wednesday at three in the afternoon, therefore,
|
||
Monsieur and Madame Bovary set out in their buggy for La
|
||
Vaubyessard, a large trunk tied on behind and a hatbox in
|
||
front. Charles had another box between his legs.
|
||
|
||
They arrived at nightfall, just as lanterns were being
|
||
lit in the grounds to illuminate the driveway.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 1
|
||
|
||
CHAPTER EIGHT
|
||
|
||
The chateau, a modern building in the Italian style,
|
||
with two projecting wings and three entrances along the
|
||
front, stretched across the far end of a vast expanse of turf
|
||
where cows grazed in the open spaces between groups of tall
|
||
trees. Tufts of shrubbery, rhododendrons, syringas and
|
||
snowballs, made a variegated border along the curving line of
|
||
the graveled drive. A stream flowed under a bridge. Through
|
||
the evening haze the thatched farm buildings could be seen
|
||
scattered over a meadow shut in by two gently rising wooded
|
||
ridges. And at the rear, in among thick plantings of trees,
|
||
were the two parallel lines of the coach houses and the
|
||
stables, remains of the original, ancient chateau that had
|
||
been torn down.
|
||
|
||
Charles' buggy drew up before the middle door.
|
||
Servants appeared, then the marquis, who gave the doctor's
|
||
wife his arm and led her into the entrance hall.
|
||
|
||
This had a marble floor and a high ceiling, footsteps
|
||
and voices echoed as in a church. From the far side rose a
|
||
straight staircase, and to the left a gallery giving on the
|
||
garden led to the billiard room, the sound of clicking ivory
|
||
balls could be heard ahead. As she passed through on her way
|
||
to the drawing room Emma noticed the men around the table.
|
||
Dignified looking, with cravats reaching up to their chins
|
||
and decorations on their chests, they smiled silently as they
|
||
made their shots. On the dark wall paneling hung great
|
||
gilded frames, inscribed at the base with names in black
|
||
letters. "Jean-Antoine d`Andervilliers d`Yverbonville, comte
|
||
de la Vaubyessard and baron de la Fresnaye, killed at the
|
||
battle of Coutras, October 20, 1587." Or, "Jean-Antoine-
|
||
Henry-Guy d`Andervilliers de la Vaubyessard, admiral of the
|
||
fleet and knight of the order of St. Michael, wounded in the
|
||
battle of La Hogue, May 29, 1692, died at La Vaubyessard
|
||
January 23, 1693." The rest were barely visible, for the
|
||
lamplight was directed down on the green felt of the tables,
|
||
and much of the room was in shadow. This darkened the row of
|
||
pictures. Only the crackle of their varnish caught an
|
||
occasional broken gleam, and here and there some detail of
|
||
painting lighter than the rest stood out from one of the dim,
|
||
gold-framed rectangles. A pale forehead, two staring eyes,
|
||
powdered wigs cascading onto red-coated shoulders, a garter
|
||
buckle high up on a fleshy calf.
|
||
|
||
The marquis opened the drawing room door, and one of the
|
||
ladies rose. It was the marquise, and she came over to Emma,
|
||
greeted her, drew her down beside her on a settee and talked
|
||
to her as easily as though they were old acquaintances. She
|
||
was a woman of forty or so, with fine shoulders, a hooked nose
|
||
and a drawling voice. On her auburn hair she was wearing a
|
||
simple bit of lace, the points falling down behind. Close
|
||
beside her sat a blonde young woman in a high-backed chair,
|
||
and around the fireplace gentlemen with flowers in their
|
||
buttonholes were chatting with the ladies.
|
||
|
||
Dinner was served at seven. The men, more numerous than
|
||
the ladies, were put at a table in the entrance hall. The
|
||
ladies sat down in the dining room, with the marquis and the
|
||
marquise.
|
||
|
||
Here the air was warm and fragrant. The scent of
|
||
flowers and fine linen mingled with the odor of cooked meats
|
||
and truffles. Candle flames cast long gleams on rounded
|
||
silver dish-covers, the clouded facets of the cut glass shone
|
||
palely. There was a row of bouquets all down the table, and
|
||
on the wide-bordered plates the napkins stood like bishops'
|
||
mitres, each with an oval-shaped roll between its folds. Red
|
||
lobster claws protruded from platters, oversized fruit was
|
||
piled up on moss in openwork baskets. Quail were served in
|
||
their plumage. Steam rose from open dishes. And the
|
||
platters of carved meat were brought round by the maitre
|
||
d'hotel himself, grave as a judge in silk stockings, knee
|
||
breeches, white neckcloth and jabot. He reached them down
|
||
between the guests, and with a flick of his spoon transferred
|
||
to each plate the piece desired. Atop the high copper-banded
|
||
porcelain stove the statue of a woman swathed to the chin in
|
||
drapery stared down motionless at the company.
|
||
|
||
Madame Bovary was surprised to notice that several of
|
||
the ladies had failed to put their gloves in their wine
|
||
glasses.
|
||
|
||
At the head of the table, alone among ladies, was an
|
||
old man. His napkin was tied around his neck like a child's,
|
||
and he sat hunched over his heaped plate, gravy dribbling
|
||
from his mouth. The underlids of his eyes hung down and
|
||
|
||
showed red inside, and he wore his hair in a little pigtail
|
||
wound with black ribbon. This was the marquis' father-in-
|
||
law, the old duc de Laverdiere, favorite of the duc d`Artois
|
||
in the days of the marquis de Conflans' hunting parties at Le
|
||
Vaudreuil. He was said to have been Marie-Antoinette's lover
|
||
between Monsieur de Coigny and Monsieur de Lauzun. He had
|
||
led a wild, dissipated life, filled with duels, wagers and
|
||
abductions. He had gone through his money and been the
|
||
terror of his family. Now, muttering unintelligibly, he
|
||
pointed his finger at one dish after another, and a servant
|
||
standing behind his chair shouted their names in his ear.
|
||
Emma's eyes kept coming back to this pendulous-lipped old
|
||
man as though he were someone extraordinary, someone august.
|
||
He had lived at court! He had slept with a queen!
|
||
|
||
Iced champagne was served, and the feel of the cold
|
||
wine in her mouth gave Emma a shiver that ran over her from
|
||
head to toe. She had never see pomegranates or eaten pine-
|
||
apple. Even the powdered sugar seemed to her whiter and
|
||
finer than elsewhere.
|
||
|
||
Then the ladies went up to their rooms to dress for the
|
||
ball.
|
||
|
||
Emma devoted herself to her toilette with the meticu-
|
||
lous care of an actress the night of her debut. She did her
|
||
hair as the hairdresser advised, and slipped into her gauzy
|
||
barege gown, which had been laid out for her on the bed.
|
||
|
||
Charles trousers were too tight at the waist. And then,
|
||
"The shoe straps will interfere with my dancing," he said.
|
||
|
||
"You? Dance?" Emma cried.
|
||
|
||
"Of course!"
|
||
|
||
"But you're crazy! Everybody would laugh. You mustn't.
|
||
It's not suitable for a doctor, anyway," she added.
|
||
|
||
Charles said no more. He walked up and down waiting for
|
||
Emma to be ready.
|
||
|
||
He saw her from behind in a mirror, between two sconces.
|
||
Her dark eyes seemed darker than ever. Her hair, drawn down
|
||
smoothly on both sides and slightly fluffed out over the ears,
|
||
shone with a blue luster. In her chignon a rose quivered on
|
||
its flexible stem, with artificial dewdrops at the leaf-tips.
|
||
Her gown was pale saffron, trimmed with three bunches of
|
||
pompon roses and green sprays.
|
||
|
||
Charles came up to kiss her on the shoulder. "Don't!"
|
||
she cried. "You're rumpling me."
|
||
|
||
The strains of a violin floated up the stairs, a horn
|
||
joined in. As Emma went down she had to restrain herself
|
||
from running.
|
||
|
||
The quadrilles had begun. More and more guests were
|
||
arriving. There was something of a crush. Emma stayed near
|
||
the door on a settee.
|
||
|
||
When the music stopped, the dance floor was left to the
|
||
men, who stood there talking in groups, and to the liveried
|
||
servants, who crossed it with their heavy trays. Along the
|
||
line of seated women there was a flutter of painted fans.
|
||
Smiles were half hidden behind bouquets. Gold-stoppered
|
||
scent bottles twisted and turned in white-gloved hands, the
|
||
tight silk binding the wrists and showing the form of the
|
||
nails. There was a froth of lace around decolletages, a
|
||
flashing of diamonds at throats, bracelets dangling medals
|
||
and coins tinkled on bare arms. Hair was sleek and shining
|
||
in front, twisted and knotted behind, and every coiffure had
|
||
its wreath or bunch or sprig, of forget-me-nots, jasmine,
|
||
pomegranate blossoms, wheat-sprays, cornflowers. The dow-
|
||
agers, sitting calm and formidable, wore red head dresses like
|
||
turbans.
|
||
|
||
Emma's heart pounded a bit as her partner led her out by
|
||
the fingertips and she waited in line for the starting signal
|
||
on the violin. But her nervousness soon wore off, and swaying
|
||
and nodding in time with the orchestra, she glided forward.
|
||
She responded with a smile to the violinist's flourishes as
|
||
he continued to play solo when the other instruments stopped.
|
||
At such moments the chink of gold pieces came clearly from
|
||
the gaming tables in the next room. Then everything was in
|
||
full swing again, the cornet blared, once again feet tramped
|
||
in rhythm, skirts ballooned and brushed together, hands joined
|
||
and separated, eyes lowered one moment looked intently into
|
||
yours the next.
|
||
|
||
Scattered among the dancers or talking in doorways were
|
||
a number of men, a dozen or so, aged from twenty-five to
|
||
forty, who were clearly distinguishable from the rest by a
|
||
certain look of overbreeding common to them all despite
|
||
differences of age, dress, or feature.
|
||
|
||
Their coats were better cut, and seemed to be of finer
|
||
cloth. Their hair, brought forward in ringlets over the
|
||
temples, seemed to glisten with more expensive pomades.
|
||
Their complexion bespoke wealth. They had the pale, very
|
||
white skin that goes so well with the diaphanous tints of
|
||
porcelain, the luster of satin, the patina of old wood, and
|
||
is kept flawless by simple, exquisite fare. These men moved
|
||
their heads unconstrainedly above low cravats. Their long
|
||
side whiskers drooped onto turned-down collars. They wiped
|
||
their lips with handkerchiefs that were deliciously scented
|
||
and monogrammed with huge initials. Those who were beginning
|
||
to age preserved a youthful look, while the faces of the young
|
||
had a touch of ripeness. There was an air of indifference
|
||
about them, a calm produced by the gratification of every
|
||
passion. And though their manners were suave, one could sense
|
||
beneath them that special brutality which comes from the habit
|
||
of breaking down half-hearted resistances that keep one fit
|
||
and tickle one's vanity, the handling of blooded horses, the
|
||
pursuit of loose women.
|
||
|
||
A few steps from Emma a blue-coated gentleman was deep
|
||
in Italy with a pale young woman in pearls. They were
|
||
gushing about the massiveness of the piers in St. Peter's,
|
||
about Tivoli, Vesuvius, Castellamare and the Cascine, the
|
||
roses in Genoa, the Colosseum by moonlight. And the conver-
|
||
sation heard with her other ear was full of words she didn't
|
||
understand. It was coming from a circle that had formed
|
||
around a very young man who only the week before had "beaten
|
||
Miss Arabella and Romulus" and seemed to have won two thou-
|
||
sand louis d'or by jumping a certain ditch in England. One
|
||
of the speakers was complaining that his racers were putting
|
||
on weight, another that misprints had made the name of his
|
||
horse unrecognizable in the newspapers.
|
||
|
||
The air in the ballroom had grown heavy. The lamps were
|
||
beginning to dim. A number of men had disappeared in the
|
||
direction of the billiard room. A servant climbed on a chair
|
||
and broke two panes in a window. At the sound of the smash
|
||
Madame Bovary turned her head and saw peasants peering in
|
||
from the garden, their faces pressed against the glass. She
|
||
thought of Les Bertaux. She saw the farm, the muddy pond,
|
||
her father in a smock under the apple trees, and she saw
|
||
herself as she had been there, skimming cream with her finger
|
||
from the milk jars in the dairy. But amid the splendors of
|
||
this night her past life, hitherto so vividly present, was
|
||
vanishing utterly. Indeed she was beginning almost to doubt
|
||
that she had lived it. She was here, and around the brilliant
|
||
ball was a shadow that veiled all else. She was eating a
|
||
maraschino ice, at that precise moment, from a gilded silver
|
||
scallop-shell that she was holding in her left hand. The
|
||
spoon was between her teeth, her eyes were half shut.
|
||
|
||
A lady near her dropped her fan just as a gentleman was
|
||
passing. "Would you be good enough to pick up my fan,
|
||
Monsieur?" she asked him. "It's there behind the sofa."
|
||
|
||
The gentleman bowed, and as he stretched out his arm
|
||
Emma saw the lady toss something into his hat, something
|
||
white, folded in the shape of a triangle. The gentleman
|
||
recovered the fan and handed it to the lady respectfully.
|
||
She thanked him with a nod and began to sniff at her bouquet.
|
||
|
||
For supper there was an array of Spanish wines and Rhine
|
||
wines, bisque soup and cream of almond soup, Trafalgar
|
||
pudding, and platters of all kinds of cold meat in trembling
|
||
aspic. And after it the carriages began gradually to leave.
|
||
Drawing back a corner of a muslin curtain, Emma could see
|
||
their lamps slipping away into the darkness. The settees
|
||
emptied. Some of the card players stayed on. The musicians
|
||
cooled the tips of their fingers on their tongues. Charles
|
||
was half asleep, propped up against a door.
|
||
|
||
At three in the morning the closing cotillion began.
|
||
Emma had never waltzed. Everyone else was waltzing, including
|
||
Mademoiselle d`Andervilliers and the marquis. By this time
|
||
only the hosts and the house guests remained, about a dozen
|
||
in all. One of the waltzers, whom everyone called simply
|
||
"Vicomte," and whose very low-cut waist-coat seemed to be
|
||
molded on his torso, came up to Madame Bovary and for the
|
||
second time asked her to be his partner. He would lead her,
|
||
he urged, she'd do very well.
|
||
|
||
They started out slowly, then quickened their step.
|
||
They whirled, or, rather everything, lamps, furniture, walls,
|
||
floor, whirled around them, like a disc on a spindle. As they
|
||
passed close to a door the hem of Emma's gown caught on her
|
||
partner's trousers, and for a moment their legs were all but
|
||
intertwined. He looked down at her, she up at him. A para-
|
||
lyzing numbness came over her, and she stopped. Then they
|
||
resumed, and spinning more quickly the vicomte swept her off
|
||
until they were alone at the very end of the gallery. There,
|
||
out of breath, she almost fell, and for an instant leaned her
|
||
head against a wall, and put her hand over her eyes.
|
||
|
||
When she opened them, a lady was sitting on a low stool
|
||
in the middle of the salon, three waltzers on their knees
|
||
before her. The lady chose the vicomte, and the violin
|
||
struck up again.
|
||
|
||
Everyone watched them as they went round and round. She
|
||
held her body rigid, her head inclined. He maintained the
|
||
same posture as before, very erect, elbow curved, chin forward.
|
||
This time he had a partner worthy of him! They danced on and
|
||
on, long after all the others had dropped out exhausted.
|
||
|
||
Hosts and guests chatted a few minutes longer, and then,
|
||
bidding each other good night, or rather good morning, they
|
||
all went up to bed.
|
||
|
||
Charles dragged himself up the stairs by the handrail.
|
||
His legs, he said, were "ready to drop off." He had spent
|
||
five solid hours on his feet by the card tables watching
|
||
people play whist, unable to make head or tail of it. So he
|
||
gave a great sigh of relief when he pulled his shoes off at
|
||
last.
|
||
|
||
Emma slipped a shawl over her shoulders, opened the
|
||
window and leaned out.
|
||
|
||
The night was very dark. A few drops of rain were
|
||
falling. She breathed the moist wind, so cooling to her
|
||
eyelids. The music was still throbbing in her ears, and she
|
||
forced herself to stay awake in order to prolong the illusion
|
||
of this luxurious life she would so soon have to be leaving.
|
||
|
||
The sky began to lighten. Her glance lingered on the
|
||
windows of the various rooms as she tried to imagine which
|
||
of them were occupied by the people she had seen the night
|
||
before. She longed to know all about their lives, to pene-
|
||
trate into them, to be part of them.
|
||
|
||
But she was shivering with cold. She undressed and
|
||
crept into bed beside the sleeping Charles.
|
||
|
||
Everyone came downstairs for breakfast. The meal
|
||
lasted ten minutes. To the doctor's surprise no liqueurs
|
||
were served. Mademoiselle d'Andervilliers gathered up the
|
||
remains of the brioches in a basket to feed the swans in the
|
||
lake, and everyone went for a stroll in the greenhouse, where
|
||
strange hairy plants were displayed on pyramidal stands, and
|
||
hanging jars that looked like nests crawling with snakes
|
||
dripped long, dangling, intertwined green tendrils. From the
|
||
orangery at the end of the greenhouse a roofed passage led to
|
||
the outbuildings. To please the young woman the marquis took
|
||
her to see the stables. Above the basket-shaped racks were
|
||
porcelain name plates with the horses' names in black letters.
|
||
Each horse moved restlessly in his stall at the approach of
|
||
the visitors and the coaxing, clicking sounds they made with
|
||
their tongues. The boards of the harness-room floor shone
|
||
like the parquet floor of a drawing room. The carriage
|
||
harness hung in the middle, on two revolving posts, and the
|
||
bits, whips, stirrups and curbs were on a line of hooks along
|
||
the wall.
|
||
|
||
Charles, meanwhile, had gone to ask a groom to harness
|
||
his buggy. It was brought round to the front door, and when
|
||
all the bundles were stowed away, the Bovarys said their
|
||
thank-yous to the marquis and the marquise and set out for
|
||
home.
|
||
|
||
Emma sat silent, watching the turning wheels. Charles
|
||
drove perched on the edge of the seat, arms wide apart, and
|
||
the little horse went along at an ambling trot between the
|
||
overwide shafts. The slack reins slapped against his rump
|
||
and grew wet with lather, and the case tied on behind thumped
|
||
heavily and regularly against the body of the buggy.
|
||
|
||
They were climbing one of the rises near Thibourville
|
||
when just ahead of them, coming from the opposite direction,
|
||
there appeared a group of riders, who passed by laughing and
|
||
smoking cigars. Emma thought she recognized the vicomte.
|
||
She turned and stared, but all she saw was the bobbing heads
|
||
of trotting or galloping riders silhouetted against the sky.
|
||
|
||
Half a mile farther along they had to stop. The
|
||
breeching broke, and Charles mended it with a rope. As he
|
||
was checking his harness he saw something on the ground
|
||
between the horse's feet, and he picked up a cigar case
|
||
trimmed with green silk and bearing a crest in the center
|
||
lake a carriage door.
|
||
|
||
"A couple of cigars in it, too," he said. "I'll smoke
|
||
them after dinner."
|
||
|
||
"You've taken up smoking?" Emma demanded.
|
||
|
||
"Once in a while, when I get the chance."
|
||
|
||
He put his find in his pocket and gave the pony a flick
|
||
of the whip.
|
||
|
||
When they reached home dinner was far from ready. Madame
|
||
lost her temper. Nastasie talked back.
|
||
|
||
"It's too much!" Emma cried. "I've had enough of your
|
||
insolence!" And she gave her notice on the spot.
|
||
|
||
For dinner there was onion soup and veal with sorrel.
|
||
Charles, sitting opposite Emma, rubbed his hands with satis-
|
||
faction. "How good to be home!"
|
||
|
||
They could hear Nastasie weeping. Charles had an affec-
|
||
tion for the poor thing. She had kept him company on many an
|
||
idle evening during his widowerhood. She had been his first
|
||
patient, his first acquaintance in the village.
|
||
|
||
"Are you really letting her go?" he finally asked.
|
||
|
||
"Yes, what's to stop me?"
|
||
|
||
Then they warmed themselves in the kitchen while their
|
||
room was made ready. Charles proceeded to smoke. He curled
|
||
and pursed his lips around the cigar, spat every other
|
||
minute, shrank back from every puff.
|
||
|
||
"You're going to make yourself sick," she said scorn-
|
||
fully.
|
||
|
||
He put down his cigar and rushed to the pump for a drink
|
||
of cold water. Emma snatched the cigar case and quickly
|
||
flung it to the back of the closet.
|
||
|
||
The next day was endless. She walked in her garden, up
|
||
and down the same paths over and over again, stopping to look
|
||
at the flower beds, the fruit trees, the plaster priest,
|
||
staring with a kind of amazement at all these things from her
|
||
past life, things once so familiar. How remote the ball
|
||
already was! What was it that made tonight see so very far
|
||
removed from the day before yesterday? Her visit to La
|
||
Vaubyessard had opened a breach in her life, like one of those
|
||
great crevasses that a storm can tear across the face of a
|
||
mountain in the course of a single night. But there was
|
||
nothing to do about it. She put her beautiful ball costume
|
||
reverently away in a drawer, even to her satin slippers, whose
|
||
soles were yellow from the slippery wax of the dance floor.
|
||
Her heart was like them. Contact with luxury had left an
|
||
indelible mark on it.
|
||
|
||
The memory of the ball would not leave her. Every
|
||
Wednesday she told herself as she woke. "Ah! One week ago
|
||
. . . two weeks ago . . . three weeks age, I was there!"
|
||
Little by little the faces grew confused in her mind. She
|
||
forgot the tune of the quadrille. The liveries and the
|
||
splendid rooms became blurred. Some of the details departed,
|
||
but the yearning remained.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER ONE
|
||
|
||
Yonville-l'Abbaye (even the ruins of the ancient capuchin
|
||
abbey from which it derives its name are no longer there) is a
|
||
market town twenty miles from Rouen, between the highways to
|
||
Abbeville and Beauvais in the valley of the Rieule. This is a
|
||
small tributary of the Andelle. It turns the wheels of three
|
||
mills before joining the larger stream, and contains some
|
||
trout that boys like to fish on Sundays.
|
||
|
||
Branching off from the highway at La Boissiere, the road
|
||
to Yonville continues level until it climbs the hill at Les
|
||
Leux. And from there it commands a view of the valley. This
|
||
is divided by the Rieule into two contrasting bits of country-
|
||
side. Everything to the left is grazing land, everything to
|
||
the right is ploughed field. The pastures extend along the
|
||
base of a chain of low hills and merge at the far end with the
|
||
meadows of Bray, while eastward the plain rises gently and
|
||
grows steadily wider, flaunting its golden grainfields as far
|
||
as the eye can see. The stream, flowing along the edge of the
|
||
grass, is a white line dividing the color of the meadows from
|
||
that of the ploughed earth. The country thus resembles a
|
||
great spread-out cloak, its green velvet collar edged with
|
||
silver braid.
|
||
|
||
On the horizon beyond Yonville loom the oaks of the
|
||
Argueil forest and the escarpments of the bluffs of Saint-
|
||
Jean, the latter streaked from top to bottom with long,
|
||
irregular lines of red. These are marks left by rain, and
|
||
their brickish color, standing out so sharply against the
|
||
gray rock of the hill, comes from the iron content of the
|
||
many springs in the country just beyond.
|
||
|
||
This is where Normandy, Picardy and the Ile-de-France
|
||
come together, a mongrel region where the speech of the
|
||
natives is as colorless as the landscape is lacking in char-
|
||
acter. Here they make the worst Neufchatel cheeses in the
|
||
entire district. And here farming calls for considerable
|
||
investment. Great quantities of manure are needed to fer-
|
||
tilize the friable, sandy, stony soil.
|
||
|
||
Up until 1835 no road was kept open to Yonville, but
|
||
about that time the cross-cut was made that links the Amiens
|
||
and Abbeville highways and is sometimes used by carters tra-
|
||
veling from Rouen to Flanders. Nevertheless, despite its
|
||
"new avenues for trade," Yonville-l'Abbaye has stood still.
|
||
Instead of adopting improved methods of farming, the natives
|
||
stick to their pastures, worn-out though they are. And the
|
||
lazy town, spurning the farmland, has continued its spontan-
|
||
eous growth in the direction of the river. The sight of it
|
||
from a distance, stretched out along the bank, brings to mind
|
||
a cowherd taking a noonday nap beside the stream.
|
||
|
||
At the foot of the hill the road crosses the Rieule on a
|
||
bridge, and then, becoming an avenue planted with young
|
||
aspens, leads in a straight line to the first outlying houses.
|
||
These are surrounded by hedges, and their yards are full of
|
||
scattered outbuildings, cider presses, carriage houses and
|
||
distilling sheds standing here and there under thick trees
|
||
with ladders and poles leaning against their trunks and
|
||
scythes hooked over their branches. The thatched roofs hide
|
||
the top third or so of the low windows like fur caps pulled
|
||
down over eyes, and each windowpane, thick and convex, has a
|
||
bull's-eye in its center like the bottom of a bottle. Some
|
||
of the plastered house walls with their diagonal black
|
||
timbers are the background for scraggly espaliered pear trees.
|
||
And the house doors have little swinging gates to keep out the
|
||
baby chicks, who come to the sill to peck at brown-bread
|
||
crumbs soaked in cider. Gradually the yards become narrower,
|
||
houses are closer together, the hedges disappear, occasionally
|
||
a fern broom put out to dry is seen hanging from a window.
|
||
There is a blacksmith shop, a cart-maker's with two or three
|
||
new carts outside half blocking the roadway. Then comes a
|
||
white house behind an iron fence, its circular lawn adorned
|
||
by a cupid holding finger to lips. Two cast-iron urns stand
|
||
at either end of the entrance terrace. Brass plates gleam
|
||
brightly at the door. This is the notary's house, the finest
|
||
in town.
|
||
|
||
The church is across the street, twenty yards further on,
|
||
at the corner of the main square. The little graveyard sur-
|
||
rounding it, enclosed by an elbow-high wall, is so full of
|
||
graves that the old tombstones, lying flat on the ground, form
|
||
a continuous pavement divided into rectangular blocks by the
|
||
grass that pushes up between. The church was remodeled during
|
||
the last years of the reign of Charles X. The wooden vaulting
|
||
is beginning to rot at the top. Black cavities are appearing
|
||
here and there in the blue paint. Above the door, in the
|
||
place usually occupied by an organ, is a gallery for the men,
|
||
reached by a spiral staircase that echoes loudly under the
|
||
tread of wooden shoes.
|
||
|
||
Daylight, coming through the windows of plain glass,
|
||
falls obliquely on the pews. And here and there on the wall
|
||
from which they jut out at right angles is tacked a bit of
|
||
straw matting, with the name of the pew-holder in large
|
||
letters below. Beyond, where the nave narrows, stands the
|
||
confessional, and opposite it a statuette of the Virgin. She
|
||
is dressed in a satin gown and a tulle veil spangled with
|
||
silver stars, and her cheeks are daubed red like some idol
|
||
from the Sandwich Islands. A painting by a copyist, inscribed
|
||
"Holy Family: Presented by the Minister of the Interior,"
|
||
hangs over the main altar, and there, flanked by four candle-
|
||
sticks, it closes the vista. The cheap fir choir stalls have
|
||
never been painted.
|
||
|
||
The market, that is, a tile roof supported by about
|
||
twenty pillars, takes up approximately half the main square
|
||
of Yonville. The town hall, designed, as everyone will tell
|
||
you, "by a Paris architect," is a kind of Greek temple forming
|
||
one corner of the square, next door to the pharmacy. Its
|
||
lower story has three Ionic columns. Above is a row of arched
|
||
windows, and the culminating pediment is filled with a figure
|
||
of the Gallic cock, one of its claws resting on the Constitu-
|
||
tion and the other holding the scales of justice.
|
||
|
||
But what catches the eye the most is across the square
|
||
from the Lion d'Or hotel. Monsieur Homais' pharmacy! Especi-
|
||
ally at night, when his lamp is lit, and the red and green
|
||
glass jars decorating his window cast the glow of their two
|
||
colors far out across the roadway! Peering through it, as
|
||
through the glare of Bengal lights, one can catch a glimpse,
|
||
at that hour, of the dim figure of the pharmacist himself,
|
||
bent over his desk. The entire facade of his establishment
|
||
is plastered from top to bottom with inscriptions, in running
|
||
script, in round hand, in block capitals, "Vichy, Seltzer and
|
||
Bareges Waters. Depurative Fruit Essences. Raspail's Remedy.
|
||
Arabian Racahout. Darcet's Pastilles. Regnault's Ointment.
|
||
Bandages, Baths, Laxative Chocolates, etc." And the shop-sign
|
||
as wide as the shop itself, proclaims in gold letters, "Homais
|
||
Pharmacy." At the rear of the shop, behind the great scales
|
||
fastened to the counter, the word "Laboratory" is inscribed
|
||
above a glass door. And this door itself, halfway up, bears
|
||
once again the name "Homais," in gold letters on a black
|
||
ground.
|
||
|
||
That is as much as there is to see in Yonville. The
|
||
street (the only street), long as a rifle-shot and lined with
|
||
a few shops, abruptly ceases to be a street at a turn of the
|
||
road. If you leave it on the right and follow the base of the
|
||
bluffs of Saint-Jean, you soon reach the cemetery.
|
||
|
||
This was enlarged the year of the cholera. One wall was
|
||
torn down and three adjoining acres were added. But all this
|
||
new portion is almost uninhabited, and new graves continue as
|
||
in the past to be dug in the crowded area near the gate. The
|
||
caretaker, who is also gravedigger and sexton at the church
|
||
(thus profiting doubly from the parish corpses), has taken
|
||
advantage of the empty land to plant potatoes. Nevertheless,
|
||
his little field grows smaller every year, and when there is
|
||
an epidemic he doesn't know whether to rejoice in the deaths
|
||
or lament the space taken by the new graves.
|
||
|
||
"You are feeding on the dead, Lestiboudois!" Monsieur
|
||
le cure told him, one day.
|
||
|
||
The somber words gave him pause, and for a time he
|
||
desisted. But today he continues to plant his tubers, coolly
|
||
telling everyone that they come up by themselves.
|
||
|
||
Since the events which we are about to relate, absolutely
|
||
nothing has changed in Yonville. To this day the tin tricolor
|
||
still turns atop the church tower. The two calico streamers
|
||
outside the dry-goods shop still blow in the wind. The spongy
|
||
foetuses in the pharmacy window continue to disintegrate in
|
||
their cloudy alcohol. And over the main entrance of the hotel
|
||
the old golden lion, much discolored by the rains, stares down
|
||
like a curly-headed poodle on passers-by.
|
||
|
||
The evening the Bovarys were expected at Yonville, Madame
|
||
Lefrancois, the widow who owned this hotel, was so frantically
|
||
busy with her saucepans that large beads of sweat stood out on
|
||
her face. Tomorrow was market day, and she had to get every-
|
||
thing ready in advance. Cut the meat, clean the chickens,
|
||
make soup, roast and grind the coffee. In addition, she had
|
||
tonight's dinner to get for her regular boarders and for the
|
||
new doctor and his wife and their maid. Bursts of laughter
|
||
came from the billiard room. In the small dining room three
|
||
millers were calling for brandy. Logs were blazing, charcoal
|
||
was crackling, and on the long table in the kitchen, in among
|
||
the quarters of raw mutton, stood high piles of plates that
|
||
shook with the chopping of the spinach on the chopping-block.
|
||
From the yard came the squawking of the chickens that the
|
||
kitchen maid was chasing with murderous intent.
|
||
|
||
Warming his back at the fire was a man in green leather
|
||
slippers, wearing a velvet skullcap with a gold tassel. His
|
||
face, slightly pitted by smallpox, expressed nothing but self-
|
||
satisfaction, and he seemed as contented with life as the
|
||
goldfinch in a wicker cage hanging above his head. This was
|
||
the pharmacist.
|
||
|
||
"Artemise!" cried the mistress of the inn. "Chop some
|
||
kindling, fill the decanters, bring some brandy, hurry up!
|
||
Lord! If I only knew what dessert to offer these people you're
|
||
waiting for! Listen to their moving-men starting up that
|
||
racket in the billiard room again! They've left their van in
|
||
the driveway, too. The Hirondelle will probably crash into
|
||
it. Call 'Polyte and tell him to put it in the shed! Would
|
||
you believe it, Monsieur Homais, since this morning they've
|
||
played at least fifteen games and drunk eight pots of cider!
|
||
But they're going to ruin my table," she said, staring over
|
||
at them across the room, her skimming spoon in her hand.
|
||
|
||
"That wouldn't be much of a loss," replied Monsieur
|
||
Homais. "You'd buy another one."
|
||
|
||
"Another billiard table!" cried the widow.
|
||
|
||
"But this one's falling apart, Madame Lefrancois! I
|
||
tell you again, it's shortsighted of you not to invest in a
|
||
new one! Very shortsighted! Players today want narrow poc-
|
||
kets and heavy cues, you know. They don't play billiards
|
||
the way they used to. Everything's changed. We must keep
|
||
up with the times! Just look at Tellier . . ."
|
||
|
||
The hostess flushed with anger.
|
||
|
||
"Say what you like," the pharmacist went on, "his bil-
|
||
liard table is nicer than yours. And if a patriotic tourna-
|
||
ment were to be got up, for Polish independence or Lyons
|
||
flood relief . . ."
|
||
|
||
"We're not afraid of fly-by-nights like Tellier," the
|
||
hostess interrupted, shrugging her heavy shoulders. "Don't
|
||
worry, Monsieur Homais. As long as the Lion d'Or exists
|
||
we'll keep out customers. We're a well-established house.
|
||
But the Cafe Francais . . . One of these mornings you'll
|
||
find it sealed up, with a nice big notice on the window
|
||
blinds. A new billiard table!" she went on, talking as
|
||
though to herself. "But this one's so handy to stack the
|
||
washing on! And in the hunting season it's slept as many
|
||
as six! . . . But what's keeping that slowpoke Hivert?"
|
||
|
||
"You'll wait till he arrives, to give your gentlemen
|
||
their dinner?" the pharmacist asked.
|
||
|
||
"Wait? And what about Monsieur Binet? You'll see
|
||
him come in on the stroke of six. He's the most punctual
|
||
man in the world. He always has to sit at the same place
|
||
in the little room. He'd die rather than eat his dinner
|
||
anywhere else. And finicky! So particular about his cider!
|
||
Not like Monsieur Leon! Monsieur Leon sometimes doesn't
|
||
come in till seven, or even half-past, and half the time he
|
||
doesn't even know what he's eating. What a nice young man!
|
||
So polite! So soft-spoken!"
|
||
|
||
"Ah, Madame! There's a great difference, you know,
|
||
between someone who's been properly brought up and a tax
|
||
collector who got his only schooling in the army."
|
||
|
||
The clock struck six. Binet entered.
|
||
|
||
He was clad in a blue frock coat that hung straight down
|
||
all around his skinny body. And the raised peak of his
|
||
leather cap, its earflaps pulled up and fastened at the top,
|
||
displayed a bald, squashed-looking forehead, deformed by long
|
||
pressure of a helmet. He was wearing a coarse wool vest, a
|
||
crinoline collar, gray trousers, and, as he did in every
|
||
season, well-shined shoes that bulged in two parallel lines
|
||
over the rising of his two big toes. Not a hair was out of
|
||
place in the blond chin whisker outlining his jaw. It was
|
||
like the edging of a flower bed around his long, dreary face
|
||
with its small eyes and hooked nose. He was a clever card
|
||
player, a good hunter, and wrote a fine hand. His hobby was
|
||
making napkin rings on his own lathe. Jealous as an artist
|
||
and stingy as a bourgeois, he cluttered up his house with his
|
||
handiwork.
|
||
|
||
He headed for the small room, but the three millers had
|
||
to be got out before he would go in. While his table was
|
||
being set he stood next to the stove without saying a word,
|
||
then he closed the door and took off his cap as usual.
|
||
|
||
"He won't wear out his tongue with civilities," the
|
||
pharmacist remarked, as soon as he was alone with the hostess.
|
||
|
||
"He never talks a bit more than that," she answered.
|
||
"Last week I had two cloth salesmen here, two of the funniest
|
||
fellows you ever listened to. They told me stories that made
|
||
me laugh till I cried. Would you believe it? He sat there
|
||
like a clam, didn't open his mouth."
|
||
|
||
"No imagination," pronounced the pharmacist. "Not a
|
||
hint of a spark! No manners whatever!"
|
||
|
||
"And yet they say he has something to him," objected the
|
||
hostess.
|
||
|
||
"Something to him?" cried Monsieur Homais. "That man?
|
||
Something to him? Still, in his own line I suppose he may
|
||
have," he conceded.
|
||
|
||
And he went on. "Ah! A business man with vast connec-
|
||
tions, a lawyer, a doctor, a pharmacist, I can understand it
|
||
if they get so engrossed in their affairs that they become
|
||
eccentric, even surly. History is full of such examples.
|
||
But at least they have important affairs to be engrossed in!
|
||
Take me, for instance. How often I've turned my desk upside
|
||
down looking for my pen to write some labels, only to find
|
||
I'd stuck it behind my ear!"
|
||
|
||
Meanwhile Madame Lefrancois had approached the door to
|
||
see whether the Hirondelle wasn't in sight, and she started
|
||
as a black-clad man that moment entered the kitchen. In the
|
||
last faint light of dusk it was just possible to make out his
|
||
florid face and athletic figure.
|
||
|
||
"What can I offer you, Monsieur le cure?" she asked,
|
||
reaching down a brass candlestick from a row that stood all
|
||
ready and complete with candles on the mantelpiece. "A drop
|
||
of cassis? A glass of wine?"
|
||
|
||
The priest very politely declined. He had come to fetch
|
||
his umbrella, he said. He had left it at the convent in
|
||
Ernemont the other day, and had supposed the Hirondelle would
|
||
have delivered it by now. He asked Madame Lefrancois to have
|
||
it brought to him at the rectory during the evening, and then
|
||
left for the church, where the bell was tolling the Angelus.
|
||
|
||
When the sound of his footsteps in the square had died
|
||
away, the pharmacist declared that in his opinion the priest's
|
||
behavior had been most improper. His refusal to take a glass
|
||
of something was the most revolting kind of hypocrisy. All
|
||
priests were secret tipplers, he said, and they were all doing
|
||
their best to bring back the days of the tithe.
|
||
|
||
The hostess said some words in the cure's defense. "Be-
|
||
sides," she went on, "he could take on four like you. Last
|
||
year he helped our men get in the straw. He carried as many
|
||
as six bundles at a time, that shows you how strong he is."
|
||
|
||
"Bravo!" cried the pharmacist. "Go ahead! Keep sending
|
||
your daughters to confession to strapping fellows like that!
|
||
But if I were the government I'd have every priest bled once a
|
||
month. Yes, a fine generous phlebotomy every month, Madame,
|
||
in the interests of morals and decency."
|
||
|
||
"That's enough, Monsieur Homais! You've no respect for
|
||
religion!"
|
||
|
||
"On the contrary. I'm a very religious man, in my own
|
||
way, far more so than all these people with their mummeries
|
||
and their tricks. I worship God, I assure you! I believe in
|
||
a Supreme Being, a Creator. Whoever he is. And what differ-
|
||
ence does it make? He put us here on earth to fulfill our
|
||
duties as citizens and parents. But I don't have to go into
|
||
church and kiss silver platters and hand over my money to
|
||
fatten up a lot of rascals that eat better than you and I!
|
||
To him, one can do full honor in a forest, a field, or merely
|
||
by gazing up at the ethereal vault, like the ancients. My
|
||
God is the God of Socrates, of Franklin, of Voltaire, of
|
||
Beranger! My credo is the credo of Rousseau! I adhere to
|
||
the immortal principles of '89! I have no use for the kind
|
||
of God who goes walking in his garden with a stick, sends his
|
||
friends to live in the bellies of whales, gives up the ghost
|
||
with a groan and then comes back to life three days later!
|
||
Those things aren't only absurd in themselves, Madame, they're
|
||
completely opposed to all physical laws. It goes to prove, by
|
||
the way, that priests have always wallowed in squalid ignor-
|
||
ance and have wanted nothing better than to drag the entire
|
||
world down to their own level."
|
||
|
||
As he ended, he glanced about in search of an audience.
|
||
For a moment, during his outburst, he had had the illusion
|
||
that he was addressing the village council. But the mistress
|
||
of the inn was no longer listening to him. Her ears had
|
||
caught a distant sound of wheels. There was the rattle of a
|
||
coach, the pounding of loose horseshoes on the road, and the
|
||
Hirondelle drew up before the door at last.
|
||
|
||
It was a yellow box-shaped affair mounted on two large
|
||
wheels that came up as high as the top, blocking the passen-
|
||
gers' view and spattering their shoulders. When the carriage
|
||
was closed the tiny panes of its narrow windows rattled in
|
||
their frames, and there were mud stains here and there on the
|
||
ancient coating of dust that even heavy rainstorms never
|
||
washed off completely. It was drawn by three horses, one
|
||
ahead and two abreast. Its under side bumped against the
|
||
ground on down grades.
|
||
|
||
A number of the local inhabitants made their appearance
|
||
in the square, and all speaking at once they asked for news,
|
||
for explanations of the delay, for their packages. Hivert
|
||
didn't know whom to answer first. It was he who attended to
|
||
things in the city for the Yonvillians. He shopped for them,
|
||
brought back rolls of leather for the shoemaker, scrap iron
|
||
for the blacksmith, a keg of herrings for Madame Lefrancois
|
||
his employer, ladies bonnets from the milliner, wigs from
|
||
the hairdresser. And all along the road on the way back he
|
||
distributed his packages, standing up on his seat and hurling
|
||
them over the farmyard fences with a shout as his horses kept
|
||
galloping ahead.
|
||
|
||
An accident had delayed him. Madame Bovary's greyhound
|
||
had run away, disappeared across the fields. They had
|
||
whistled for her a good fifteen minutes. Hivert had even
|
||
turned his coach around and gone back over the road for more
|
||
than a mile, expecting to come upon her any minute, but they'd
|
||
had to go on without her. Emma had wept and made a scene,
|
||
blaming it all on Charles. Monsieur Lheureux, the Yonville
|
||
dry-goods dealer, who was also in the carriage, had tried to
|
||
comfort her by citing numerous examples of lost dogs' recog-
|
||
nizing their masters many years later. There was a famous
|
||
one, he said, that had returned to Paris all the way from
|
||
Constantinople. Another had traveled one hundred twenty-five
|
||
miles in a straight line, swimming four rivers. And his own
|
||
father had had a poodle who after being gone for twelve years
|
||
had suddenly jumped up on his back one night in the street,
|
||
as he was on his way to a friend's house for dinner.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER TWO
|
||
|
||
Emma stepped out first, followed by Felicite, Monsieur
|
||
Lheureux, and a wet nurse, and Charles had to be shaken awake
|
||
in his corner, where he had dozed off as soon as darkness had
|
||
fallen.
|
||
|
||
Homais introduced himself. He paid his compliments to
|
||
Madame and spoke politely to Monsieur, said he was delighted
|
||
to have been of service to them, and cordially added that he
|
||
had taken the liberty of inviting himself to share their
|
||
dinner, his wife being for the moment out of town.
|
||
|
||
In the kitchen, Madame Bovary crossed to the fireplace.
|
||
Reaching halfway down her skirt, she grasped it with the tips
|
||
of two of her fingers, raised it to her ankles, and stretched
|
||
out a black-shod foot toward the flame, over the leg of mutton
|
||
that was turning on the spit. She was standing in the full
|
||
light of the fire, and by its harsh glare one could see the
|
||
weave of her dress, the pores of her white skin, even her eye-
|
||
lids when she briefly shut her eyes. Now and again she was
|
||
flooded by a great glow of red, as a gust of wind blew into
|
||
the fire from the half-open kitchen door.
|
||
|
||
From the other side of the fireplace a fair-haired young
|
||
man was silently watching her.
|
||
|
||
This was Monsieur Leon Dupuis, the second of the Lion
|
||
d'Or's regular diners, clerk to Maitre Guillaumin the notary.
|
||
Finding Yonville very dull, he dined as late as possible, in
|
||
the hope that some traveler might turn up at the inn with
|
||
whom he could have an evening's conversation. On days when
|
||
there was no work to detain him at the office, he had no way
|
||
of filling the interval, and ended up arriving on time and
|
||
enduring a tete-a-tete with Binet straight through from soup
|
||
to cheese. So it was with pleasure that he accepted the
|
||
hostess' suggestion that he dine with the new arrivals, and
|
||
they all went into the large dining room, where their four
|
||
places had been set. Madame Lefrancois was making an occasion
|
||
of it.
|
||
|
||
Homais asked permission to keep his cap on, he had a
|
||
dread of head colds. Then, turning to his neighbor. "Madame
|
||
is a bit tired, I presume? Our old Hirondelle does such a
|
||
frightful lot of bumping and shaking!"
|
||
|
||
"It does," Emma answered. "But I always love traveling
|
||
anyway. I enjoy a change of scene!"
|
||
|
||
The clerk sighed. "It's so boring to be always stuck in
|
||
the same place!"
|
||
|
||
"If you were like me," said Charles, "always having to
|
||
be on horseback . . ."
|
||
|
||
"But there's nothing more charming than riding, I think,"
|
||
said the clerk, addressing Madame Bovary. "If you have the
|
||
opportunity, of course."
|
||
|
||
"As a matter of fact," said the apothecary, "the prac-
|
||
tice of medicine isn't particularly arduous in this part of
|
||
the world. The condition of our roads makes it possible to
|
||
use a gig, and, generally speaking, payment is good, the
|
||
farmers are well off. Aside from the usual cases of enteritis,
|
||
bronchitis, liver complaint, etc., our roster of illnesses
|
||
includes an occasional intermittent fever at harvest time, but
|
||
on the whole very little that's serious except for a good deal
|
||
of scrofula, probably the result of the deplorable hygienic
|
||
conditions in our countryside. Ah! You'll have to fight many
|
||
a prejudice, Monsieur Bovary. Every day your scientific
|
||
efforts will be thwarted by the peasant's stubborn adherence
|
||
to his old ways. Plenty of our people still have recourse to
|
||
novenas and relics and the priest, instead of doing the natural
|
||
thing and coming to the doctor or the pharmacist. To tell the
|
||
truth, however, the climate isn't at all bad. We even have a
|
||
few nonagenarians. The thermometer, this I can tell you from
|
||
personal observation, goes down in the winter to four degrees,
|
||
and in the hottest season touches twenty-five or thirty degrees
|
||
Reaumur at a maximum, or, in other words, fifty-four degrees
|
||
Fahrenheit, to use the English scale, not more! You see, we're
|
||
sheltered from the north winds by the Argueil forest on the one
|
||
side and from the west winds by the bluffs of Saint-Jean on the
|
||
other. However, this warmth, which because of the dampness
|
||
given off by the river and the number of cattle in the pastures,
|
||
which themselves exhale, as you know, a great deal of ammonia,
|
||
that is nitrogen, hydrogen, and oxygen (no, just nitrogen and
|
||
hydrogen), and which, sucking up the humus from the soil, mixing
|
||
all these different emanations together, making a package of
|
||
them, so to speak, and combining also with the electricity in
|
||
the atmosphere when there is any, could in the long run result
|
||
in noxious miasmas, as in tropical countries. This warmth, I
|
||
was saying, is actually moderated from the direction from which
|
||
it comes, or rather the direction from which it could come,
|
||
namely from the south, by southeast winds, which being of course
|
||
cool themselves as a result of crossing the Seine sometimes
|
||
burst on us all of a sudden like arctic air for Russia!"
|
||
|
||
"Are there some nice walks in the neighborhood, at least?"
|
||
Madame Bovary asked, speaking to the young man.
|
||
|
||
"Oh, hardly any," he answered. "There's one place, called
|
||
the Pasture, on top of the bluffs at the edge of the woods. I
|
||
go there Sundays sometimes with a book and watch the sunset."
|
||
|
||
"There's nothing I love as much as sunsets," she said.
|
||
"But my favorite place for them is the seashore."
|
||
|
||
"Oh, I adore the sea," said Monsieur Leon.
|
||
|
||
"Don't you have the feeling," asked Madame Bovary, "that
|
||
something happens to free your spirit in the presence of all
|
||
that vastness? It raises up my soul to look at it, somehow.
|
||
It makes me think of the infinite, and all kinds of wonderful
|
||
things."
|
||
|
||
"Mountain scenery does the same," said Leon. "A cousin
|
||
of mine traveled in Switzerland last year, and he told me
|
||
that no one who hasn't been there can imagine the poetry and
|
||
charm of the lakes and waterfalls and the majesty of the
|
||
glaciers. You can see pine trees so enormous you can't
|
||
believe your eyes, slanting across the rivers. They build
|
||
their chalets right on the edge of precipices. If you look
|
||
down you can see whole valleys a thousand feet below you
|
||
through openings in the clouds. Think what it must do to you
|
||
to see things like that! I'd fall on my knees, I think. I'd
|
||
want to pray. I can well understand the famous composer who
|
||
used to play the piano in such places, to get inspiration."
|
||
|
||
"Are you a musician?" she asked.
|
||
|
||
"No, but I love music," he answered.
|
||
|
||
"Ah, don't listen to him, Madame Bovary," interrupted
|
||
Homais, leaning across his plate. "He's just being modest.
|
||
What about the other day, my friend? You were singing
|
||
L'Ange gardien in your room, it was delightful. I heard
|
||
you from the laboratory. You rendered it like a real actor."
|
||
|
||
Leon lived at the pharmacist's, in a small third-floor
|
||
room looking out on the square. He blushed at his landlord's
|
||
compliment. But the latter had already turned back to the
|
||
doctor and was briefing him on the leading citizens of Yonville.
|
||
He told stories about them and gave vital statistics. No one
|
||
knew for sure how well off the notary was, and then there was
|
||
the Tuvache family, all of them hard to get on with.
|
||
|
||
Emma went on. "What is your favorite kind of music?"
|
||
|
||
"Oh, German music. It's the most inspiring."
|
||
|
||
"Do you know Italian opera?"
|
||
|
||
"Not yet, but I'll hear some next year when I go to
|
||
Paris to finish law school."
|
||
|
||
"As I was just telling your husband," the pharmacist
|
||
said, "speaking of our poor runaway friend Yanoda, thanks
|
||
to his extravagance you're going to enjoy one of the most
|
||
comfortable houses in Yonville. What's especially convenient
|
||
about it for a doctor is that it has a door opening on the
|
||
lane, so that people can come and go without being seen.
|
||
Besides, it has everything a housekeeper needs. Laundry,
|
||
kitchen and pantry, sitting room, fruit closet, etc. Yanoda
|
||
didn't care how he spent his money! He built an arbor
|
||
alongside the river at the foot of the garden, just to drink
|
||
beer in during the summer! If Madame likes gardening,
|
||
she'll be able to . . ."
|
||
|
||
"My wife never gardens," said Charles. "She's been
|
||
advised to take exercise, but even so she'd much rather stay
|
||
in her room and read."
|
||
|
||
"So would I," said Leon. "What's more delightful than
|
||
an evening beside the fire with a nice bright lamp and a book,
|
||
listening to the wind beating against the windows . . .?"
|
||
|
||
"How true!" she said, her great dark eyes fixed widely on
|
||
him.
|
||
|
||
"I'm absolutely removed from the world at such times," he
|
||
said. "The hours go by without my knowing it. Sitting there
|
||
I'm wandering in countries I can see every detail of. I'm
|
||
playing a role in the story I'm reading. I actually feel I'm
|
||
the characters. I live and breathe with them."
|
||
|
||
"I know!" she said. "I feel the same!"
|
||
|
||
"Have you ever had the experience," Leon went on, "of
|
||
running across in a book some vague idea you've had, some image
|
||
that you realize has been lurking all the time in the back of
|
||
your mind and now seems to express absolutely your most subtle
|
||
feelings?"
|
||
|
||
"Indeed I have," she answered.
|
||
|
||
"That's why I'm especially fond of poetry," he said. "I
|
||
find it much more affecting than prose. It's much more apt to
|
||
make me cry."
|
||
|
||
"Still, it's tiresome in the long run," Emma replied.
|
||
"Nowadays I'm crazy about a different kind of thing, stories
|
||
full of suspense, stories that frighten you. I hate to read
|
||
about low-class heroes and their down-to-earth concerns, the
|
||
sort of thing the real world's full of."
|
||
|
||
"You're quite right," the clerk approved. "Writing like
|
||
that doesn't move you. It seems to me to miss the whole true
|
||
aim of art. Noble characters and pure affections and happy
|
||
scenes are very comforting things. They're a refuge from
|
||
life's disillusionments. As for me, they're my only means of
|
||
relief, living here as I do, cut off from the world. Yonville
|
||
has so little to offer!"
|
||
|
||
"It's like Tostes, I suppose," Emma said. "That's why I
|
||
always subscribed to a lending library."
|
||
|
||
"If Madame would do me the honor of using it," said the
|
||
pharmacist, who had heard her last words, "I can offer her a
|
||
library composed of the best authors, Voltaire, Rousseau,
|
||
Delille, Walter Scott, the Echo des Feuilletons. I subscribe
|
||
to a number of periodicals, too. The Fanal de Rouen comes
|
||
every day. As a matter of fact I happen to be its local
|
||
correspondent for Buchy, Forges, Neufchatel, Yonville and all
|
||
this vicinity."
|
||
|
||
They had been at table two hours and a half. Artemise
|
||
was a wretched waitress. She dragged her cloth slippers over
|
||
the tile floor, brought plates one by one, forgot everything,
|
||
paid no attention to what was told her, and constantly left
|
||
the door of the billiard room ajar so that the latch kept
|
||
banging against the wall.
|
||
|
||
As he talked, Leon had unconsciously rested his foot on
|
||
one of the rungs of Madame Bovary's chair. She was wearing
|
||
a little blue silk scarf that held her pleated batiste collar
|
||
stiff as a ruff, and as she moved her head the lower part of
|
||
her face buried itself in the folds or gently rose out of
|
||
them. Sitting thus side by side while Charles and the
|
||
pharmacist chatted, they entered into one of those vague
|
||
conversations in which every new subject that comes up proves
|
||
to be one more aspect of a core of shared feelings. The
|
||
names of plays running in Paris, the titles of novels, new
|
||
dance tunes, the inaccessible great world. Tostes where she
|
||
had just come from, Yonville where they both were now. All
|
||
this they went into and talked about until dinner was over.
|
||
|
||
When coffee was brought in, Felicite went off to prepare
|
||
the bedroom in the new house, and soon they all got up from
|
||
the table. Madame Lefrancois was asleep beside her smoldering
|
||
fire, and the stable-boy, lantern in hand, was waiting to
|
||
light Monsieur and Madame Bovary home. There were wisps of
|
||
straw in his red hair, and his left leg was lame. He took
|
||
Monsieur le cure's umbrella in his other hand, and the company
|
||
set out.
|
||
|
||
The town was asleep. The pillars of the market cast long
|
||
shadows, and the pallor of the road in the moonlight gave the
|
||
effect of a summer night.
|
||
|
||
But the doctor's house was only fifty yards from the inn,
|
||
and almost at once it was time to say good night and they went
|
||
their separate ways.
|
||
|
||
The moment she stepped inside the entrance hall Emma felt
|
||
the chill from the plaster walls fall on her shoulders, like
|
||
the touch of a damp cloth. The walls were new and the wooden
|
||
stairs creaked. Upstairs in the bedroom a whitish light came
|
||
through the uncurtained windows. She could glimpse the tops
|
||
of trees, and, beyond them, meadows half drowned in the mist
|
||
that rose up in the moonlight along the river. In the middle
|
||
of the room was a heap of bureau drawers, bottles, metal and
|
||
wooden curtain rods, mattresses lying on chairs, basins strewn
|
||
over the floor. Everything had been left there in disorder by
|
||
the two moving-men.
|
||
|
||
It was the fourth time that she had gone to bed in a
|
||
strange place. The first was the day she entered the convent,
|
||
the second the day she arrived in Tostes, the third at La
|
||
Vaubyessard, and now the fourth. Each time it had been like
|
||
the opening of a new phase of her life. She refused to
|
||
believe that things could be the same in different places,
|
||
and since what had gone before was so bad, what was to come
|
||
must certainly be better.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER THREE
|
||
|
||
The next morning she was barely up when she saw the clerk
|
||
in the square. She was in her dressing gown. He caught sight
|
||
of her and bowed. She responded with a brief nod and closed
|
||
the window.
|
||
|
||
Leon waited all day for six o'clock to come, but when he
|
||
entered the inn he found only Monsieur Binet, already at table.
|
||
|
||
The dinner of the previous evening had been a notable
|
||
event for him. Never before had he spoken for two consecutive
|
||
hours with a "lady." How did it happen that he had been able
|
||
to tell her so many things, in words that previously he
|
||
wouldn't have thought of? He was ordinarily timid, with a
|
||
reticence that was part modesty, part dissimulation. In
|
||
Yonville he was thought to have very gentlemanly manners. He
|
||
listened respectfully to his elders, and seemed not to get
|
||
excited about politics, a remarkable trait in a young man.
|
||
Besides, he was talented. He painted in water colors, could
|
||
read the key of G, and when he didn't play cards after dinner
|
||
he often took up a book. Monsieur Homais esteemed him because
|
||
he was educated. Madame Homais liked him because he was
|
||
helpful. He often spent some time with her children in the
|
||
garden. They were brats, the Homais children, always dirty,
|
||
wretchedly brought up, sluggish like their mother. Besides
|
||
the maid, they were looked after by the pharmacist's appren-
|
||
tice, Justin, a distant cousin of Monsieur Homais, who had
|
||
been taken in out of charity and was exploited as a servant.
|
||
|
||
The apothecary proved the best of neighbors. He advised
|
||
Madame Bovary about tradesmen, had his cider dealer make a
|
||
special delivery, tasted the brew himself, and saw to it that
|
||
the barrel was properly installed in the cellar. He told her
|
||
how to buy butter most advantageously, and made an arrangement
|
||
for her with Lestiboudois the sacristan, who in addition to
|
||
his ecclesiastical and funerary functions tended the principal
|
||
gardens in Yonville by the hour or by the year, depending on
|
||
the owners' preference.
|
||
|
||
It wasn't mere kindness that prompted the pharmacist to
|
||
such obsequious cordiality, there was a scheme behind it.
|
||
|
||
He had violated the law of 19th Ventose, Year XI, Article
|
||
I, which forbids anyone not holding a diploma to practice
|
||
medicine, and in consequence had been denounced by anonymous
|
||
informants and summoned to Rouen to the private chambers of
|
||
the royal prosecutor. The magistrate had received him stand-
|
||
ing, clad in his robe of office banded at the shoulders with
|
||
ermine and wearing his high official toque. It was in the
|
||
morning, before the opening of court. Homais could hear the
|
||
heavy tread of policemen in the corridor, and in the distance
|
||
what sounded like heavy locks snapping shut. His ears rang
|
||
so that he thought he was going to have a stroke. He had a
|
||
vision of underground dungeons, his family in tears, his
|
||
pharmacy sold, all his glass jars scattered among strangers.
|
||
And when the interview was over he had to go to a cafe and
|
||
drink a rum and soda to steady his nerves.
|
||
|
||
Gradually the memory of this warning faded, and he con-
|
||
tinued as before to give innocuous consultations in his back
|
||
room. But his relations with the mayor were not good. He
|
||
had competitors who would rejoice in his ruin. He had to
|
||
watch his step. By being polite to Monsieur Bovary he could
|
||
win his gratitude and insure his looking the other way should
|
||
he notice anything. So every morning Homais brought him "the
|
||
paper," and often left the pharmacy in the afternoon to call
|
||
on him for a moment's conversation.
|
||
|
||
Charles was in a gloomy state. He had no patients. He
|
||
sat silent for hours on end, took naps in his consulting
|
||
room, or watched his wife as she sewed. To keep occupied he
|
||
acted as handyman around the house, even attempting to paint
|
||
the attic with what the painters had left behind. But he was
|
||
worried about money. He had spent so much for repairs at
|
||
Tostes, for dresses for Madame, for the move, that the entire
|
||
dowry and three thousand ecus besides had been swallowed up
|
||
in two years. Besides, so many things had been broken or lost
|
||
between Tostes and Yonville! The plaster priest was one of
|
||
them. A particularly violent bump had thrown it out of the
|
||
van, and it had been smashed into a thousand pieces on the
|
||
cobblestones of Quincampoix.
|
||
|
||
He had another, happier concern, his wife's pregnancy.
|
||
As her term drew near she became ever dearer to him. Another
|
||
bond of the flesh was being forged between them, one which
|
||
gave him an all-pervasive feeling that their union was now
|
||
closer. The indolence of her gait, the gentle sway of her
|
||
uncorseted body, her tired way of sitting in a chair, all
|
||
filled him with uncontrollable happiness. He would go up to
|
||
her and kiss her, stroke her face, call her "little mother."
|
||
try to dance with her, and half laughing, half weeping, he
|
||
would think of a thousand playful endearments to shower her
|
||
with. The idea of having begotten a child enchanted him.
|
||
Now he had everything he could ever hope for. He had been
|
||
granted all that human life had to offer, and he was serenely
|
||
ready to enjoy it.
|
||
|
||
Emma's first reaction to her condition was one of great
|
||
surprise, and then she was eager to be delivered and know
|
||
what it was like to be a mother. But since she couldn't
|
||
spend the money she would have liked and buy embroidered baby
|
||
bonnets and a boat-shaped cradle with pink silk curtains, she
|
||
resentfully gave up her own ideas about the layette and
|
||
ordered the whole thing from a seamstress in the village
|
||
without indicating any preferences or discussing any details.
|
||
Thus she had none of the pleasure she might have had in the
|
||
preparations that whet the appetite of mother love, and this
|
||
perhaps did something to blunt her affection from the begin-
|
||
ning. But Charles spoke of the baby every time they sat down
|
||
to a meal, and gradually she became accustomed to the idea.
|
||
|
||
She wanted a son. He would be strong and dark. She
|
||
would call him Georges, and this idea of having a male child
|
||
was like a promise of compensation for all her past frustra-
|
||
tions. A man is free, at least, free to range the passions
|
||
and the world, to surmount obstacles, to taste the rarest
|
||
pleasures. Whereas a woman is continually thwarted. Inert,
|
||
compliant, she has to struggle against her physical weakness
|
||
and legal subjection. Her will, like the veil tied to her
|
||
hat, quivers with every breeze. There is always a desire
|
||
that entices, always a convention that restrains.
|
||
|
||
The baby was born one Sunday morning, about six o'clock,
|
||
|
||
as the sun was rising.
|
||
|
||
"It's a girl!" cried Charles.
|
||
|
||
She turned her head away and fainted.
|
||
|
||
Almost immediately Madame Homais rushed in and kissed
|
||
her, followed by Madame Lefrancois of the Lion d'Or. The
|
||
pharmacist, a man of discretion, confined himself to a few
|
||
provisional words of congratulation, spoken through the half-
|
||
open door. He asked to see the child and pronounced it well
|
||
formed.
|
||
|
||
During her convalescence she gave a great deal of thought
|
||
to a name for her daughter. First she went over all she could
|
||
think of that had Italian endings, Clara, Louisa, Amanda,
|
||
Atala. She was tempted by Galsuinde, too, and even more by
|
||
Isolde and Leocadie. Charles wanted the child named for its
|
||
mother, Emma was opposed. They went through the almanac from
|
||
end to end and asked everyone for suggestions.
|
||
|
||
"Monsieur Leon," said the pharmacist, "told me the other
|
||
day he's surprised you haven't decided on Madeleine, it's so
|
||
very fashionable just now."
|
||
|
||
But the older Madame Bovary protested loudly against a
|
||
name so associated with sin. Monsieur Homais' predilection
|
||
was for names that recalled great men, illustrious deeds or
|
||
noble thoughts. Such had been his guiding principle in
|
||
baptising his own four children. Napoleon stood for fame,
|
||
Franklin for liberty. Irma was perhaps a concession to
|
||
romanticism, but Athalie was a tribute to the most immortal
|
||
masterpiece of the French stage. For, mind you, his philo-
|
||
sophical convictions didn't interfere with his artistic
|
||
appreciation. In him, the thinker didn't stifle the man of
|
||
feeling. He was a man of discrimination, quite capable of
|
||
differentiating between imagination and fanaticism. In the
|
||
tragedy in question, for example, he condemned the ideas but
|
||
admired the style, abhorred the conception but praised all
|
||
the details, found the characters impossible but their
|
||
speeches marvelous. When he read the famous passages he was
|
||
carried away, but the thought that the clergy made use of it
|
||
all for their own purposes distressed him immensely. And so
|
||
troubling was his confusion of feelings that he would have
|
||
liked to place a wreath on Racine's brow with his own hands
|
||
and then have a good long argument with him.
|
||
|
||
In the end, Emma remembered hearing the marquise at
|
||
Vaubyessard address a young woman as Berthe, and that promptly
|
||
became the chosen name. Since Monsieur Rouault was unable to
|
||
come, Monsieur Homais was asked to be godfather. As presents
|
||
he brought several items from his pharmaceutical stock,
|
||
namely, six boxes of jujubes, a full jar of racahout, three
|
||
packages of marshmallow paste, and six sticks of sugar candy
|
||
that he found in a cupboard and threw in for good measure.
|
||
The evening of the ceremony there was a large party. The
|
||
priest was present. Words became rather heated, and with
|
||
the liqueurs Monsieur Homais broke into Beranger's Le Dieu
|
||
des bonnes gens. Monsieur Leon sang a barcarolle, and the
|
||
older Madame Bovary (who was godmother) a Napoleonic ballad.
|
||
Finally the older Monsieur Bovary insisted that the baby be
|
||
brought down, and proceeded to baptise it with a glass of
|
||
champagne, pouring the wine over its head. This mockery of
|
||
the first sacrament brought indignant words from the Abbe
|
||
Bournisien. The older Monsieur Bovary replied with a quota-
|
||
tion from La Guerre des dieux, and the priest started to
|
||
leave. The ladies implored him to stay. Homais intervened,
|
||
and after considerable persuasion the abbe sat down again in
|
||
his chair and calmly took up his saucer and his half-finished
|
||
demitasse.
|
||
|
||
The older Monsieur Bovary stayed on for a month at
|
||
Yonville, dazzling the inhabitants with a magnificent silver-
|
||
braided policeman's cap that he wore mornings when he smoked
|
||
his pipe in the square. He was used to drinking large quan-
|
||
tities of brandy, and often sent the maid to the Lion d'Or to
|
||
buy a bottle, which was charged to his son's account. And to
|
||
perfume his foulards he used up his daughter-in-law's entire
|
||
supply of eau de Cologne.
|
||
|
||
Emma didn't in the least dislike his company. He had
|
||
seen the world. He spoke of Berlin, of Vienna, of Strasbourg,
|
||
of his years as an army officer, or the mistresses he had had,
|
||
of the official banquets he had attended. Then he would
|
||
become gallant, and sometimes, on the stairs or in the garden,
|
||
he would even seize hold of her waist and cry, "Better watch
|
||
out, Charles!" The older Madame Bovary was alarmed for her
|
||
son's happiness, and began to urge her husband to take her
|
||
home, lest in the long run he corrupt the young woman's mind.
|
||
Possibly her fears went further. Monsieur Bovary was a man
|
||
to whom nothing was sacred.
|
||
|
||
One day Emma suddenly felt that she had to see her
|
||
little daughter, who had been put out to nurse with the
|
||
cabinetmaker's wife, and without looking at the almanac to
|
||
see whether the six weeks of the Virgin had elapsed, she made
|
||
her way toward the house occupied by Rollet, at the end of
|
||
the village at the foot of the hills, between the main road
|
||
and the meadows.
|
||
|
||
It was noon. The houses had their shutters closed, and
|
||
under the harsh light of the blue sky the ridges of the glit-
|
||
tering slate roofs seemed to be shooting sparks. A sultry
|
||
wind was blowing. Emma felt weak as she walked. The stones
|
||
of the footpath hurt her feet, and she wondered whether she
|
||
shouldn't return home or stop in somewhere to rest.
|
||
|
||
At that moment Monsieur Leon emerged from a nearby door,
|
||
a sheaf of papers under his arm. He advanced to greet her
|
||
and stood in the shade in front of Lheureux's store, under
|
||
the gray awning.
|
||
|
||
Madame Bovary said that she was on her way to see her
|
||
child but was beginning to feel tired.
|
||
|
||
"If . . ." Leon began, and then dared go no further.
|
||
|
||
"Have you an appointment somewhere?" she asked him.
|
||
|
||
And when he replied that he hadn't she asked him to
|
||
accompany her. By evening the news of this had spread
|
||
throughout Yonville, and Madame Tuvache, the wife of the
|
||
mayor, said in her maid's presence that Madame Bovary was
|
||
risking her reputation.
|
||
|
||
To reach the wet nurse's house they had to turn left at
|
||
the end of the village street, as though going to the ceme-
|
||
tery, and follow a narrow path that led them past cottages
|
||
and yards between privet hedges. These were in bloom, and
|
||
blooming, too, were veronicas and wild roses and nettles and
|
||
the wild blackberries that thrust out their slender sprays
|
||
from the thickets. Through holes in the hedges they could
|
||
see, in the farmyards, a pig on a manure pile or cows in
|
||
wooden collars rubbing their horns against tree trunks. The
|
||
two of them walked on slowly side by side, she leaning on
|
||
his arm and he shortening his step to match hers. In front
|
||
of them hovered a swarm of flies, buzzing in the warm air.
|
||
|
||
They recognized the house by an old walnut tree that
|
||
shaded it. It was low, roofed with brown tiles, and from the
|
||
attic window hung a string of onions. Brushwood propped up
|
||
against a thorn hedge formed a fence around a bit of garden
|
||
given over to lettuce, a few plants of lavender, and sweet
|
||
peas trained on poles. A trickle of dirty water ran off into
|
||
the grass, and all around were odds and ends of rags, knitted
|
||
stockings, a red calico wrapper, a large coarsely woven sheet
|
||
spread out on the hedge. At the sound of the gate the wet
|
||
nurse appeared, carrying an infant at her breast. With her
|
||
other hand she was pulling along a frail, unhappy-looking
|
||
little boy, his face covered with scrofulous sores, the son
|
||
of a Rouen knit-goods dealer whom his parents were too busy
|
||
in their shop to bother with.
|
||
|
||
"Come in," she said. "Your little girl's asleep inside."
|
||
|
||
The ground-floor bedroom, the only bedroom in the house,
|
||
had a wide uncurtained bed standing against its rear wall.
|
||
The window wall (one pane was mended with a bit of wrapping
|
||
paper) was taken up by the kneading-trough. In the corner
|
||
behind the door was a raised slab for washing, and under it
|
||
stood a row of heavy boots with shiny hobnails and a bottle of
|
||
oil with a feather in its mouth. A Mathieu Laensberg almanac
|
||
lay on the dusty mantelpiece among gun flints, candle ends and
|
||
bits of tinder. And as a final bit of clutter there was a
|
||
figure of Fame blowing her trumpets. A picture probably cut
|
||
out of a perfume advertisement and now fastened to the wall
|
||
with six shoe tacks.
|
||
|
||
Emma's baby was asleep in a wicker cradle on the floor,
|
||
and she took it up in its little blanket and began to sing
|
||
softly to it and rock it in her arms.
|
||
|
||
Leon walked around the room. It seemed to him a strange
|
||
sight, this elegant lady in her nankeen gown here among all
|
||
this squalor. Madame Bovary blushed. He turned away, fear-
|
||
ing that his glance might have been indiscreet, and she put
|
||
the baby back in its cradle, it had just thrown up over the
|
||
collar of her dress. The wet nurse quickly wiped off the
|
||
mess, assuring her it wouldn't show.
|
||
|
||
"It isn't the first time, you know," she said. "I do
|
||
nothing but wipe up after her all day long. Would you mind
|
||
leaving word with Camus the grocer to let me pick up a little
|
||
soap when I need it? That would be the easiest for you, I
|
||
wouldn't have to trouble you."
|
||
|
||
"I will, I will," said Emma. "Good-bye, Madame Rollet."
|
||
|
||
And she left the house, wiping her feet on the doorsill.
|
||
|
||
The wet nurse walked with her as far as the gate, talking
|
||
about how hard it was to have to get up during the night.
|
||
|
||
"I'm so worn out sometimes I fall asleep in my chair.
|
||
So couldn't you at least let me have just a pound of ground
|
||
coffee? It would last me a month. I'd drink it with milk in
|
||
the morning."
|
||
|
||
After undergoing a deluge of thanks, Madame Bovary moved
|
||
on, and then when she had gone a little way down the path
|
||
there was the sound of sabots and she turned around. It was
|
||
the wet nurse again.
|
||
|
||
"What is it now?"
|
||
|
||
And the peasant woman drew her aside behind an elm and
|
||
began to talk to her about her husband. He "had only his
|
||
trade and the six francs a year the captain gave him, so . ."
|
||
|
||
"Come to the point!" said Emma brusquely.
|
||
|
||
"Well, what I mean is," the wet nurse said, sighing
|
||
after every word, "I'm afraid he wouldn't like it, seeing me
|
||
sitting there drinking coffee by myself, you know how men are,
|
||
they . . ."
|
||
|
||
"But you'll both have coffee!" Emma cried. "I just told
|
||
you I'd give you some! Leave me alone!"
|
||
|
||
"Ah, Madame, you see he's had terrible cramps in his
|
||
chest ever since he was wounded, and he says cider makes him
|
||
feel worse, and . . ."
|
||
|
||
"Won't you please let me go?"
|
||
|
||
"So," she went on, making a curtsy, "if it isn't too much
|
||
to ask," she curtsied again, "just a little jug of brandy,"
|
||
she finally got out, "and I'll rub your little girl's feet
|
||
with it, they're as tender as your tongue."
|
||
|
||
When she was finally rid of the wet nurse, Emma once
|
||
again took Monsieur Leon's arm. She walked rapidly for a
|
||
little while, then she slowed, and her glance fell on the
|
||
shoulder of the young man she was with. His brown hair,
|
||
smooth and neatly combed, touched the black velvet collar of
|
||
his frock coat. She noticed that his fingernails were longer
|
||
than those of most other inhabitants of Yonville. The clerk
|
||
spent a great deal of time caring for them. He kept a special
|
||
penknife in his desk for the purpose.
|
||
|
||
They returned to Yonville along the river. The summer
|
||
weather had reduced its flow and left uncovered the river
|
||
walls and water steps of the gardens along its bank. It ran
|
||
silently, swift and cold-looking. Long fine grasses bent with
|
||
the current, like masses of loose green hair streaming in its
|
||
limpid depths. Here and there on the tip of a reed or on a
|
||
water-lily pad a spidery-legged insect was poised or crawling.
|
||
Sunbeams pierced the little blue air bubbles that kept forming
|
||
and breaking on the ripples. Branchless old willows mirrored
|
||
their gray bark in the water. In the distance the meadows
|
||
seemed empty all around them. It was dinner time on the
|
||
farms, and as they walked the young woman and her companion
|
||
heard only the rhythm of their own steps on the earth of the
|
||
path, the words they themselves were uttering, and the whisper
|
||
of Emma's dress as it rustled around her.
|
||
|
||
The garden walls, their copings bristling with broken
|
||
bits of bottles, were as warm as the glass of a greenhouse.
|
||
Wallflowers had taken root between the bricks, and as she
|
||
passed, the edge of Madame Bovary's open parasol crumbled some
|
||
of their faded flowers into yellow dust. Or an overhanging
|
||
branch of honeysuckle or clematis would catch in the fringe
|
||
and cling for a moment to the silk.
|
||
|
||
They talked about a company of Spanish dancers scheduled
|
||
soon to appear at the theater in Rouen.
|
||
|
||
"Are you going?" she asked.
|
||
|
||
"If I can," he answered.
|
||
|
||
Had they nothing more to say to each other? Their eyes,
|
||
certainly, were full of more meaningful talk, and as they
|
||
made themselves utter banalities they sensed the same languor
|
||
invading them both. It was like a murmur of the soul, deep
|
||
and continuous, more clearly audible than the sound of their
|
||
words. Surprised by a sweetness that was new to them, it
|
||
didn't occur to them to tell each other how they felt or to
|
||
wonder why. Future joys are like tropic shores, out into
|
||
the immensity that lies before them they waft their native
|
||
softness, a fragrant breeze that drugs the traveler into
|
||
drowsiness and makes him careless of what awaits him on the
|
||
horizon beyond his view.
|
||
|
||
In one spot the ground was boggy from the trampling of
|
||
cattle, and they had to walk on large green stones that had
|
||
been laid in the mud. She kept stopping to see where to
|
||
place her foot, and teetering on an unsteady stone, her arms
|
||
lifted, her body bent, a hesitant look in her eye, she
|
||
laughed, fearing lest she fall into the puddles.
|
||
|
||
When they reached her garden, Madame Bovary pushed open
|
||
the little gate, ran up the steps and disappeared.
|
||
|
||
Leon returned to his office. His employer was out. He
|
||
glanced at the piles of papers, sharpened a quill pen, and
|
||
then, took up his hat and went out again.
|
||
|
||
He climbed to the Pasture, on the hilltop at the edge of
|
||
the Argueil forest, and there he stretched out on the ground
|
||
under the firs and looked up at the sky through his fingers.
|
||
|
||
"God!" he said to himself. "What a boring existence!"
|
||
|
||
He felt that he was much to be pitied for having to live
|
||
in this village, with Homais for a friend and Maitre Guillaumin
|
||
for a master. The latter, completely taken up with business,
|
||
wore gold-framed spectacles, red side whiskers and a white tie.
|
||
Fine feelings were a closed book to him, though the stiff Bri-
|
||
tish manner he affected had impressed the clerk at first. As
|
||
for Madame Homais, she was the best wife in Normandy, placid
|
||
as a sheep and devoted to the children, her father, her mother
|
||
and her cousins. She wept at others' misfortunes, let every-
|
||
thing in the house go, and hated corsets. But she was so
|
||
slow-moving, so boring to listen to, so common-looking and
|
||
limited in conversation, that it never occurred to him, though
|
||
she was thirty and he twenty, and they slept in adjoining
|
||
rooms and he spoke to her every day, that anyone could look on
|
||
her as a woman, that she had any attributes of her sex except
|
||
the dress she wore.
|
||
|
||
Who was there besides? Binet, a few shopkeepers, two or
|
||
three tavern-keepers, the priest, and lastly, Monsieur Tuvache,
|
||
the mayor, and his two sons. A comfortably-off, surly, dull-
|
||
witted trio who farmed their own land, ate huge meals with
|
||
never a guest, faithful churchgoers for all that, and utterly
|
||
insufferable in company.
|
||
|
||
But against the background of all these human faces,
|
||
Emma's stood out. Isolated from them and yet further removed
|
||
than they, for he sensed that some abyss separated him from
|
||
her.
|
||
|
||
At first he had gone to her house several times with the
|
||
pharmacist. Charles had not seemed too eager to have him,
|
||
and Leon felt helpless, torn as he was between fear of being
|
||
indiscreet and desire for an intimacy that he considered all
|
||
but impossible.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER FOUR
|
||
|
||
With the coming of cold weather Emma moved out of her
|
||
bedroom into the parlor, a long low-ceilinged room where a
|
||
chunky branch of coral stood on the mantelpiece in front of
|
||
the mirror. Sitting in her armchair beside the window, she
|
||
could watch the villagers go by on the sidewalk.
|
||
|
||
Twice a day Leon went from his office to the Lion d'Or.
|
||
Emma could hear him coming in the distance. She would lean
|
||
forward as she listened, and the young man would slip past on
|
||
the other side of the window curtain, always dressed the same,
|
||
never turning his head. At twilight, when she had put down
|
||
her embroidery and was sitting there with her chin in her left
|
||
hand, she often started at the sudden appearance of this
|
||
gliding shadow. She would jump up, order the maid to set the
|
||
table.
|
||
|
||
Monsieur Homais often called during dinner. Tasseled cap
|
||
in hand, he would tiptoe in so as to disturb no one, and he
|
||
always gave the same greeting. "Good evening, everybody!"
|
||
Then, sitting down at the table between them, he would ask
|
||
the doctor for news of his patients, and Charles would ask
|
||
him what the chances were of being paid. Then they would
|
||
talk about what was "in the paper." By this time of day
|
||
Homais knew it almost by heart, and he would repeat it in
|
||
toto, complete with editorials and the news of each and every
|
||
disaster that had occurred in France and abroad. When these
|
||
topics ran dry he never failed to comment on the dishes he
|
||
saw being served. Sometimes, half rising, he would even
|
||
considerately point out to Madame the tenderest piece of meat.
|
||
Or, turning to the maid, he would advise her on the prepara-
|
||
tion of her stews and the use of seasoning from a health point
|
||
of view. He was quite dazzling on the subject of aromas,
|
||
osmazomes, juices and gelatines. Indeed, Homais had more
|
||
recipes in his head than there were bottles in his pharmacy,
|
||
and he excelled at making all kinds of jellies, vinegars and
|
||
cordials. He was acquainted with all the latest fuel-saving
|
||
stoves, and with the arts of preserving cheeses and treating
|
||
spoiled wine.
|
||
|
||
At eight o'clock Justin always called for him, it was
|
||
time to shut the pharmacy. Monsieur Homais would give him a
|
||
quizzical glance, especially if Felicite were in the room,
|
||
for he had noticed that his pupil was partial to the doctor's
|
||
house. "My young man's beginning to get ideas," he would
|
||
say. "Something tells me he's after your maid!"
|
||
|
||
And there was worse. Despite all rebukes, the boy per-
|
||
sisted in his habit of listening to conversations. On Sundays,
|
||
for instance, Madame Homais would summon him to the parlor to
|
||
take away the children, who had fallen asleep in armchairs,
|
||
dragging down the loose calico slip covers, and there was no
|
||
way of getting him to leave the room.
|
||
|
||
These soirees at the pharmacist's were not very well
|
||
attended, for his slanderous tongue and his political opinions
|
||
had alienated one respectable person after another. The clerk
|
||
was invariably present. At the sound of the doorbell he would
|
||
run down to greet Madame Bovary, take her shawl, and stow away
|
||
under the desk in the pharmacy the overshoes she wore when it
|
||
snowed.
|
||
|
||
First they would play a few rounds of trente-et-un, then
|
||
Monsieur Homais would play ecarte with Emma, Leon standing
|
||
behind her and giving advice. With his hands on the back of
|
||
her chair, he would look down and see the teeth of comb pierc-
|
||
ing her chignon. Each time she threw down a card the right
|
||
side of her dress gave an upward twist, and he could follow
|
||
the gradually paling shadow cast down her neck by the knot of
|
||
her hair, until it was lost in a darker shadow. Then her
|
||
dress would drop down on both sides of her chair, swelling out
|
||
in full folds and spreading to the floor. Sometimes Leon
|
||
would feel himself touching it with the sole of his shoe, and
|
||
he would quickly move away, as though he had been treading on
|
||
someone.
|
||
|
||
When they finished their cards, the apothecary and the
|
||
doctor played dominoes, and Emma would move to another chair,
|
||
lean her elbows on the table and leaf through L'Illustration,
|
||
or take up the fashion magazine she usually brought with her.
|
||
Leon would sit beside her, and together they would look at the
|
||
pictures and wait for each other before turning a page. Often
|
||
she would ask him to read a poem aloud, and Leon would recite
|
||
it in a languid voice that he carefully let die away at the
|
||
love passages. But the noise of the dominoes annoyed him.
|
||
Monsieur Homais was an expert, easily outplaying Charles. When
|
||
the score reached three hundred the two of them would stretch
|
||
out before the fireplace and quickly fall asleep. The fire
|
||
smoldered, the teapot was empty. Leon continued to read, and
|
||
Emma listened, absent-mindedly turning the lampshade, its
|
||
gauzy surface painted with pierrots in carriages and tightrope
|
||
dancers balancing with their poles. Leon would stop, indicat-
|
||
ing with a gesture his sleeping audience, and then they would
|
||
talk in low voices, their conversation seeming the sweeter for
|
||
not being overheard.
|
||
|
||
Thus a kind of intimacy grew up between them, a continual
|
||
exchange of books and ballads. Monsieur Bovary was not jealous
|
||
as he found it all quite natural.
|
||
|
||
For his birthday he recieved a splendid phrenological
|
||
head, all marked over with numerals down to the thorax and
|
||
painted blue. This was an offering from the clerk. He was
|
||
attentive in many ways, too, even doing errands for Charles
|
||
in Rouen. When a new novel launched a craze for exotic plants,
|
||
Leon bought some for Madame, holding them on his knees in the
|
||
Hirondelle and pricking his fingers on their spikes.
|
||
|
||
Emma had a railed shelf installed in her window to hold
|
||
her flowerpots. The clerk, too, had his hanging garden, and
|
||
they could look out and see each other tending their blossoms.
|
||
|
||
There was one person in the village who spent even more
|
||
time at his window than they. From morning till night on
|
||
Sunday, and every afternoon in good weather, the lean profile
|
||
of Monsieur Binet could be seen in a dormer bent over his
|
||
lathe, its monotonous drone audible as far as the Lion d'Or.
|
||
|
||
One evening when he returned home Leon found in his
|
||
room a velvet and wool coverlet, with foliage designs on a
|
||
pale ground. He showed it to Madame Homais, Monsieur Homais,
|
||
Justin, the children, and the cook, and spoke about it to his
|
||
employer. Everybody wanted to see it, why should the doctor's
|
||
wife give presents to the clerk? The whole thing seemed
|
||
suspicious, and everyone was sure that they must be having an
|
||
affair.
|
||
|
||
By speaking incessantly about Emma's charms and intelli-
|
||
gence, Leon gave plenty of grounds for the belief. Binet
|
||
turned on him one day with a snarl. "What's it to me? She
|
||
doesn't let me hang around her!"
|
||
|
||
He was in agony trying to think of a way of "declaring
|
||
himself" to her. He was constantly torn between the fear of
|
||
offending her and shame at his own cowardice. He shed tears
|
||
of despair and frustrated desire. Every so often he resolved
|
||
to take energetic action. He wrote letters, only to tear
|
||
them up. He gave himself time limits, only to extend them.
|
||
More than once he started out intending to dare all. But in
|
||
Emma's presence he quickly lost his courage, and if Charles
|
||
happened to appear at such a moment and invited him to get
|
||
into the buggy and go with him to see a patient living some-
|
||
where nearby, he would accept at once, bow to Madame and drive
|
||
off. Her husband, after all, was part of herself, was he not?
|
||
|
||
As for Emma, she never tried to find out whether she was
|
||
in love with him. Love, to her, was something that comes
|
||
suddenly, like a blinding flash of lightning. A heaven-sent
|
||
storm hurled into life, uprooting it, sweeping every will
|
||
before it like a leaf, engulfing all feelings. It never
|
||
occurred to her that if the drainpipes of a house are clogged,
|
||
the rain may collect in pools on the roof. And she suspected
|
||
no danger until suddenly she discovered a crack in the wall.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER FIVE
|
||
|
||
It was a snowy Sunday afternoon in February.
|
||
|
||
All of them, Monsieur and Madame Bovary, Homais and
|
||
Monsieur Leon, had gone to see a new flaz mill that was
|
||
being built in the valley, a mile or so from Yonville. The
|
||
apothecary had taken Napoleon and Athalie along to give them
|
||
some exercise, and Justin accompanied them, carrying a supply
|
||
of umbrellas over his shoulder.
|
||
|
||
Nothing, however, could have been less interesting than
|
||
this point of interest. A long rectangular building pierced
|
||
with innumerable little windows stood in the midst of a large
|
||
tract of bare land, with a few already rusty gearwheels lying
|
||
here and there among piles of sand and gravel. It was still
|
||
unfinished, and the sky could be seen between the rafters.
|
||
Attached to the ridgepole at the peak of one of the gables
|
||
was a bouquet of straw and wheat, tied with red, white and
|
||
blue ribbons that flapped in the wind.
|
||
|
||
Homais was holding forth. He expatiated to them all on
|
||
how important the mill was going to be, estimated the strength
|
||
of the floors and the thickness of the walls, and keenly re-
|
||
gretted not owning a carpenter's rule, such as Monsieur Binet
|
||
possessed for his personal use.
|
||
|
||
Emma, who had taken his arm, was leaning slightly against
|
||
his shoulder and looking up at the far-off disc of the sun
|
||
that was suffusing the mist with its pale brilliance, then she
|
||
turned her head, and saw, Charles. His cap was pulled down
|
||
over his eyes, and the quivering of his thick lips in the cold
|
||
gave him a stupid look. Even his back, his placid back, was
|
||
irritating to look at. All his dullness was written right
|
||
there, on his coat.
|
||
|
||
As she was looking at him, deriving a kind of perverse
|
||
enjoyment from her very irritation, Leon moved a step closer.
|
||
White in the cold, his face was more languorous and appealing
|
||
than ever. A bit of his bare skin showed through a gap in
|
||
his collar. She could see the tip of one of his ears below a
|
||
lock of his hair, and his large blue eyes, lifted toward the
|
||
clouds, seemed to Emma more limpid and lovely than mountain
|
||
lakes mirroring the sky.
|
||
|
||
"Stop that!" the apothecary suddenly cried.
|
||
|
||
And he rushed over to his son, who had just jumped into
|
||
a heap of lime to whiten his shoes. To his father's scolding
|
||
Napoleon replied with howls. Justin scraped off the shoes
|
||
with a bit of plaster, but a knife was needed, and Charles
|
||
offered his.
|
||
|
||
"Ah!" she cried to herself. "He carries a knife around
|
||
with him, like a peasant!'
|
||
|
||
The cold was beginning to pinch, and they turned back
|
||
toward Yonville.
|
||
|
||
That evening Madame Bovary did not attend her neighbor's
|
||
soiree. And when Charles had gone and she felt herself alone,
|
||
the comparison returned to her mind almost with the sharpness
|
||
of an actual sensation, and with the increased perspective
|
||
conferred on things by memory. Watching the brightly burning
|
||
fire from her bed, she saw once again, as at the scene itself,
|
||
Leon standing there, leaning with one hand on his slender,
|
||
flexing cane and with the other holding Athalie, who was
|
||
placidly sucking a piece of ice. She found him charming.
|
||
She could not take her mind off him, and she kept saying to
|
||
herself, protruding her lips as though for a kiss. "Charming,
|
||
charming! . . . Isn't he in love? Who could it be?" she
|
||
asked herself. "Why, he's in love with me!"
|
||
|
||
All the evidence burst on her at once. Her heart leapt
|
||
up. The flames in the fireplace cast a merry, flickering
|
||
light on the ceilings. She lay on her back and stretched out
|
||
her arms.
|
||
|
||
Then began the eternal lament. "Oh if only fate had
|
||
willed it so! Why didn't it? What stood in the way?"
|
||
|
||
When Charles came in at midnight she pretended to wake
|
||
up. He made some noise as he undressed, and she complained
|
||
of migraine, then she casually asked what had happened during
|
||
the evening.
|
||
|
||
"Monsieur Leon went up to his room early," said Charles.
|
||
|
||
She couldn't help smiling, and she fell asleep filled
|
||
with new happiness.
|
||
|
||
At nightfall the next day she had a visit from Monsieur
|
||
Lheureux, the proprietor of the local dry-goods store. He
|
||
was a clever man, this tradesman.
|
||
|
||
Born a Gascon, but long settled in Normandy, he combined
|
||
his southern volubility with the cunning of his adopted region.
|
||
His fat, flabby, clean-shaven face looked as though it had
|
||
been dyed with a faint tincture of licorice, and his white
|
||
hair emphasized the piercing boldness of his small black eyes.
|
||
What he had been in earlier life was a mystery to all.
|
||
Peddler, some said, and others, banker in Routot. What was
|
||
certain was that he could do in his head intricate feats of
|
||
calculation that startled Binet himself. Polite to the point
|
||
of obsequiousness, he was continually in a semi-bent position,
|
||
like someone making a bow or extending an invitation.
|
||
|
||
He left his hat with its black mourning band at the door,
|
||
placed a green case on the table, and began by complaining,
|
||
with many civilities, at not having been honored up till now
|
||
with Madame's patronage. A poor shop like his could scarcely
|
||
be expected to attract so elegant a lady, he emphasized the
|
||
adjective. But she had only to give him an order and he would
|
||
undertake to supply anything she wanted, whether accessories,
|
||
lingerie, hosiery and other knit goods, or notions, for he
|
||
went to the city four times a month regularly. He was in
|
||
constant touch with the biggest firms. She could mention his
|
||
name at the Trois Freres, at the Barbe d'Or or at the Grand
|
||
Sauvage. Everyone in those places knew all about him. Today
|
||
he would just like to show Madame a few articles he happened
|
||
to have with him, thanks to a lucky buy. Out of his box he
|
||
took half a dozen embroidered collars.
|
||
|
||
Madame Bovary looked them over.
|
||
|
||
"I don't need anything," she said.
|
||
|
||
Then Monsieur Lheureux daintily held out for her inspec-
|
||
tion three Algerian scarves, some packages of English needles,
|
||
a pair of straw slippers, and finally four cocoanut-shell egg
|
||
cups, carved in an openwork design by convicts. Then, both
|
||
hands on the table, leaning forward, his neck outstretched, he
|
||
watched Emma open-mouthed, following her gaze as it wandered
|
||
uncertainly over the merchandise. From time to time, as though
|
||
to brush off a bit of dust, he gave a flick of a fingernail to
|
||
the silk of the scarves, lying there unfolded to their full
|
||
length. And they quivered and rustled under his touch, their
|
||
gold sequins gleaming like little stars in the greenish light
|
||
of the dusk.
|
||
|
||
"How much are they?"
|
||
|
||
"They're absurdly cheap," he said. "Besides, there's no
|
||
hurry. Pay whenever you like, we're not Jews!"
|
||
|
||
She meditated a few moments, then finally told Monsieur
|
||
Lheureux once more that she didn't want to buy.
|
||
|
||
"That's quite all right," he answered impassively. "You
|
||
and I will do business some other time. I've always known how
|
||
to get along with the ladies, except my wife."
|
||
|
||
Emma smiled.
|
||
|
||
"I just want you to know," he said, dropping his face-
|
||
tious tone and assuming an air of candor, "that I'm not
|
||
worried about the money. In fact, I could let you have some
|
||
if you needed it."
|
||
|
||
Emma made a gesture of surprise.
|
||
|
||
"Ah," he said quickly, in a low voice. "I wouldn't have
|
||
to go far to find it, believe me!"
|
||
|
||
Then he turned the conversation to the subject of Monsieur
|
||
Tellier, proprietor of the Cafe Francais, whom Monsieur Bovary
|
||
was treating.
|
||
|
||
"What's his trouble, anyway? He's got a cough that
|
||
shakes the house. I'm afraid he may soon need a wooden
|
||
overcoat more than a flannel undershirt! He was a wild one
|
||
in his younger days! The kind that doesn't know even the
|
||
meaning of self-control, Madame! He literally burned his
|
||
insides out with brandy! Still, it's hard to see an old
|
||
friend go."
|
||
|
||
And as he tied up his box he talked on about the doctor's
|
||
patients.
|
||
|
||
"It must be the weather," he said, scowling at the window
|
||
panes, "that's causing all this illness. I don't feel right
|
||
myself. One of these days I'll have to come and talk to Mon-
|
||
sieur about a pain I have in my back. Well, au revoir, Madame
|
||
Bovary, at your service, any time."
|
||
|
||
And he shut the door softly behind him.
|
||
|
||
Emma had her dinner brought to her in her bedroom on a
|
||
tray, and ate it beside the fire. She lingered over her food,
|
||
everything tasted good.
|
||
|
||
"How sensible I was!" she told herself, as she thought of
|
||
the scarves.
|
||
|
||
She heard footsteps on the stairs, it was Leon. She
|
||
jumped up and snatched the topmost dish towel from a pile she
|
||
had left for hemming on the chest of drawers. She looked very
|
||
busy when he came in.
|
||
|
||
Conversation languished. Madame Bovary kept letting his
|
||
remarks drop unanswered, and he seemed very ill at ease. He
|
||
sat in a low chair beside the fire, toying with her ivory
|
||
needlecase. She continued to sew, occasionally creasing the
|
||
cloth together with her fingernail. She said nothing, and he,
|
||
too, was quiet, captivated by her silence as he would have
|
||
been by her words.
|
||
|
||
"Poor fellow!" she was thinking.
|
||
|
||
"What does she dislike about me?" he was wondering.
|
||
|
||
Finally Leon said that he would be going to Rouen some
|
||
day soon on office business.
|
||
|
||
"Your subscription at the music library has run out," he
|
||
said. "Shall I renew it?"
|
||
|
||
"No," she answered.
|
||
|
||
"Why not?'
|
||
|
||
"Because . . ."
|
||
|
||
And pursing her lips she slowly drew out a new length of
|
||
gray thread.
|
||
|
||
Her sewing irritated Leon. The cloth seemed to be rough-
|
||
ening the tips of her fingers. A compliment occurred to him,
|
||
but he hadn't the courage to utter it.
|
||
|
||
"You're giving it up?"
|
||
|
||
"What?" she asked quickly. "Oh, my music? Heavens, yes!
|
||
Haven't I got my house and my husband to look after, a thousand
|
||
things, all kinds of duties that come first?"
|
||
|
||
She looked at the clock. Charles was late. She pretended
|
||
to be worried. "He's such a good man," she said, two or three
|
||
times.
|
||
|
||
The clerk was fond of Monsieur Bovary, but he was unplea-
|
||
santly surprised to hear her speak so affectionately of him.
|
||
Nevertheless he continued the praises she had begun, and
|
||
assured her that he heard them from everyone, especially the
|
||
pharmacist.
|
||
|
||
"Ah, Monsieur Homais is a fine man," said Emma.
|
||
|
||
"He certainly is," said the clerk.
|
||
|
||
He began to speak of Madame Homais, whose sloppy appear-
|
||
ance usually made them laugh.
|
||
|
||
"What of it?' Emma interrupted. "A good wife and mother
|
||
doesn't worry about her clothes."
|
||
|
||
And once again she fell silent.
|
||
|
||
It was the same the following days. Her talk, her manner,
|
||
everything changed. She immersed herself in household tasks,
|
||
went regularly to church, and was stricter with the maid.
|
||
|
||
She took Berthe away from the wet nurse. Felicite brought
|
||
her in when there was company, and Madame Bovary undressed her
|
||
to show off her little legs and arms. She adored children, she
|
||
said. They were her consolation, her joy, her delight, and she
|
||
accompanied her caresses with gushings that would have reminded
|
||
anyone except the Yonvillians of Esmeralda's mother in Notre-
|
||
Dame de Paris.
|
||
|
||
Nowadays when Charles came in, he found his slippers set
|
||
out to warm by the fire. Now his vests were never without
|
||
linings, his shirts never without buttons. It was a pleasure
|
||
to see the piles of cotton nightcaps stacked so neatly in the
|
||
closet. She no longer frowned at the idea of taking a walk in
|
||
the garden. She agreed to all his suggestions without trying
|
||
to understand his reasons. And when Leon saw him beside the
|
||
fire in the evening, his face flushed from dinner, his hands
|
||
folded over his stomach, his feet on the andirons, his eyes
|
||
moist with happiness, the baby crawling on the carpet, and this
|
||
slender woman leaning over the back of his armchair to kiss
|
||
him on the forehead. "I must be mad," he told himself. "How
|
||
can I ever hope to come near her?"
|
||
|
||
She seemed so virtuous and inaccessible that he lost all
|
||
hope, even the faintest.
|
||
|
||
But by thus renouncing her, he transformed her into an
|
||
extraordinary being. She was divested in his eyes of the
|
||
earthly attributes that held no promise for him, and in his
|
||
heart she rose higher and higher, withdrawing further from him
|
||
in a magnificent, soaring apotheosis. His feeling for her was
|
||
so pure that it did not interfere with his daily life. It was
|
||
one of those feelings that are cherished because of their very
|
||
rarity. The distress caused by their loss would be greater
|
||
than the happiness given by their possession.
|
||
|
||
Emma grew thinner. Her face became paler, more emaciated.
|
||
With her smooth black hair, her large eyes, her straight nose,
|
||
her birdlike movements, her new habit of silence, she seemed
|
||
all but out of contact with life, bearing on her brow the vague
|
||
mark of a sublime fate. She was so melancholy and so subdued,
|
||
so sweet and yet so withdrawn, that in her presence he felt
|
||
transfixed by a glacial spell, just as in a church the fragrance
|
||
of flowers and the cold given off by marble will sometimes set
|
||
us shivering. Even other men were not immune to this seduction.
|
||
The pharmacist put it this way:
|
||
|
||
"She's got class! She'd hold her own in Le Havre or
|
||
Dieppe!"
|
||
|
||
The village housewives admired her for her thrift. Charles'
|
||
patients for her politeness. The poor for her charity.
|
||
|
||
And all this time she was torn by wild desires, by rage,
|
||
by hatred. The trim folds of her dress hid a heart in turmoil,
|
||
and her reticent lips told nothing of the storm. She was in
|
||
love with Leon, and she sought the solitude that allowed her to
|
||
|
||
revel undisturbed in his image. The sight of his person spoiled
|
||
the voluptuousness of her musings. She trembled at the sound
|
||
of his footsteps. Then, with him before her, the agitation
|
||
subsided, and she was left with nothing but a vast bewilderment
|
||
that turned gradually into sadness.
|
||
|
||
Leon did not know, when he left her house in despair, that
|
||
she went immediately to the window and watched him disappear
|
||
down the street. She worried over his every move, watched every
|
||
expression that crossed his face. She concocted an elaborate
|
||
story to have a pretext for visiting his room. The pharmacist's
|
||
wife seemed to her blessed to sleep under the same roof, and her
|
||
thoughts came continually to rest on that house, like the pigeons
|
||
from the Lion d'Or that alighted there to soak their pink feet
|
||
and white wings in the eaves-trough. But the more aware Emma
|
||
became of her love the more she repressed it in an effort to
|
||
conceal it and weaken it. She would have been glad had Leon
|
||
guessed, and she kept imagining accidents and disasters that
|
||
would open his eyes. It was indolence, probably, or fear, that
|
||
held her back, and a feeling of shame. She had kept him at too
|
||
great a distance, she decided, now it was too late, the occasion
|
||
was lost. Besides, the pride and pleasure she derived from
|
||
thinking of herself as "virtuous" and from wearing an air of
|
||
resignation as she looked at herself in the mirror consoled her
|
||
a little for the sacrifice she thought she was making.
|
||
|
||
Her carnal desires, her cravings for money, and the fits of
|
||
depression engendered by her love gradually merged into a single
|
||
torment. And instead of trying to put it out of her mind she
|
||
cherished it, spurring herself on to suffer, never missing an
|
||
opportunity to do so. A dish poorly served or a door left ajar
|
||
grated on her nerves. She sighed thinking of the velvet gowns
|
||
she didn't own, the happiness that eluded her, her unattainable
|
||
dreams, her entire cramped existence.
|
||
|
||
What exasperated her was Charles' total unawareness of her
|
||
ordeal. His conviction that he was making her happy she took as
|
||
a stupid insult. Such self-righteousness could only mean that
|
||
he didn't appreciate her. For whose sake, after all, was she
|
||
being virtuous? Wasn't he the obstacle to every kind of happi-
|
||
ness, the cause of all her wretchedness, the sharp-pointed prong
|
||
of this many-stranded belt that bound her on all sides?
|
||
|
||
So he became the sole object of her resentment. Her
|
||
attempts to conquer this feeling served only to strengthen it,
|
||
for their failure gave her additional cause for despair and
|
||
deepened her estrangement from her husband. She had moments of
|
||
revulsion against her own meekness. She reacted to the drabness
|
||
of her home by indulging in daydreams of luxury, and to matri-
|
||
monial caresses by adulterous desires. She wished that Charles
|
||
would beat her, then she would feel more justified in hating him
|
||
and betraying him out of revenge. Sometimes she was surprised
|
||
by the horrible possibilities that she imagined, and yet she had
|
||
to keep smiling, hear herself say time and again that she was
|
||
happy, pretend to be so, let everyone believe it!
|
||
|
||
Still, there were times when she could scarcely stomach the
|
||
hypocrisy. She would be seized with a longing to run off with
|
||
Leon, escape to some far-off place where they could begin life
|
||
anew. But at such moments she would shudder, feeling herself at
|
||
the brink of a terrifying precipice.
|
||
|
||
"What's the use, he doesn't love me any more," she would
|
||
decide. What was to become of her life? What help could she
|
||
hope for? What comfort? What relief?
|
||
|
||
Such a crisis always left her shattered, gasping, pros-
|
||
strate, sobbing to herself, tears streaming down her face.
|
||
|
||
"Why in the world don't you tell Monsieur?" the maid would
|
||
ask her, finding her thus distraught.
|
||
|
||
"It's nerves," Emma would answer. "Don't mention it to
|
||
him. It would only upset him."
|
||
|
||
"Ah, yes," Felicite said, one day. "You're just like the
|
||
daughter of old Guerin, the fisherman at Le Pollet. I knew her
|
||
at Dieppe before I came to you. She used to be so sad, so
|
||
terribly sad, that when she stood in her door she made you think
|
||
of a funeral pall hanging there. It seems it was some kind of a
|
||
fog in her head that ailed her. The doctors couldn't do any-
|
||
thing for her, or the priest either. When it came over her
|
||
worst, she'd go off by herself along the beach, and sometimes
|
||
the customs officer would find her stretched out flat on her
|
||
face on the pebbles and crying, when he made his rounds. It
|
||
passed off after she was married, they say."
|
||
|
||
"With me," said Emma, "it was after I was married that it
|
||
began."
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER SIX
|
||
|
||
One evening when the window was open and she had been
|
||
sitting beside it watching Lestiboudois the sacristan trim
|
||
the boxwood, she suddenly heard the tolling of the Angelus.
|
||
|
||
It was the beginning of April, primrose time, when soft
|
||
breezes blow over newly spaded flower beds, and gardens, like
|
||
women, seem to be primping themselves for the gaieties of
|
||
summer. Through the slats of the arbor, and all around be-
|
||
yond, she could see the stream flowing through the meadows,
|
||
|
||
winding its vagabond course amid the grass. The evening mist
|
||
was rising among the bare poplars, blurring their outlines
|
||
with a tinge of purple that was paler and more transparent
|
||
than the sheerest gauze caught on their branches. In the
|
||
distance cattle were moving. Neither their steps nor their
|
||
lowing could be heard, and the steadily sounding churchbell
|
||
sent its peaceful lament into the evening air.
|
||
|
||
As the ringing continued, the young woman's thoughts
|
||
began to stray among old memories of girlhood and the convent.
|
||
She remembered the tall altar candlesticks that soared above
|
||
the vases full of flowers and the columned tabernacle. She
|
||
wished she could be again what she once had been, one in the
|
||
long line of white-veiled girls, black-specked here and there
|
||
by the stiff cowls of the nuns bowed over their prie-dieus.
|
||
Sundays at Mass when she raised her head she used to see the
|
||
gentle features of the Virgin among the bluish clouds of
|
||
rising incense. The memory filled her with emotion. She
|
||
felt limp and passive, like a bit of bird's-down whirling in
|
||
a storm, and automatically she turned her steps toward the
|
||
church, ready for any devotion that would enable her to humble
|
||
her heart and lose herself entirely.
|
||
|
||
In the square she met Lestiboudois on his way back, In
|
||
order not to lose pay by cutting his work-day short, he pre-
|
||
ferred to interrupt his gardening and then go back to it,
|
||
with the result that he rang the Angelus when it suited him.
|
||
Besides, early ringing served to remind the village boys that
|
||
it was time for catechism.
|
||
|
||
Some of them were already there, playing marbles on the
|
||
slabs in the cemetery. Others, astride the wall, were
|
||
swinging their legs, their wooden shoes breaking off the tall
|
||
nettles that grew between the wall itself and the nearest
|
||
graves. This was the only spot that was green. All the rest
|
||
was stones, always covered with a fine dust despite the
|
||
sacristan's sweeping.
|
||
|
||
Other boys had taken off their sabots and were running
|
||
about on the stones as though the cemetery were a smooth
|
||
floor made specially for them. Their shouts could be heard
|
||
above the dying sounds of the bell. The heavy rope that hung
|
||
down from the top of the bell tower and trailed on the ground
|
||
was swaying ever more slowly. Swallows flew past, twittering
|
||
as they sliced the air with their swift flight, and disap-
|
||
peared into their yellow nests under the eave-tiles. At the
|
||
far end of the church a lamp was burning, a wick in a hanging
|
||
glass, whose light seemed from a distance like a whitish spot
|
||
dancing on the oil. A long shaft of sunlight cutting across
|
||
the nave deepened the darkness in the side aisles and corners.
|
||
|
||
"Where is the priest?" Madame Bovary asked a boy who was
|
||
happily trying to wrench the turnstile loose from its socket.
|
||
|
||
"He'll be here," he answered.
|
||
|
||
Just then the door of the rectory creaked open and the
|
||
abbe Bournisien appeared. The boys fled helter-skelter into
|
||
the church.
|
||
|
||
"Won't they ever behave?' he muttered to himself. "No
|
||
respect for anything." He picked up a tattered catechism
|
||
that he had almost stepped on. Then he saw Madame Bovary.
|
||
"Excuse me," he said. "I didn't place you for a minute."
|
||
|
||
He stuffed the catechism into his pocket and stood
|
||
swinging the heavy sacristy key between two fingers.
|
||
|
||
The setting sun was full in his face, and the black
|
||
cloth of his cassock, shiny at the elbows and frayed at the
|
||
hem, seemed paler in its glow. Grease spots and snuff stains
|
||
ran parallel to the row of little buttons on his broad chest.
|
||
They were thickest below his neckband, which held back the
|
||
heavy folds of his red skin. This was sprinkled with yellow
|
||
splotches, half hidden by the bristle of his graying beard.
|
||
He had just had his dinner, and was breathing heavily.
|
||
|
||
"How are you?" he went on.
|
||
|
||
"Poorly," said Emma. "Not well at all."
|
||
|
||
"Neither am I," the priest answered. "These first hot
|
||
days take it out of you terribly, don't they? But what can
|
||
we do? We're born to suffer, as St. Paul says. What does
|
||
your husband think is the trouble?"
|
||
|
||
"My husband!" she said, with a scornful gesture.
|
||
|
||
The country priest looked surprised. "He must have
|
||
prescribed something for you, hasn't he?"
|
||
|
||
"Ah!" said Emma. "It isn't earthly remedies that I need."
|
||
|
||
But the priest kept looking away, into the church, where
|
||
the boys were kneeling side by side, each shoving his neighbor
|
||
with his shoulder and all of them falling down like ninepins.
|
||
|
||
"Could you tell me . . ." she began.
|
||
|
||
"Just wait, Riboudet!" he shouted furiously. "I'll box
|
||
your ears when I get hold of you!"
|
||
|
||
Then, turning to Emma. "That's the son of Boudet the
|
||
carpenter. His parents don't bother with him, they let him
|
||
do as he likes. He'd learn fast if he wanted to. He's very
|
||
bright. Sometimes as a joke I call him Riboudet. You know,
|
||
from the name of the hill near Maromme. Sometimes I say `mon
|
||
Riboudet' . . . Mont Riboudet! Ha! Ha! The other day I
|
||
told my little joke to the bishop. He laughed. He was good
|
||
enough to laugh. And Monsieur Bovary . . . how is he?"
|
||
|
||
She seemed not to hear him, and he went on. "Always on
|
||
the move, probably? He and I are certainly the two busiest
|
||
people in the parish. He takes care of the bodies," he added,
|
||
with a heavy laugh, "and I look after the souls."
|
||
|
||
She fastened her imploring eyes upon him. "Yes," she
|
||
said. "You must be called on to relieve all kinds of suffer-
|
||
ing."
|
||
|
||
"Believe me, I am, Madame Bovary! This very morning I
|
||
had to go to Bas-Diauville for a cow that had the colic, the
|
||
peasants thought it was a spell. All their cows, for some
|
||
reason . . . Excuse me, Madame! Longuemarre! Boudet! Drat
|
||
you both! Will you cut it out?'
|
||
|
||
And he rushed into the church.
|
||
|
||
By now the boys were crowding around the high lectern,
|
||
climbing up on the cantor's bench and opening the missal.
|
||
Others, moving stealthily, were about to invade the confes-
|
||
sional. But the priest was suddenly upon them, slapping them
|
||
right and left. Seizing them by the coat collar, he lifted
|
||
them off the ground and then set them on their knees on the
|
||
stone floor of the choir, pushing them down hard as though he
|
||
were trying to plant them there.
|
||
|
||
"Well!" he said, returning to Emma. And then, as he
|
||
opened his large calico handkerchief, holding a corner of it
|
||
between his teeth. "As we were saying, farmers have plenty
|
||
of troubles."
|
||
|
||
"Other people, too," she answered.
|
||
|
||
"Of course! Workingmen in the cities, for instance."
|
||
|
||
"I wasn't thinking of them . . ."
|
||
|
||
"Ah, but I assure you I've known mothers of families,
|
||
good women, true saints, who didn't even have a crust of
|
||
bread."
|
||
|
||
"I was thinking of women who have bread, Monsieur le
|
||
cure," Emma said, the corners of her mouth twisting as she
|
||
spoke, "but who lack . . ."
|
||
|
||
"Firewood for the winter," the priest anticipated.
|
||
|
||
"Ah, never mind . . ."
|
||
|
||
"What do you mean, never mind? It seems to me that to
|
||
be warm and well fed . . ."
|
||
|
||
"Oh, my God!" Emma whispered to herself. "My God!"
|
||
|
||
"Are you feeling ill?" he asked. He looked concerned,
|
||
and advanced a step. "Something must have disagreed with you.
|
||
You'd better go home, Madame Bovary, and drink a cup of tea,
|
||
that will pick you up. Or a glass of water with a little brown
|
||
sugar."
|
||
|
||
"What for?"
|
||
|
||
She looked as though she were emerging from a dream.
|
||
|
||
"You were holding your hand to your forehead. I thought
|
||
you must be feeling faint." Then, "but weren't you asking me
|
||
a question? What was it? I can't recall . . ."
|
||
|
||
"I? Oh, no nothing . . . nothing," Emma said.
|
||
|
||
And her wandering glance came slowly to rest on the old
|
||
man in his cassock. For a few moments they looked at each
|
||
other without speaking.
|
||
|
||
"Well, Madame Bovary," he said, finally, "you'll excuse
|
||
me, but duty calls. I have to look after my youngsters.
|
||
First Communion will be here soon. It will be on us before
|
||
we know it. Time's so short I always keep them an extra hour
|
||
on Wednesdays after Ascension. Poor things! We can't begin
|
||
too soon to steer their young souls in the Lord's path.
|
||
Indeed it's what he Himself tells us to do, through the mouth
|
||
of HIs divine Son. Keep well, Madame, remember me kindly to
|
||
your husband!"
|
||
|
||
And he entered the church, genuflecting just inside the
|
||
door.
|
||
|
||
Emma watched him as he disappeared between the double
|
||
line of pews, treading heavily, his head slightly bent to
|
||
one side, his half-open hands held with palms outward.
|
||
|
||
Then she turned stiffly, like a statue on a pivot, and
|
||
set out for home. Behind her she heard the booming voice of
|
||
the priest and the lighter voices of the boys.
|
||
|
||
"Are you a Christian?"
|
||
|
||
"Yes, I am a Christian."
|
||
|
||
"What is a Christian?'
|
||
|
||
"A Christian is one who, after being baptised . . .
|
||
baptised . . . baptised . . ."
|
||
|
||
She climbed her stairs holding tight to the rail, and
|
||
once in her room she sank heavily into a chair.
|
||
|
||
The whitish light coming through the windowpanes was
|
||
slowly fading and ebbing away. The various pieces of furni-
|
||
ture seemed to be fixed more firmly in their places, lost in
|
||
shadow as in an ocean of darkness. The fire was out, the
|
||
clock kept up its tick-tock, and Emma vaguely marveled that
|
||
all these things should be so quiet while she herself was in
|
||
such turmoil. Then little Berthe was in front of her, tot-
|
||
tering in her knitted shoes between the window and the sewing
|
||
table, trying to reach her mother and catch hold of the ends
|
||
of her apron strings.
|
||
|
||
"Let me alone!" Emma cried, pushing her away.
|
||
|
||
But a few moments later the little girl was back, this
|
||
time coming closer. Leaning her arms on her mother's knees
|
||
she looked up at her with her big blue eyes, and a thread of
|
||
clear saliva dripped from her lip onto the silk of the apron.
|
||
|
||
"Let me alone!" Emma cried again, very much annoyed.
|
||
|
||
The expression on her face frightened the child, who
|
||
began to scream.
|
||
|
||
"Won't you let me alone!" she cried, thrusting her off
|
||
with her elbow.
|
||
|
||
Berthe fell just at the foot of the chest of drawers,
|
||
cutting her cheek on one of its brasses. She began to bleed.
|
||
Madame Bovary rushed to pick her up, broke the bell-rope,
|
||
called loudly for the maid, and words of self-reproach were
|
||
on her lips when Charles appeared. It was dinner time, he
|
||
had just come in.
|
||
|
||
"Look what's happened, darling," she said, in an even
|
||
voice. "The baby fell down and hurt herself playing."
|
||
|
||
Charles reassured her. It was nothing serious, he said,
|
||
and he went for some adhesive plaster.
|
||
|
||
Madame Bovary didn't go downstairs for dinner that even-
|
||
ing. She insisted on staying alone with her child. As she
|
||
watched her lying there asleep, her anxiety, such as it was,
|
||
gradually wore off, and she thought of herself as having been
|
||
silly and good-hearted indeed to let herself be upset over so
|
||
small a matter. Berthe had stopped sobbing, and now the
|
||
cotton coverlet rose and fell imperceptibly with her regular
|
||
breathing. A few large tears had gathered in the corners of
|
||
her half-closed eyelids. Through the lashes could be seen
|
||
the pupils, pale and sunken-looking. The adhesive stuck on
|
||
her cheek pulled the skin to one side.
|
||
|
||
"It's a strange thing," Emma thought, "what an ugly
|
||
child she is."
|
||
|
||
At eleven o'clock, when Charles came back from the phar-
|
||
macy, where he had gone after dinner to take back the plaster
|
||
that was left, he found his wife on her feet beside the cradle.
|
||
|
||
"Really, believe me, it will be all right," he said,
|
||
kissing her on the forehead. "Don't worry about it, darling.
|
||
You'll make yourself ill."
|
||
|
||
He had stayed out a long time. He had not seemed unduly
|
||
upset, but even so Monsieur Homais had done his best to cheer
|
||
him up, "raise his morale." The conversation had then turned
|
||
on the various dangers that beset children because of the
|
||
absent-mindedness of servants. Madame Homais could speak
|
||
from experience, bearing as she did to this day on her chest
|
||
the marks of a pan full of burning coals that a cook had
|
||
dropped inside her pinafore when she was small. No wonder
|
||
the Homais' went out of their way to be careful with their
|
||
children! In their house knives were never sharpened, floors
|
||
never waxed. There were iron grills at the windows and heavy
|
||
bars across the fireplaces. Though taught to be self-reliant,
|
||
the Homais children couldn't move a step without someone in
|
||
attendance. At the slightest sign of a cold their father
|
||
stuffed them with cough syrups, and well past their fourth
|
||
birthdays they were all mercilessly made to wear padded caps.
|
||
This, it must be said, was a pet idea of Madame Homais'. Her
|
||
husband was secretly worried about it, fearing lest the in-
|
||
tellectual organs suffer as a result of such pressure, and he
|
||
sometimes went so far as to say, "Do you want to turn them
|
||
into Caribs or Botocudos?"
|
||
|
||
Charles, meanwhile, had tried several times to end the
|
||
conversation. "I'd like to have a word with you," he whis-
|
||
pered in the clerk's ear, and Leon walked downstairs ahead of
|
||
him.
|
||
|
||
"Can he be suspecting something?" he wondered. His heart
|
||
pounded, and he imagined a thousand contingencies.
|
||
|
||
Charles, after closing the door behind them, asked him to
|
||
inquire in Rouen as to the price of a good daguerreotype. He
|
||
was thinking of paying a delicate tribute to his wife by giving
|
||
her a sentimental surprise, a portrait of himself in his black
|
||
tail coat. But he wanted to know, first, "what he was letting
|
||
himself in for." Such inquiries would be no trouble for Mon-
|
||
sieur Leon, since he went to the city almost every week.
|
||
|
||
What was the purpose of these visits? Homais suspected
|
||
that there was a story there, an intrigue of some kind. But he
|
||
was mistaken. Leon was not carrying on any amourette. These
|
||
days his spirits were lower than ever. Madame Lefrancois could
|
||
tell it from the amount of food he left on his plate. To find
|
||
out more about it she questioned the tax collector. But Binet
|
||
rebuffed her, saying that he "wasn't in the pay of the police."
|
||
|
||
Nevertheless his table companion struck him as exceedingly
|
||
odd. Leon often lay back in his chair, stretched out his arms
|
||
and complained vaguely about life.
|
||
|
||
"That's because you have no hobbies," said the tax col-
|
||
lector.
|
||
|
||
"What would you advise?"
|
||
|
||
"If I were you I'd buy myself a lathe!"
|
||
|
||
"But I wouldn't know how to use it," the clerk answered.
|
||
|
||
"That's so, you wouldn't," said Binet. And he stroked
|
||
his chin with an air of mingled scorn and satisfaction.
|
||
|
||
Leon was tired of loving without having anything to show
|
||
for it, and he was beginning to feel the depression that comes
|
||
from leading a monotonous life without any guiding interest or
|
||
buoyant hope. He was so sick of Yonville and the Yonvillians
|
||
that the sight of certain people and certain buildings irri-
|
||
tated him beyond endurance. The pharmacist, worthy soul that
|
||
he was, he found utterly unbearable. Still, though he longed
|
||
for a new position, the prospect of change frightened him.
|
||
|
||
But now timidity gave way to impatience, and Paris beck-
|
||
oned from afar, with the fanfare of its masked balls, the
|
||
laughter of its grisettes. Since he would have to finish his
|
||
law studies there sooner or later, why shouldn't he go now?
|
||
What was preventing him? And he began to make imaginary plans,
|
||
sketch out his new existence. He furnished a dream apartment.
|
||
He would lead an artist's life, take guitar lessons, wear a
|
||
dressing gown, a Basque beret, blue velvet slippers! And in
|
||
his minds eye he particularly admired his overmantel arrange-
|
||
ment, a pair of crossed fencing foils, with a skull and the
|
||
guitar hanging above.
|
||
|
||
The difficulty lay in obtaining his mother's consent,
|
||
still, there could scarcely be a more reasonable request.
|
||
Even his employer was urging him to think of another office,
|
||
where he could widen his experience. Taking a middle course,
|
||
therefore, Leon looked for a place as second clerk in Rouen,
|
||
found nothing, and finally wrote his mother a long detailed
|
||
letter in which he set forth his reasons for moving to Paris
|
||
at once. She consented.
|
||
|
||
He didn't hurry. Every day for a month Hivert transported
|
||
for him, from Yonville to Rouen and from Rouen to Yonville,
|
||
trunks, valises and bundles. And after Leon had had his ward-
|
||
robe restocked and his three armchairs reupholstered and had
|
||
bought a whole new supply of foulard handkerchiefs, after he
|
||
had made more preparations than for a trip around the world,
|
||
he kept putting off his departure from week to week, until he
|
||
received a second letter from his mother urging him to be on
|
||
his way, since he wanted to pass his examination before the
|
||
summer vacation.
|
||
|
||
When the moment came for farewells, Madame Homais wept
|
||
and Justin sobbed. Homais hid his emotion as a strong man
|
||
should, and insisted on carrying his friend's overcoat as far
|
||
as the notary's. Maitre Guillaumin was to drive Leon to
|
||
Rouen in his carriage.
|
||
|
||
There was just time to say good-bye to Monsieur Bovary.
|
||
When Leon reached the top of the stairs he was so breathless
|
||
that he stood still for a moment. As he entered the room
|
||
Madame Bovary rose quickly to her feet.
|
||
|
||
"Here I am again," said Leon.
|
||
|
||
"I knew you'd come!"
|
||
|
||
She bit her lip, and the blood rushed under her skin,
|
||
reddening it from the roots of her hair to the edge of her
|
||
collar. She remained standing, leaning against the wall
|
||
paneling.
|
||
|
||
"Monsieur isn't here?" he said.
|
||
|
||
"He's out."
|
||
|
||
He repeated, "He's out."
|
||
|
||
There was a silence. They looked at each other, and
|
||
their thoughts clung together in their common anguish like
|
||
two throbbing hearts.
|
||
|
||
"I'd love to kiss Berthe," said Leon.
|
||
|
||
Emma went down a few steps and called Felicite.
|
||
|
||
He glanced quickly around him, taking in the walls, the
|
||
tables, the fireplace, as though to record them forever down
|
||
to their last detail and carry them away in his memory.
|
||
|
||
Then she was back, and the maid brought in Berthe, who
|
||
was swinging a pinwheel upside down on a string.
|
||
|
||
Leon kissed her several times on the neck. "Good-bye,
|
||
sweetheart! Good-bye!" And he handed her back to her mother.
|
||
|
||
"You may take her," Emma said to the maid.
|
||
|
||
They were left alone.
|
||
|
||
Madame Bovary had turned her back, her face pressed to
|
||
a windowpane. Leon was holding his cap in his hand and kept
|
||
brushing it against his thigh.
|
||
|
||
"It's going to rain," said Emma.
|
||
|
||
"I have a coat," he answered.
|
||
|
||
"Ah!"
|
||
|
||
She half turned to him, her face lowered. The light
|
||
seemed to glide down her forehead to her arching brows as on
|
||
a marble statue. And there was no way of knowing what she
|
||
was gazing at on the horizon or what her deepest thoughts
|
||
might be.
|
||
|
||
"Good-bye, then," he said, sighing deeply.
|
||
|
||
She raised her head with an abrupt movement.
|
||
|
||
"Yes, good-bye, you must be on your way."
|
||
|
||
They both stepped forward. He held out his hand. She
|
||
hesitated.
|
||
|
||
"A handshake, then, English style," she said, with a
|
||
forced laugh, putting her hand in his.
|
||
|
||
Leon felt her moist palm in his grasp, and into it
|
||
seemed to flow the very essence of his being.
|
||
|
||
Then he released it. Their eyes met again, and he was
|
||
off.
|
||
|
||
As he crossed the roofed market he stopped behind a
|
||
pillar to stare for a last time at the white house with its
|
||
four green shutters. He thought he saw a shadowy form at
|
||
the bedroom window, then the curtain, released from its hook
|
||
as though of its own accord, swung slowly for a moment in
|
||
long slanting folds and sprang fully out to hang straight and
|
||
motionless as a plaster wall. Leon set off at a run.
|
||
|
||
Ahead he saw his employer's gig in the road, and beside
|
||
it a man in an apron holding the horse. Homais and Maitre
|
||
Guillaumin were talking together, waiting for him.
|
||
|
||
The apothecary embraced him, tears in his eyes. "Here's
|
||
your overcoat, my boy. Wrap up warm! Look after yourself!
|
||
Take it easy!"
|
||
|
||
"Come, Leon, jump in!" said the notary.
|
||
|
||
Homais leaned over the mudguard, and in a voice broken
|
||
by sobs gulped the sad, familiar words of parting, "Bon
|
||
voyage!"
|
||
|
||
"Bon soir!" replied Maitre Guillaumin. "Anchors aweigh!"
|
||
|
||
They rolled off, and Homais went home.
|
||
|
||
Madame Bovary had opened her window that gave on to the
|
||
garden, and was watching the clouds.
|
||
|
||
They were gathering in the west, in the direction of
|
||
Rouen, twisting rapidly in black swirls. Out from behind
|
||
them shot great sun rays, like the golden arrows of a hanging
|
||
trophy, and the rest of the sky was empty, white as porcelain.
|
||
Then came a gust of wind, the poplars swayed, and suddenly the
|
||
rain was pattering on the green leaves. But soon the sun came
|
||
out again, chickens cackled, sparrows fluttered their wings in
|
||
the wet bushes, and rivulets flowing along the gravel carried
|
||
away the pink flowers of an acacia.
|
||
|
||
"Ah, by now he must be far away!" she thought.
|
||
|
||
Monsieur Homais dropped in as usual at half-past six,
|
||
during dinner.
|
||
|
||
"Well," he said, sitting down, "so we've sent our young
|
||
man on his way, have we?'
|
||
|
||
"I guess so," said the doctor. And then, turning in his
|
||
chair, "What's new at your house?'
|
||
|
||
"Nothing much. Just that my wife wasn't quite herself
|
||
this afternoon. You know how women are, anything upsets them,
|
||
mine especially. We've no right to complain, their nervous
|
||
system is much more impressionable than ours."
|
||
|
||
"Poor Leon!" said Charles. "How will he get along in
|
||
Paris, do you think? Will he get used to it?"
|
||
|
||
Madame Bovary sighed.
|
||
|
||
"Never fear!" said the pharmacist, making a clicking noise
|
||
with his tongue. "Think of the gay parties in restaurants, the
|
||
masked balls! The champagne! Everything will go at a merry
|
||
pace, I assure you!"
|
||
|
||
"I don't think he'll do anything wrong," Bovary objected.
|
||
|
||
"Nor do I," Monsieur Homais said quickly, "but he'll have
|
||
to go along with the others if he doesn't want to be taken for
|
||
a Jesuit. You have no idea of the life those bohemians lead
|
||
in the Latin Quarter with their actresses! You know, students
|
||
are very highly thought of in Paris. If they have even the
|
||
slightest social grace they're admitted to the very best
|
||
circles. They're even fallen in love with sometimes by ladies
|
||
of the Faubourg Saint-Germain. Some of them make very good
|
||
marriages."
|
||
|
||
"But," said the doctor, "I'm afraid that in the city he
|
||
may . . ."
|
||
|
||
"You're right,' interrupted the apothecary. "It's the
|
||
reverse of the medal. In the city you've got to keep your
|
||
hand in your watchpocket every minute. Suppose you're sit-
|
||
ting in a park. Some fellow comes up to you, well dressed,
|
||
perhaps even wearing a decoration, somebody you could take
|
||
for a diplomat. He addresses you, you talk, he ingratiates
|
||
himself, offers you a pinch of snuff or picks up your hat
|
||
for you. Then you get friendlier. He takes you to a cafe.
|
||
Invites you to visit him in the country, introduces you to
|
||
all kinds of people over your drinks, and three-quarters of
|
||
the time it's only to get his hands on your purse or lead
|
||
you into evil ways."
|
||
|
||
"That's true," said Charles, "but I was thinking chiefly
|
||
of diseases, typhoid fever, for example. Students from the
|
||
country are susceptible to it."
|
||
|
||
Emma shuddered.
|
||
|
||
"Because of the change of diet," agreed the pharmacist,
|
||
"and the way it upsets the entire system. And don't forget
|
||
the Paris water! The dishes they serve in restaurants, all
|
||
those spicy foods, they over heat the blood. Don't let any-
|
||
body tell you they're worth a good stew. I've always said
|
||
there's nothing like home cooking, its better for the health.
|
||
That was why when I was studying pharmacy in Rouen I went to
|
||
a boarding house. I ate where my teachers ate."
|
||
|
||
And he continued to expound his general opinions and
|
||
personal preferences until Justin came to fetch him to make
|
||
an eggnog for a customer.
|
||
|
||
"Not a moment's peace!" he cried. "It's grind, grind,
|
||
grind! I can't leave the shop for a minute. I'm like a
|
||
plough-horse, sweating blood every second. It's a heavy
|
||
yoke, my friends!"
|
||
|
||
And when he was at the door, "By the way," he said.
|
||
"Have you heard the news?'
|
||
|
||
"What news?'
|
||
|
||
"It is very likely," Homais announced, raising his eye-
|
||
brows and looking excessively solemn, "that the annual
|
||
Agricultural Show of the department of the Seine-In-ferieure
|
||
will be held this year at . . . Yonville-l'Abbaye. There is,
|
||
at least, a rumor to that effect. The paper referred to it
|
||
this morning. An event of the very greatest importance for
|
||
our district! But we'll talk about it later. I can see,
|
||
thank you. Justin has the lantern."
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER SEVEN
|
||
|
||
The next day was a funeral one for Emma. Everything
|
||
appeared to her as though shrouded in vague, hovering black-
|
||
ness. And grief swirled into her soul, moaning softly like
|
||
the winter wind in a deserted castle. She was prey to the
|
||
brooding brought on by irrevocable partings, to the weariness
|
||
that follows every consummation, to the pain caused by the
|
||
breaking off of a confirmed habit or the brusque stopping of
|
||
a prolonged vibration.
|
||
|
||
It was like the days following her return from La
|
||
Vaubyessard, when the dance tunes had kept whirling in her
|
||
head. She was sunk in the same mournful melancholy, the same
|
||
torpid despair. Leon seemed taller, handsomer, more charming
|
||
and less distinct. Though he had gone, he had not left her.
|
||
He was there, and the walls of her house seemed to retain his
|
||
shadow. She kept staring at the rug he had walked on, the
|
||
empty chairs he had sat in. The stream at the foot of the
|
||
garden flowed on as usual, rippling past the slippery bank.
|
||
They had often strolled there, listening to this same murmur
|
||
of the water over the moss-covered stones. How they had
|
||
enjoyed the sun! And the shade, too, afternoons by themselves
|
||
in the garden! He had read aloud to her, bareheaded on a
|
||
rustic bench, the cool wind from the meadows ruffling the
|
||
pages of his book and the nasturtiums on the arbor . . . And
|
||
now he was gone, the one bright spot in her life, her one
|
||
possible hope of happiness! Why hadn't she grasped that good
|
||
fortune when it had offered itself? And when it had first
|
||
threatened to slip away, why hadn't she seized it with both
|
||
hands, implored it on her knees? She cursed herself for not
|
||
having surrendered to her love for Leon. She thirsted for
|
||
his lips. She was seized with a longing to run after him, to
|
||
fling herself into his arms, to cry, "Take me! I'm yours!"
|
||
But the difficulties of such an enterprise discouraged her in
|
||
advance. And her longings, increased by regret, became all
|
||
the more violent.
|
||
|
||
Thereafter, the image she had of Leon became the center
|
||
of her distress. It glowed more brightly than a travelers'
|
||
fire left burning on the snow of a Russian steppe. She ran
|
||
up to it, crouched beside it, stirred it carefully when it
|
||
was on the verge of extinction, grasped at everything within
|
||
reach that might bring it back to life. Distant memories and
|
||
present-day events, experiences actual and imagined, her
|
||
starved sensuality, her plans for happiness, blown down like
|
||
dead branches in the wind, her barren "virtue," the collapse
|
||
of her hopes, the litter of her domestic life. All these she
|
||
gathered up and used as fuel for her misery.
|
||
|
||
Nevertheless the flames did die down, whether exhausted
|
||
from lack of supplies or choked by excessive feeding. Little
|
||
by little, love was quenched by absence, regret was smothered
|
||
by routine, and the fiery glow that had reddened her pale sky
|
||
grew gray and gradually vanished. In this growing inner twi-
|
||
light she even mistook her recoil from her husband for an
|
||
aspiration toward her lover, the searing waves of hatred for
|
||
a rekindling of love. But the storm kept raging, her passion
|
||
burned itself to ashes, no help was forthcoming, no new sun
|
||
rose on the horizon. Night closed in completely around her,
|
||
and she was left alone in a horrible void of piercing cold.
|
||
|
||
Then the bad days of Tostes began all over again. She
|
||
considered herself far more unhappy now than she had been
|
||
then, for now she had experienced grief, and she knew that it
|
||
would never end.
|
||
|
||
A woman who had assumed such a burden of sacrifice was
|
||
certainly entitled to indulge herself a little. She bought
|
||
herself a Gothic prie-dieu, and in a month spent fourteen
|
||
francs on lemons to blanch her fingernails. She wrote to
|
||
Rouen for a blue cashmere dress, and at Lheureux's she chose
|
||
the finest of his scarves. She wound it around her waist
|
||
over her dressing gown, and thus arrayed she closed the
|
||
shutters and stretched out on her sofa with a book.
|
||
|
||
She kept changing her way of wearing her hair. She
|
||
tried it a al chinoise, in soft curls, in braids. She tried
|
||
parting it on one side and turning it under, like a man's.
|
||
|
||
She decided to learn Italian. She bought dictionaries,
|
||
a grammar, a supply of paper. She went in for serious read-
|
||
ing, history and philosophy. Sometimes at night Charles would
|
||
wake up with a start, thinking that someone had come to fetch
|
||
him to a sickbed. "I'm coming," he would mutter, and it would
|
||
be the sound of the match that Emma was striking to light her
|
||
lamp. But her books were like her many pieces of needlepoint,
|
||
barely begun, they were tossed into the cupboard. She
|
||
started them, abandoned them, discarded them in favor of new
|
||
ones.
|
||
|
||
She had spells in which she would have gone to extremes
|
||
with very little urging. One day she insisted, Charles to the
|
||
contrary, that she could drink half a water glass of brandy,
|
||
and when Charles was foolish enough to dare her, she downed
|
||
every drop of it.
|
||
|
||
For all her "flightiness," that was the Yonville ladies'
|
||
word for it, Emma did not have a happy look. The corners of
|
||
her mouth were usually marked with those stiff, pinched lines
|
||
so often found on the faces of old maids and failures. She
|
||
was pale, white as a sheet all over. The skin of her nose
|
||
was drawn down toward the nostrils, and she had a way of
|
||
staring vacantly at whoever she was talking with. When she
|
||
discovered two or three gray hairs at her temples she began
|
||
to talk about growing old.
|
||
|
||
She often had dizzy spells. One day she even spit blood,
|
||
and when Charles hovered over her and showed his concern she
|
||
shrugged. "What of it?" she said.
|
||
|
||
Charles shut himself in his consulting room, and sitting
|
||
in his office armchair under the phrenological head he put his
|
||
elbows on the table and wept.
|
||
|
||
He wrote his mother asking her to come, and they had long
|
||
conversations on the subject of Emma.
|
||
|
||
What course to follow? What could be done, since she
|
||
refused all treatment?
|
||
|
||
"Do you know what your wife needs?" said the older Madame
|
||
Bovary. "She needs to be put to work . . . hard manual work.
|
||
If she had to earn her living like so many other people, she
|
||
wouldn't have those vapors . . . they come from all those
|
||
ideas she stuffs her head with, and the idle life she leads."
|
||
|
||
"She keeps busy, though," Charles said.
|
||
|
||
"Busy at what? Reading novels and all kinds of bad books.
|
||
Anti-religious books that quote Voltaire and ridicule the
|
||
priests. It's a dangerous business, son. Anyone who lacks
|
||
|
||
respect for religion comes to a bad end."
|
||
|
||
So it was decided to prevent Emma from reading novels.
|
||
The project presented certain difficulties, but the old lady
|
||
undertook to carry it out. On her way through Rouen she would
|
||
personally call on the proprietor of the lending library and
|
||
tell him that Emma was canceling her subscription. If he
|
||
nevertheless persisted in spreading his poison, they would
|
||
certainly have the right to report him to the police.
|
||
|
||
Farewells between mother-in-law and daughter-in-law were
|
||
curt. During the three weeks they had been together they
|
||
hadn't exchanged four words apart from the formal greetings
|
||
and absolute essentials called for at mealtime and bedtime.
|
||
|
||
The older Madame Bovary left on a Wednesday, market day
|
||
at Yonville.
|
||
|
||
From early morning, one side of the square was taken up
|
||
with a row of carts, all tipped up on end, with their shafts
|
||
in the air, stretching along the house fronts from the church
|
||
to the hotel. On the other side were canvas booths for the
|
||
sale of cotton goods, woolen blankets and stockings, horse
|
||
halters, and rolls of blue ribbon whose ends fluttered in the
|
||
wind. Heavy hardware was spread out on the ground between
|
||
pyramids of eggs and cheese baskets bristling with sticky
|
||
straw. And close by the harvesting machines were the flat
|
||
poultry boxes, with clucking hens sticking their necks out
|
||
between the slats. The crowd always filled the same corner,
|
||
unwilling to move on. Sometimes it seemed on the point of
|
||
pushing through the glass of the pharmacy window. On Wednes-
|
||
days the shop was never empty, and everyone elbowed his way
|
||
in, less to buy pharmaceutical products than to consult the
|
||
pharmacist, so celebrated was Monsieur Homais' reputation in
|
||
the villages round about. His hearty self-confidence be-
|
||
witched the country folk. To them he was a greater doctor
|
||
than all the doctors.
|
||
|
||
Emma was leaning out her window (she often did this, in
|
||
the provinces windows take the place of boulevards and thea-
|
||
tres) watching the crowd of yokels, when she caught sight of
|
||
a gentleman in a green frock coat. His dressy yellow gloves
|
||
contrasted with his heavy gaiters, and he was approaching
|
||
the doctor's house. Behind him was a peasant who followed
|
||
along with lowered head and decidedly pensive expression.
|
||
|
||
"May I see Monsieur?' he asked Justin, who was chatting
|
||
in the doorway with Felicite. And assuming that he was one
|
||
of the house servants, he added, "Give him my name, Monsieur
|
||
Rodolphe Boulanger, de la Huchette."
|
||
|
||
The new arrival had added the "de" and the "La Huchette"
|
||
to his name not out of vanity as a landowner but rather to
|
||
indicate more clearly who he was. La Huchette was an estate
|
||
near Yonville, and he had recently bought the chateau and its
|
||
two dependent farms. The latter he worked himself, not too
|
||
seriously. He kept a bachelor establishment and was rumored
|
||
to have "a private income of at least fifteen thousand francs
|
||
a year."
|
||
|
||
Charles came into the parlor, and Monsieur Boulanger
|
||
introduced his man, who wanted to be bled because "he felt
|
||
prickly all over." There was no arguing with him. He said
|
||
it would "clear him out."
|
||
|
||
So Bovary told the maid to bring a bandage, and a basin
|
||
that he asked Justin to hold. The peasant turned pale at
|
||
once.
|
||
|
||
"There's nothing to be afraid of," Charles told him.
|
||
|
||
"I'm all right," the man said. "Go ahead."
|
||
|
||
He held out his sturdy arm with an air of bravado. At
|
||
the prick of the scalpel the blood spurted out and spattered
|
||
against the mirror.
|
||
|
||
"Hold the basin closer!" Charles cried.
|
||
|
||
"Look at that!" said the peasant. "Just like a fountain!
|
||
I've got real red blood. That's a good sign, isn't it?"
|
||
|
||
"Sometimes," remarked the officier de sante, "they don't
|
||
feel anything at first, and then they keel over. Especially
|
||
the husky ones, like this one here."
|
||
|
||
At those words the peasant dropped the scalpel case,
|
||
which he had been twisting in his fingers. The back of the
|
||
chair creaked under the heavy impact of his shoulders, and
|
||
his hat fell on the floor.
|
||
|
||
"Just what I thought," said Bovary, pressing the vein
|
||
with his finger.
|
||
|
||
The basin began to shake in Justin's hands. His knees
|
||
wobbled and he turned pale.
|
||
|
||
"Where's my wife?' Charles cried, and he called her
|
||
loudly. She came rushing down the stairs.
|
||
|
||
"Vinegar!" he cried. "We've got a pair of them, damn
|
||
it!"
|
||
|
||
In his excitement he had trouble applying the compress.
|
||
|
||
"It's nothing," said Monsieur Boulanger, quite calmly,
|
||
and he lifted Justin in his arms and propped him up on the
|
||
table with his back against the wall.
|
||
|
||
Madame Bovary set about loosening Justin's cravat.
|
||
There was a knot in the strings that fastened his shirt, and
|
||
when she had undone it she rubbed his boyish neck lightly
|
||
for a few minutes. Then she moistened her batiste handker-
|
||
chief in vinegar and patted his forehead with it, blowing
|
||
gently on it as she did so.
|
||
|
||
The teamster revived, but Justin remained in his faint,
|
||
the pupils of his eyes sunk into the whites like blue flowers
|
||
in milk.
|
||
|
||
"We'd better not let him see this," said Charles.
|
||
|
||
Madame Bovary took away the basin. As she bent down to
|
||
put it under the table, her dress, a long-waisted, full-
|
||
skirted yellow summer dress with four flounces, belled out
|
||
around her on the tile floor of the parlor. And as she put
|
||
out her arms to steady herself the material billowed and
|
||
settled, revealing the lines of her body. Then she brought
|
||
in a pitcher of water, and was dissolving sugar in it when
|
||
the pharmacist arrived. The maid had gone after him in the
|
||
midst of the fracas, and when he found his apprentice with
|
||
his eyes open he breathed a sigh of relief. Then he stalked
|
||
back and forth in front of him, staring him up and down.
|
||
|
||
"Idiot!" he said. "Idiot, with a capital I! A terrible
|
||
thing, a little blood-letting, isn't it! A fine fellow, too.
|
||
Just look at him! And yet I've seen him go up a tree after
|
||
nuts like a squirrel, up to the dizziest heights, Messieurs
|
||
et Madame! Say something, can't you? Tell us how good you
|
||
are! You'll certainly make a fine pharmacist! Don't you
|
||
know that some day you may be called on to give important
|
||
evidence in court? The judges may need your expert opinion.
|
||
You'll have to keep calm at such times, and know what to say!
|
||
You'll have to show them you're a man, or else be called a
|
||
fool!"
|
||
|
||
Justin made no answer, and the apothecary went on.
|
||
|
||
"Who asked you to come here anyway? You're always
|
||
bothering Monsieur and Madame! You know perfectly well I
|
||
always need you Wednesdays! There are twenty people in the
|
||
shop right now! I left everything out of consideration for
|
||
you! Go on! Get back there! Keep an eye on things till I
|
||
come!"
|
||
|
||
When Justin had put himself to rights and gone, they
|
||
talked a little about fainting spells. Madame Bovary had
|
||
never had one.
|
||
|
||
"That's unusual for a lady," said Monsieur Boulanger.
|
||
"But there are men who are extraordinarily susceptible, you
|
||
know. I've seen a second at a duel lose consciousness at the
|
||
mere sound of the loading of the pistols."
|
||
|
||
"I don't mind the sight of other people's blood a bit,"
|
||
said the pharmacist. "But the very idea of shedding my own
|
||
would be enough to turn my stomach if I thought about it too
|
||
much."
|
||
|
||
Meanwhile Monsieur Boulanger sent away his man, urging
|
||
him to stop worrying now that he'd got what he wanted.
|
||
|
||
"His whim has afforded me the privilege of making your
|
||
acquaintance," he said, and as he spoke the words he looked
|
||
at Emma.
|
||
|
||
Then he put three francs on the corner of the table,
|
||
bowed casually, and left.
|
||
|
||
He was soon on the other side of the river (it was the
|
||
way back to La Huchette), and Emma saw him crossing the meadow
|
||
under the poplars, occasionally slowing his pace as though he
|
||
were pondering something.
|
||
|
||
"She's very nice," he was saying to himself, "very nice,
|
||
that wife of the doctor's! Lovely teeth, black eyes, a dainty
|
||
foot, she's like a real Parisian. Where the devil does she
|
||
come from? How did such a clodhopper ever get hold of her?'
|
||
|
||
Monsieur Rodolphe Boulanger was thirty-four. He was
|
||
brutal and shrewd. He was something of a connoisseur. There
|
||
had been many women in his life. This one seemed pretty, so
|
||
the thought of her and her husband stayed with him.
|
||
|
||
"I have an idea he's stupid. I'll bet she's tired of
|
||
him. His fingernails are dirty and he hasn't shaved in three
|
||
days. He trots off to see his patients and leaves her home
|
||
to darn his socks. How bored she must be! Dying to live in
|
||
town, to dance the polka every night! Poor little thing!
|
||
She's gasping for love like a carp on a kitchen table gasping
|
||
for water. A compliment or two and she'd adore me, I'm
|
||
positive. She'd be sweet! But . . . how would I get rid of
|
||
her later?"
|
||
|
||
And the thought of the troubles inevitable in such an
|
||
affair brought to his mind by contrast his present mistress,
|
||
an actress he kept in Rouen. He found he could not evoke
|
||
|
||
her image without a feeling of satiety, and after a time he
|
||
said to himself. "Ah, Madame Bovary is much prettier . . .
|
||
and what's more, much fresher. Virginie's certainly growing
|
||
too fat. She's getting on my nerves with all her enthusiasms.
|
||
And her mania for shrimps . . .!"
|
||
|
||
The countryside was deserted, and the only sounds were
|
||
the regular swish of the tall grass against his gaiters and
|
||
the chirping of crickets hidden in the distant oats. He
|
||
thought of Emma in the parlor, dressed as he had seen her,
|
||
and he undressed her.
|
||
|
||
"I'll have her!" he said aloud, bringing his stick down
|
||
on a clod of earth in front of him.
|
||
|
||
And he immediately began to consider the question of
|
||
strategy.
|
||
|
||
"Where could we meet? How could we arrange it? The
|
||
brat would always be around, and the maid, and the neighbors,
|
||
and the husband . . . there'd be a lot of headaches. Bah!
|
||
It would all take too much time.
|
||
|
||
Then he began all over again. "Those eyes really bore
|
||
into you, though! And that pale complexion . . . God! How
|
||
I love pale women . . ."
|
||
|
||
By the time he had reached the top of the hill his mind
|
||
was made up.
|
||
|
||
"The only thing to do now is keep my eyes open for
|
||
opportunities. I'll call on them occasionally and send them
|
||
presents, game and chickens. I'll have myself bled, if I
|
||
have to. We'll get to be friends. I'll invite them to the
|
||
house . . . And . . . Oh, yes" . . . it came to him . . .
|
||
"we'll soon be having the show. She'll be there. I'll see
|
||
her. We'll get started. The approach direct, that's the
|
||
best."
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER EIGHT
|
||
|
||
The great day arrived at last.
|
||
|
||
The morning of the Agricultural Show all the Yonvillians
|
||
were standing on their doorsteps discussing the preparations.
|
||
The pediment of the town hall had been looped with ivy. A
|
||
marquee had been set up for the banquet in one of the meadows.
|
||
And in the middle of the square, in front of the church, stood
|
||
an antiquated fieldpiece that was to be fired as a signal
|
||
announcing the arrival of the prefect and the proclamation of
|
||
the prize winners. The Buchy national guard (Yonville had
|
||
none) had come to join forces with the fire brigade, commanded
|
||
by Binet. Today he wore a collar even higher than usual, and
|
||
his bust, tightly encased in his tunic, was so stiff and in-
|
||
flexible that all his animal fluids seemed to be concentrated
|
||
in his legs, which rose and fell with the music in rhythmic
|
||
jerks. Since the tax collector and the colonel were rivals,
|
||
each showed off his talents by drilling his men separately.
|
||
First the red epaulettes would march up and down, and then the
|
||
black breastplates. And then it would begin all over again.
|
||
There was no end to it. Never had there been such a display
|
||
of pomp! A number of citizens had washed their housefronts
|
||
the day before. Tricolor flags were hanging from half-open
|
||
windows. All the cafes were full. And in the perfect weather
|
||
the headdresses of the women seemed whiter than snow, their
|
||
gold crosses glittered in the bright sun, and their multi-
|
||
colored neckcloths relieved the somber monotony of the men's
|
||
frock coats and blue smocks. As the farm women dismounted
|
||
from their horses they undid the big pins that had held their
|
||
skirts tucked up away from splashing. The men's concern was
|
||
for their hats. To protect them they had covered them with
|
||
large pocket handkerchiefs, holding the corners between their
|
||
teeth as they rode.
|
||
|
||
The crowd converged on the main street from both ends
|
||
of the village, from the paths between the houses, from the
|
||
lanes, and from the houses themselves. Knockers could be
|
||
heard falling against doors as housewives in cotton gloves
|
||
emerged to watch the festivities. Particularly admired were
|
||
the two large illumination frames laden with colored glass
|
||
lamps that flanked the official grandstand. And against the
|
||
four columns of the town hall stood four poles, each with a
|
||
little banner bearing a legend in gold letters on a greenish
|
||
ground. One said, "Commerce," another "Agriculture," the
|
||
third "Industry," and the fourth "Fine Arts."
|
||
|
||
But the jubilation brightening all faces seemed to cast
|
||
a gloom over Madame Lefrancois, the hotel-keeper. She was
|
||
standing on her kitchen steps muttering to herself.
|
||
|
||
"It's a crime . . . a crime, that canvas shack! Do they
|
||
really think the prefect will enjoy eating his dinner in a
|
||
tent, like a circus performer? They pretend the whole thing's
|
||
for the good of this village . . . so why bring a third-class
|
||
cook over from Neufchatel? And who's it all for, anyway? A
|
||
lot of cowherds and riffraff."
|
||
|
||
The apothecary came by. He was wearing a black tail
|
||
coat, yellow nankeen trousers, reverse-calf shoes, and . . .
|
||
most exceptionally . . . a hat. A stiff low-crowned hat.
|
||
|
||
"Good morning!" he said. "Forgive me for being in such
|
||
a hurry."
|
||
|
||
And as the buxom widow asked him where he was going, "I
|
||
imagine it must seem funny to you, doesn't it? Considering
|
||
that most of the time I can't be pried loose from my labora-
|
||
tory any more than the old man's rat from his cheese."
|
||
|
||
"What cheese is that?' asked the landlady.
|
||
|
||
"Oh, nothing, nothing," said Homais. "I was merely
|
||
referring to the fact, Madame Lefrancois, that I usually
|
||
stay at home, like a recluse. But today things are different.
|
||
I must absolutely . . ."
|
||
|
||
"You don't mean you're going there?" she said with a
|
||
scornful look.
|
||
|
||
"Of course I'm going there," the apothecary replied,
|
||
surprised. "Don't you know I'm on the advisory committee?"
|
||
|
||
Madame Lefrancois looked at him for a moment or two and
|
||
then answered with a smile.
|
||
|
||
"That's all right, then. But what have you got to do
|
||
with farming? Do you know anything about it?'
|
||
|
||
"Certainly I know something about it, being a pharmacist!
|
||
A pharmacist is a chemist, Madame Lefrancois. And since the
|
||
aim of chemistry is to discover the laws governing the reci-
|
||
procal and molecular action of all natural bodies, it follows
|
||
that agriculture falls within its domain! Take the composi-
|
||
tion of manures, the fermentation of liquids, the analysis of
|
||
gases, the effects of noxious effuvia . . . what's all that,
|
||
I ask you, if it isn't chemistry in the strictest sense of
|
||
the word?"
|
||
|
||
The landlady made no reply. Homais went on, "Do you
|
||
think that to be an agronomist you must till the soil or
|
||
fatten chickens with your own hands? No! You have to study
|
||
the composition of various substances, geological strata,
|
||
atmospheric phenomena, the properties of the various soils,
|
||
minerals, types of water, the density of different bodies,
|
||
their capillary attraction. And a hundred other things. You
|
||
have to be thoroughly versed in all the principles of hygiene
|
||
. . . that's an absolute prerequisite if you're going to serve
|
||
in a supervisory or consultant capacity in anything relating
|
||
to the construction of farm buildings, the feeding of live-
|
||
stock, the preparation of meals for hired men. And then
|
||
you've got to know botany, Madame Lefrancois. Be able to tell
|
||
one plant from another . . . you know what I mean? Which ones
|
||
are benign and which ones are poisonous, which ones are unpro-
|
||
ductive and which ones are nutritive. Whether it's a good
|
||
thing to pull them out here and resow them there, propagate
|
||
some and destroy others. In short, you've got to keep abreast
|
||
of science by reading pamphlets and publications. You've got
|
||
to be always on the alert, always on the lookout for possible
|
||
improvements . . ."
|
||
|
||
All this time the landlady never took her eyes off the
|
||
door of the Cafe Francais. The pharmacist continued.
|
||
|
||
"Would to God our farmers were chemists, or at least
|
||
that they listened more carefully to what science has to say.
|
||
I myself recently wrote a rather considerable little treatise,
|
||
a monograph of over seventy-two pages, entitled: Cider: Its
|
||
Manufacture and Its Effects; Followed by Certain New Observa-
|
||
tions on This Subject. I sent it to the Agronomical Society
|
||
of Rouen, and it even brought me the honor of being admitted
|
||
to membership in that body, Agricultural Section, Pomology
|
||
Division. Now if this work of mine had been made available to
|
||
the public . . ."
|
||
|
||
The apothecary broke off. Madame Lefrancois' attention
|
||
was obviously elsewhere.
|
||
|
||
"Just look at them," she said. "How can they patronize
|
||
such a filthy place?'
|
||
|
||
And with shrugs that stretched her sweater tight over her
|
||
bosom, she pointed with both hands to her competitor's cafe,
|
||
out of which came the sound of singing.
|
||
|
||
"Anyway, it won't be there much longer," she said. "Just
|
||
a few days more, and then, finis."
|
||
|
||
Homais drew back in amazement, and she came down her
|
||
three steps and put her lips to his ear.
|
||
|
||
"What! Haven't you heard? They're padlocking it this
|
||
week. It's Lheureux who's forcing the sale. All those notes
|
||
Tellier signed were murder."
|
||
|
||
"What an unutterable catastrophe!" The apothecary always
|
||
had the proper expression ready, whatever the occasion.
|
||
|
||
The landlady proceeded to tell him the story, which she
|
||
had from Theodore, Maitre Gullaumin's servant. And although
|
||
she detested Tellier she had nothing but harsh words for
|
||
Lheureux. He was a wheedler, a cringer.
|
||
|
||
"Look! There he is now, in the market," she said. "He's
|
||
greeting Madame Bovary. She's wearing a green hat. In fact,
|
||
she's on Monsieur Boulanger's arm."
|
||
|
||
"Madame Bovary!" cried Homais. "I must go and pay her
|
||
my respects. She might like to have a seat in the enclosure,
|
||
under the portico."
|
||
|
||
And ignoring Madame Lefrancois' attempts to detain him
|
||
with further details, he hurried off, smiling and with springy
|
||
step, bestowing innumerable salutations right and left, and
|
||
taking up a good deal of room with his long black coat tails
|
||
that streamed in the wind behind him.
|
||
|
||
Rodolphe had seen him coming and had quickened his pace,
|
||
but Madame Bovary was out of breath, and he slowed and smiled
|
||
at her. "I was trying to avoid that bore," he said savagely.
|
||
"You know, the apothecary."
|
||
|
||
She nudged him with her elbow.
|
||
|
||
"What does that mean?" he wondered, glancing at her out
|
||
of the corner of his eye as they moved on.
|
||
|
||
Her face, seen in profile, was so calm that it gave him
|
||
no hint. It stood out against the light, framed in the oval
|
||
of her bonnet, whose pale ribbons were like streaming reeds.
|
||
Her eyes with their long curving lashes looked straight ahead.
|
||
They were fully open, but seemed a little narrowed because of
|
||
the blood that was pulsing gently under the fine skin of her
|
||
cheekbones. The rosy flesh between her nostrils was all but
|
||
transparent in the light. She was inclining her head to one
|
||
side, and the pearly tips of her white teeth showed between
|
||
her lips.
|
||
|
||
"Is she laughing at me?" Rodolphe wondered.
|
||
|
||
But Emma's nudge had been no more than a warning, for
|
||
Monsieur Lheureux was walking along beside them, now and then
|
||
addressing them as though to begin conversation.
|
||
|
||
"What a marvelous day! Everybody's out! The wind is
|
||
from the east."
|
||
|
||
Neither Madame Bovary nor Rodolphe made any reply, though
|
||
at their slightest movement he edged up to them saying, "Beg
|
||
your pardon?" and touching his hat.
|
||
|
||
When they were in front of the blacksmith's, instead of
|
||
following the road as far as the gate Rodolphe turned abruptly
|
||
into a side path, drawing Madame Bovary with him.
|
||
|
||
"Good-bye, Monsieur Lheureux!" he called out. "We'll be
|
||
seeing you!"
|
||
|
||
"You certainly got rid of him!" she said, laughing.
|
||
|
||
"Why should we put up with intruders?" he said. "Today
|
||
I'm lucky enough to be with you, so . . ."
|
||
|
||
Emma blushed. He left his sentence unfinished, and
|
||
talked instead, about the fine weather and how pleasant it was
|
||
to be walking on the grass. A few late daisies were blooming
|
||
around them.
|
||
|
||
"They're pretty, aren't they?' he said. "If any of the
|
||
village girls are in love they can come here for their oracles."
|
||
And he added, "Maybe I should pick one. What do you think?"
|
||
|
||
"Are you in love?" she asked, coughing a little.
|
||
|
||
"Ah, ah! Who knows?" answered Rodolphe.
|
||
|
||
The meadow was beginning to fill up, and housewives laden
|
||
with big umbrellas, picnic baskets and babies were bumping into
|
||
everyone. It was constantly necessary to turn aside, out of
|
||
the way of long lines of girls. Servants from farms, wearing
|
||
blue stockings, low-heeled shoes and silver rings and smelling
|
||
of the dairy when they came close. They walked holding hands,
|
||
forming chains the whole length of the meadow, from the row
|
||
of aspens to the banquet tent. It was time for the judging,
|
||
and one after another the farmers were filing into a kind of
|
||
hippodrome marked off by a long rope hung on stakes.
|
||
|
||
Here stood the livestock, noses to the rope, rumps of
|
||
all shapes and sizes forming a ragged line. Lethargic pigs
|
||
were nuzzling the earth with their snouts. Calves were lowing
|
||
and sheep bleating. Cows with their legs folded under them
|
||
lay on the grass, slowly chewing their cud and blinking their
|
||
heavy eyelids under the midges buzzing around them. Bare-
|
||
armed teamsters were holding rearing stallions by the halter.
|
||
These were neighing loudly in the direction of the mares, who
|
||
stood quietly, necks outstretched and manes drooping, as their
|
||
foals rested in their shadow or came now and again to suck.
|
||
Above the long undulating line of these massed bodies a white
|
||
mane would occasionally surge up like a wave in the wind, or a
|
||
pair of sharp horns would stick out, or men's heads would bob
|
||
up as they ran. Quite apart, outside the arena, a hundred
|
||
yards off, was a big black bull with a strap harness and an
|
||
iron ring through its nose, motionless as a barren image. A
|
||
ragged little boy held it by a rope.
|
||
|
||
Meanwhile a group of gentlemen were solemnly advancing
|
||
between the two rows, inspecting each animal and then confer-
|
||
ring in an undertone. One, who seemed the most important,
|
||
was writing details in a notebook as he walked. This was the
|
||
chairman of the jury, Monsieur Derozerays de la Panville. As
|
||
soon as he recognized Rodolphe he quickly stepped forward and
|
||
addressed him with a cordial smile. "What's this, Monsieur
|
||
Boulanger? You've deserted us?"
|
||
|
||
Rodolphe assured him that he was coming directly. But
|
||
when the chairman had passed, "I'll certainly not be going,"
|
||
he said to Emma. "I like your company better than his."
|
||
|
||
And though he kept making fun of the show, Rodolphe dis-
|
||
played his blue pass to the guard so that they could walk
|
||
about unmolested, and he even stopped from time to time in
|
||
front of some particularly fine exhibit. It was never any-
|
||
thing that Madame Bovary cared about. He noticed this, and
|
||
|
||
began to make jokes about the Yonville ladies and the way they
|
||
dressed, then he apologized for the carelessness of his own
|
||
costume. This was a mixture of the casual and the refined.
|
||
The kind of thing that both fascinates and exasperates the
|
||
common herd, hinting as it does at an eccentric way of life,
|
||
indulgence in wild passions and "artistic" affectations, and
|
||
a contempt for social conventions. His bastiste shirt (it had
|
||
pleated cuffs) puffed out from the opening of his gray twill
|
||
vest at each gust of wind, and his broad-striped trousers
|
||
ended at nankeen shoes trimmed with patent leather so shiny
|
||
that the grass was reflected in it. He tramped unconcernedly
|
||
through horse dung, one thumb in his vest pocket, his straw
|
||
hat tilted over one ear.
|
||
|
||
"Anyway," he said, "when you live in the country . . ."
|
||
|
||
"Any trouble you take is wasted," said Emma.
|
||
|
||
"Completely," replied Rodolphe. "Think of it. There
|
||
isn't a single person here today capable of appreciating the
|
||
cut of a coat."
|
||
|
||
And they talked about the mediocrity of provincial life,
|
||
so suffocating, so fatal to all noble dreams.
|
||
|
||
"So," said Rodolphe, "I just get more and more engulfed
|
||
in gloom as time goes on . . ."
|
||
|
||
"You do!" she cried, in surprise. "I thought of you as
|
||
being very jolly."
|
||
|
||
"Of course, that's the impression I give. I've learned
|
||
to wear a mask of mockery when I'm with other people. But
|
||
many's the time I've passed a cemetery in the moonlight and
|
||
asked myself if I wouldn't be better off lying there with the
|
||
rest . . ."
|
||
|
||
"Oh! And what about your friends?" she asked. "Have
|
||
you no thought for them?"
|
||
|
||
"My friends? What friends? Have I any? Who cares any-
|
||
thing about me?"
|
||
|
||
And he accompanied those last words with a kind of des-
|
||
perate whistle.
|
||
|
||
But they had to draw apart to make way for a tall tower
|
||
of chairs borne by a man coming up behind them. He was so
|
||
excessively laden that the only parts of him visible were the
|
||
tips of his wooden shoes and his two outstretched hands. It
|
||
was Lestiboudois, the gravedigger, who was renting out church
|
||
seats to the crowd. He was highly inventive where his own
|
||
interests were concerned, and had thought up this way of pro-
|
||
fiting from the show. It was a good idea, everyone was hailing
|
||
him at once. The villagers were hot, they clamored for the
|
||
straw-seated chairs that gave off a smell of incense, and they
|
||
leaned back with a certain veneration against the heavy slats
|
||
stained with candlewax.
|
||
|
||
Then once again Madame Bovary took Rodolphe's arm, and
|
||
he went on as though talking to himself.
|
||
|
||
"Yes, so many things have passed me by! I've always been
|
||
so alone! Ah! If I'd had a purpose in life, if I'd met anyone
|
||
with true affection, if I'd found somebody who . . . Oh! Then
|
||
I wouldn't have spared any effort. I'd have surmounted every
|
||
obstacle, let nothing stand in my way . . .!"
|
||
|
||
"It seems to me, though," said Emma, "that you're scarcely
|
||
to be pitied."
|
||
|
||
"Oh? You think that?" said Rodolphe.
|
||
|
||
"Yes," she answered, "because after all you're free," she
|
||
hesitated, "rich . . ."
|
||
|
||
"Don't make fun of me," he begged.
|
||
|
||
And she was swearing that she was doing nothing of the
|
||
kind, when a cannon shot resounded and everyone began to hurry
|
||
toward the village.
|
||
|
||
It was a false alarm. The prefect wasn't even in sight,
|
||
and the members of the jury were in a quandary, not knowing
|
||
whether to begin the proceedings or wait a while longer.
|
||
|
||
Finally at the far end of the square appeared a big hired
|
||
landau drawn by two skinny horses who were being furiously
|
||
whipped on by a white-hatted coachman. Binet had just time to
|
||
shout, "Fall in!" and the colonel to echo him. There was a
|
||
rush for the stacked rifles, and in the confusion some of the
|
||
men forgot to button their collars. But the official coach-
|
||
and-pair seemed to sense the difficulty, and the emaciated
|
||
beasts dawdling on their chain, drew up at a slow trot in
|
||
front of the portico of the town hall just at the moment when
|
||
the national guard and the fire brigade were deploying into
|
||
line to the beating of the drums.
|
||
|
||
"Mark time!" cried Binet.
|
||
|
||
"Halt!" cried the colonel. "Left, turn!"
|
||
|
||
And after a present-arms during which the rattle of the
|
||
metal bands as they slid down the stocks and barrels sounded
|
||
like a copper cauldron rolling down a flight of stairs, all
|
||
the rifles were lowered.
|
||
|
||
Then there emerged from the carriage a gentleman clad
|
||
in a short, silver-embroidered coat, his forehead high and
|
||
bald, the back of his head tufted, his complexion wan and
|
||
his expression remarkably benign. His eyes, very large and
|
||
heavy-lidded, half shut as he peered at the multitude, and at
|
||
the same time he lifted his sharp nose and curved his sunken
|
||
mouth into a smile. He recognized the mayor by his sash, and
|
||
explained that the prefect had been unable to come. He him-
|
||
self was a prefectural councilor, and he added a few words of
|
||
apology. Tuvache replied with compliments, the emissary
|
||
declared himself unworthy of them, and the two officials
|
||
stood there face to face, their foreheads almost touching,
|
||
all about them the members of the jury, the village council,
|
||
the local elite, the national guard and the crowd. Holding
|
||
his little black three-cornered hat against his chest, the
|
||
prefectural councilor reiterated his greetings. And Tuvache,
|
||
bent like a bow, returned his smiles, stammered, clutched
|
||
uncertainly for words, protested his devotion to the monarchy
|
||
and his awareness of the honor that was being bestowed on
|
||
Yonville.
|
||
|
||
Hippolyte, the stableboy at the hotel, came to take the
|
||
horses from the coachman, and limping on his clubfoot he led
|
||
them through the gateway of the Lion d'Or, where a crowd of
|
||
peasants gathered to stare at the carriage. There was a roll
|
||
of the drums, the howitzer thundered, and the gentlemen filed
|
||
up and took their seats on the platform in red plush armchairs
|
||
loaned by Madame Tuvache.
|
||
|
||
All in this group looked alike. Their flabby, fair-
|
||
skinned, slightly sun-tanned faces were the color of new
|
||
cider, and their bushy side whiskers stuck out over high,
|
||
stiff collars that were held in place by white cravats tied
|
||
in wide bows. Every vest was of velvet, with a shawl collar.
|
||
Every watch had an oval carnelian seal at the end of a long
|
||
ribbon. And every one of the gentlemen sat with his hands
|
||
planted on his thighs, his legs carefully apart, the hard
|
||
finished broad-cloth of his trousers shining more brightly
|
||
than the leather of his heavy shoes.
|
||
|
||
The invited ladies were seated to the rear, under the
|
||
portico between the columns, while the ordinary citizens
|
||
faced the platform, either standing, or sitting on chairs.
|
||
Lestiboudois had retransported to this new location all those
|
||
that he had previously taken to the meadow. Now he kept
|
||
bringing still more from the church, and he was crowding the
|
||
place so with his chair-rental business that it was almost
|
||
impossible for anyone to reach the few steps leading to the
|
||
platform.
|
||
|
||
"In my opinion," said Monsieur Lheureux, addressing the
|
||
pharmacist, who was passing by on his way to take his seat,
|
||
"they should have set up a pair of Venetian flagstaffs,
|
||
trimmed with something rich and not too showy they'd have
|
||
made a very pretty sight."
|
||
|
||
"Certainly," said Homais. "But what can you expect?
|
||
The mayor took everything into his own hands. He hasn't
|
||
much taste, poor Tuvache. In fact, he's completely devoid
|
||
of what is known as the artistic sense."
|
||
|
||
Meanwhile Rodolphe, with Madame Bovary, had gone up to
|
||
the second floor of the town hall, into the "council chamber."
|
||
It was quite empty, a perfect place, he said, from which to
|
||
have a comfortable view of the ceremonies. He took three of
|
||
the stools that stood around the oval table under the king's
|
||
bust and moved them over to one of the windows, and there
|
||
they sat down close together.
|
||
|
||
There was a certain agitation on the platform, prolonged
|
||
whisperings and consultations. Finally the prefectural coun-
|
||
cilor rose to his feet. It had become known that he was
|
||
called Lieuvain, and his name was repeated from one to another
|
||
in the crowd. He made sure that his sheets of paper were in
|
||
proper order, peered at them closely, and began.
|
||
|
||
"Gentlemen. I should like, with your permission, before
|
||
speaking to you about the object of today's meeting, and this
|
||
sentiment, I am sure, will be shared by all of you, I should
|
||
like, with your permission, to pay tribute to the national
|
||
administration, to the government, to the monarch, gentlemen,
|
||
to our sovereign, to the beloved king to whom no branch of
|
||
public or private prosperity in indifferent, and who, with so
|
||
firm and yet so wise a hand, guides the chariot of state amidst
|
||
the constant perils of a stormy sea, maintaining at the same
|
||
time public respect for peace as well as for war, for industry,
|
||
for commerce, for agriculture, for the fine arts."
|
||
|
||
"I ought to move a little further back," said Rodolphe.
|
||
|
||
"Why?' said Emma.
|
||
|
||
But at that moment the councilor's voice rose to an
|
||
extraordinary pitch. He was declaiming, "Gone forever,
|
||
gentlemen, are the days when civil discord drenched our streets
|
||
with blood. When the landlord, the business man, nay, the
|
||
worker, sank at night into a peaceful slumber trembling lest
|
||
they be brutally awakened by the sound of inflammatory tocsins.
|
||
When the most subversive principles were audaciously under-
|
||
mining the foundations . . ."
|
||
|
||
"It's just that I might be caught sight of from below,"
|
||
said Rodolphe. "If I were, I'd have to spend the next two
|
||
weeks apologizing. And what with my bad reputation . . ."
|
||
|
||
"Oh! You're slandering yourself," said Emma.
|
||
|
||
"No, no, my reputation's execrable, I assure you."
|
||
|
||
"But, gentlemen," continued the councilor, "if I dismiss
|
||
those depressing evocations and turn my eyes to the present
|
||
situation of our cherished fatherland, what do I see before
|
||
me? Commerce and the arts are thriving everywhere, everywhere
|
||
new channels of communications, like so many new arteries in
|
||
the body politic, are multiplying contacts between its various
|
||
parts. Our great manufacturing centers have resumed their
|
||
activity. Religion, its foundations strengthened, appeals to
|
||
every heart. Shipping fills our ports, confidence returns, at
|
||
long last, France breathes again!"
|
||
|
||
"Moreover, from the point of view of society it's prob-
|
||
ably deserved," Rodolphe said.
|
||
|
||
"What do you mean?" she asked.
|
||
|
||
"Do you really not know," he said, "that there exist
|
||
souls that are ceaselessly in torment? That are driven now
|
||
to dreams, now to action, driven from the purest passions to
|
||
the most orgiastic pleasures? No wonder we fling ourselves
|
||
into all kinds of fantasies and follies!"
|
||
|
||
She stared at him as if he were a traveler from mythical
|
||
lands. "We poor women," she said, "don't have even that
|
||
escape."
|
||
|
||
"A poor escape," he said, "since it doesn't bring happi-
|
||
ness."
|
||
|
||
"But do we ever find happiness?' she asked.
|
||
|
||
"Yes, it comes along one day," he answered.
|
||
|
||
"And the point has not been lost on you," the councilor
|
||
was saying. "Not on you, farmers and workers in the fields!
|
||
Not on you, champions of progress and morality! The point
|
||
has not been lost on you, I say, that the storms of political
|
||
strife are truly more to be dreaded than the disorders of the
|
||
elements!"
|
||
|
||
"Yes, it comes along one day," Rodolphe repeated. "All
|
||
of a sudden, just when we've given up hope. Then new horizons
|
||
open before us. It's like a voice crying, `Look! It's here!'
|
||
We feel the need to pour out our hearts to a given person, to
|
||
surrender, to sacrifice everything. In such a meeting no
|
||
words are necessary, each senses the other's thoughts. Each
|
||
is the answer to the other's dreams." He kept staring at her.
|
||
"There it is, the treasure so long sought for. There before
|
||
us, it gleams, it sparkles. But still we doubt. We daren't
|
||
believe, we stand there dazzled, as though we'd come from
|
||
darkness into light."
|
||
|
||
As he ended, Rodolphe enhanced his words with pantomime.
|
||
He passed his hand over his face, like someone dazed, then he
|
||
let it fall on Emma's hand. She withdrew hers.
|
||
|
||
The councilor read on, "And who is there who would wonder
|
||
at such a statement, gentlemen? Only one so blind, so sunk, I
|
||
use the word advisedly, so sunk in the prejudices of another
|
||
age as to persist in his misconceptions concerning the spirit
|
||
of our farming population. Where, I ask you, is there to be
|
||
found greater patriotism than in rural areas, greater devotion
|
||
to the common weal. Greater, in one word, intelligence? And
|
||
by intelligence, gentlemen, I do not mean that superficial
|
||
intelligence that is a futile ornament of idle minds, but
|
||
rather that profound and moderate intelligence that applies
|
||
itself above all to useful ends, contributing in this manner
|
||
to the good of all, to public improvement and the upholding of
|
||
the state. That intelligence that is the fruit of respect for
|
||
law and the performance of duty!"
|
||
|
||
"Ah, there they go again!" said Rodolphe. "Duty, duty,
|
||
always duty. I'm sick of that word. Listen to them! They're
|
||
a bunch of doddering old morons and bigoted old church mice
|
||
with foot warmers and rosaries, always squeaking, `Duty! Duty!'
|
||
at us. I have my own idea of duty. Our duty is to feel what
|
||
is great and love what is beautiful, not to accept all the
|
||
social conventions and the infamies they impose on us."
|
||
|
||
"Still . . . still . . ." objected Madame Bovary.
|
||
|
||
"No! Why preach against the passions? Aren't they the
|
||
only beautiful thing in this world, the source of heroism,
|
||
enthusiasm, poetry, music, the arts, everything?"
|
||
|
||
"But still," said Emma, "we have to be guided a little
|
||
by society's opinions. We have to follow its standards of
|
||
morality."
|
||
|
||
"Ah! But there are two moralities," he replied. "The
|
||
petty one, the conventional one, the one invented by man, the
|
||
one that keeps changing and screaming its head off, that one's
|
||
noisy and vulgar, like that crowd of fools you see out there.
|
||
But the other one, the eternal one . . . Ah! This one's all
|
||
around us and above us, like the landscape that surrounds us
|
||
and the blue sky that gives us light."
|
||
|
||
Monsieur Lieuvain had just wiped his mouth with his
|
||
pocket handkerchief. He resumed, "Why should I presume,
|
||
gentlemen, to prove to you who are here today the usefulness
|
||
of agriculture? Who is it that supplies our needs, who is it
|
||
that provisions us, if not the farmer? The farmer, gentlemen,
|
||
sowing with laborious hand the fertile furrows of our country-
|
||
side, brings forth the wheat which, having been ground and
|
||
reduced to powder by means of ingenious machinery, emerges in
|
||
the form of flour, and from thence, transported to our cities,
|
||
is presently delivered to the baker, who fashions from it a
|
||
food for the poor man as well as for the rich. Is it not the
|
||
farmer, once again, who fattens his plentiful flocks in the
|
||
pastures to provide us with our clothing? For how would we be
|
||
clothed, for how would we be nourished, without agriculture?
|
||
Indeed, gentlemen, is there need to seek so far afield for
|
||
examples? Who among you has not often given thought to the
|
||
immense benefit we derive from that modest creature, adornment
|
||
of our kitchen yards, which provides at one and the same time
|
||
a downy pillow for our beds, its succulent meat for out tables,
|
||
and eggs? But I should never end, had I to enumerate one after
|
||
another the different products which properly cultivated soil
|
||
lavishes on its children like a generous mother. Here, the
|
||
|
||
grape, there, the cider apple, yonder, the colza, elsewhere, a
|
||
thousand kinds of cheese. And flax, gentlemen, do not forget
|
||
flax! An area in which within the past few years there has
|
||
been considerable development, and one to which I particularly
|
||
call your attention."
|
||
|
||
There was no need for him to "call their attention," every
|
||
mouth in the crowd was open, as though to drink in his words.
|
||
Tuvache, sitting beside him, listened wide-eyed. Monsieur
|
||
Derozerays' lids now and again gently shut, and further along
|
||
the pharmacist, holding his son Napoleon between his knees,
|
||
cupped his hand to his ear lest he miss a single syllable. The
|
||
other members of the jury kept slowly nodding their chins
|
||
against their vests to express their approval. The fire bri-
|
||
gade, at the foot of the platform, leaned on their bayonets.
|
||
And Binet stood motionless, elbow bent, the tip of his sword
|
||
in the air. He could hear, perhaps, but he certainly could not
|
||
see, for the visor of his helmet had fallen forward onto his
|
||
nose. His lieutenant, who was Monsieur Tuvache's younger son,
|
||
had gone him one better. The helmet he was wearing was far too
|
||
big for him and kept teetering on his head and showing a cor-
|
||
ner of the calico nightcap he had on under it. He was smiling
|
||
from beneath his headgear as sweetly as a baby. And his small
|
||
pale face, dripping with sweat, wore an expression of enjoyment,
|
||
exhaustion and drowsiness.
|
||
|
||
The square was packed solidly with people as far as the
|
||
houses. Spectators were leaning out of every window and
|
||
standing on every doorstep. And Justin, in front of the
|
||
pharmacy show window, seemed nailed to the spot in contempla-
|
||
tion of the spectacle. Despite the crowd's silence, Monsieur
|
||
Lieuvain's voice didn't carry too well in the open air. What
|
||
came was fragmentary bits of sentences interrupted here and
|
||
there by the scraping of chairs. Then all at once from behind
|
||
there would resound the prolonged lowing of an ox, and lambs
|
||
bleated to one another on the street corners. For the cowherds
|
||
and shepherds had driven their animals in that close, and from
|
||
time to time a cow would bellow as her tongue tore off some bit
|
||
of foliage hanging down over her muzzle.
|
||
|
||
Rodolphe had come close to Emma and was speaking rapidly
|
||
in a low voice. "Don't you think it's disgusting, the way they
|
||
conspire to ruin everything? Is there a single sentiment that
|
||
society doesn't condemn? The noblest instincts, the purest
|
||
sympathies are persecuted and dragged in the mud. And if two
|
||
poor souls do find one another, everything is organized to
|
||
keep them apart. They'll try, just the same, they'll beat
|
||
their wings, they'll call to each other. Oh! Never fear!
|
||
Sooner or later, in six months or ten years, they'll come
|
||
together and love one another, because they can't go against
|
||
fate and because they were born for each other."
|
||
|
||
He was leaning forward with his arms crossed on his
|
||
knees, and lifting his face to Emma's he looked at her fixedly
|
||
from very near. In his eyes she could see tiny golden lines
|
||
radiating out all around his black pupils, and she could even
|
||
smell the perfume of the pomade that lent a gloss to his hair.
|
||
Then a languor came over her. She remembered the vicomte who
|
||
had waltzed with her at La Vaubyessard and whose beard had
|
||
given off this same odor of vanilla and lemon, and automatic-
|
||
ally she half closed her eyes to breathe it more deeply. But
|
||
as she did this, sitting up straight in her chair, she saw in
|
||
the distance, on the farthest horizon, the old stagecoach, the
|
||
Hirondelle, slowly descending the hill of Les Leux, trailing a
|
||
long plume of dust behind it. It was in this yellow carriage
|
||
that Leon had so often returned to her, and that was the road
|
||
he had taken when he had left forever. For a moment she
|
||
thought she saw him across the square, at his window, then
|
||
everything became confused, and clouds passed before her eyes.
|
||
It seemed to her that she was still whirling in the waltz,
|
||
under the blaze of the chandeliers, in the vicomte's arms, and
|
||
that Leon was not far off, that he was coming . . . And yet
|
||
all the while she was smelling the perfume of Rodolphe's hair
|
||
beside her. The sweetness of this sensation permeated her
|
||
earlier desires, and like grains of sand in the wind these
|
||
whirled about in the subtle fragrance that was filling her
|
||
soul. She opened her nostrils wide to breathe in the fresh-
|
||
ness of the ivy festooning the capitals outside the window.
|
||
She took off her gloves and wiped her hands. Then she fanned
|
||
herself with her handkerchief, hearing above the beating of
|
||
the pulse in her temples the murmur of the crowd and the
|
||
councilor's voice as he intoned his periods.
|
||
|
||
"Persist!' he was saying. "Persevere! Follow neither
|
||
the beaten tracks of routine nor the rash counsels of reckless
|
||
empiricism. Apply yourselves above all to the improvement of
|
||
the soil, to rich fertilizers, to the development of fine
|
||
breeds, equine, bovine, ovine and porcine. May this exhibi-
|
||
tion be for you a peaceful arena where the winner, as he
|
||
leaves, will stretch out his hand to the loser and fraternize
|
||
with him, wishing him better luck another time! And you,
|
||
venerable servants, humblest members of the household, whose
|
||
painful labors have by no government up until today been given
|
||
the slightest consideration. Present yourselves now, and
|
||
receive the reward of your silent heroism! And rest assured
|
||
that the state henceforth has its eyes upon you, that it
|
||
encourages you, that it protects you, that it will honor your
|
||
just demands, and lighten, to the best of its ability, the
|
||
burden of your painful sacrifices!"
|
||
|
||
Monsieur Lieuvain sat down.
|
||
|
||
Monsieur Derozerays stood up, and began another speech.
|
||
His was perhaps not quite so flowery as the councilor's, but
|
||
it had the advantage of being characterized by a more positive
|
||
style, by a more specialized knowledge, that is, and more
|
||
pertinent arguments. There was less praise of the government,
|
||
and more mention of religion and agriculture. He showed the
|
||
relation between the two and how they had always worked
|
||
together for the good of civilization. Rodolphe was talking
|
||
to Madame Bovary about dreams, forebodings, magnetism. Going
|
||
back to the cradle of human society, the orator depicted the
|
||
savage ages when men lived off acorns in the depths of the
|
||
forest. Then they had cast off their animal skins, garbed
|
||
themselves in cloth, dug the ground and planted the vine.
|
||
Was this an advance? Didn't this discovery entail more
|
||
disadvantages than benefits? That was the problem Monsieur
|
||
Derozerays set himself. From magnetism Rodolphe gradually
|
||
moved on to affinities. And as the chairman cited Cincinnatus
|
||
and his plow, Diogenes planting his cabbages and the Chinese
|
||
emperors celebrating the New Year by sowing seed, the young
|
||
man was explaining to the young woman that these irresistible
|
||
attractions had their roots in some earlier existence.
|
||
|
||
"Take us, for example," he said. "Why should we have met?
|
||
How did it happen? It can only be that something in our
|
||
particular inclinations made us come closer and closer across
|
||
the distance that separated us, the way two rivers flow
|
||
together."
|
||
|
||
He took her hand, and this time she did not withdraw it.
|
||
|
||
"First prize for all-round farming!" cried the chairman.
|
||
|
||
"Just this morning, for example, when I came to your
|
||
house . . ."
|
||
|
||
"To Monsieur Bizet, of Quincampoix."
|
||
|
||
"Did I have any idea that I'd be coming with you to the
|
||
show?"
|
||
|
||
"Seventy francs!"
|
||
|
||
"A hundred times I was on the point of leaving, and yet
|
||
I followed you and stayed with you . . ."
|
||
|
||
"For the best manures."
|
||
|
||
". . . as I'd stay with you tonight, tomorrow, every day,
|
||
all my life!"
|
||
|
||
"To Monsieur Caron, of Argueil, a gold medal!"
|
||
|
||
"Never have I been so utterly charmed by anyone . . ."
|
||
|
||
"To Monsieur Bain, of Givry-Saint-Martin!"
|
||
|
||
". . . so that I'll carry the memory of you with me . . ."
|
||
|
||
"For a merino ram . . ."
|
||
|
||
"Whereas you'll forget me, I'll vanish like a shadow."
|
||
|
||
"To Monsieur Belot, of Notre-Dame . . ."
|
||
|
||
"No, though! Tell me it isn't so! Tell me I'll have a
|
||
place in your thoughts, in your life!"
|
||
|
||
"Hogs, a tie! To Messieurs Leherisse and Cullembourg,
|
||
sixty francs!"
|
||
|
||
Rodolphe squeezed her hand, and he felt it all warm and
|
||
trembling in his, like a captive dove that longs to fly away.
|
||
But then, whether in an effort to free it, or in response to
|
||
his pressure, she moved her fingers.
|
||
|
||
"Oh! Thank God! You don't repulse me! How sweet, how
|
||
kind! I'm yours. You know that now! Let me see you! Let me
|
||
look at you!"
|
||
|
||
A gust of wind coming in the windows ruffled the cloth on
|
||
the table, and down in the square all the tall head-dresses of
|
||
the peasant women rose up like fluttering white butterfly wings.
|
||
|
||
"Use of oil-cakes!" continued the chairman.
|
||
|
||
He was going faster now.
|
||
|
||
"Flemish fertilizer . . . flax-raising . . . drainage . . .
|
||
long-term leases . . . domestic service!"
|
||
|
||
Rodolphe had stopped speaking. They were staring at each
|
||
other. As their desire rose to a peak their dry lips quivered,
|
||
and, languidly, of their own accord, their fingers intertwined.
|
||
|
||
"Catherine-Nicaise-Elizabeth Leroux, of Sassetot-la-
|
||
Guerriere, for fifty-four years of service on the same farm, a
|
||
silver medal, value twenty-five francs!"
|
||
|
||
"Where is Catherine Leroux?" repeated the chairman.
|
||
|
||
There was no sign of her, but there was the sound of
|
||
whispering voices.
|
||
|
||
"Go ahead!"
|
||
|
||
"No!"
|
||
|
||
"To the left!"
|
||
|
||
"Don't be scared!"
|
||
|
||
"Stupid old thing!"
|
||
|
||
"Is she there or isn't she?' cried Tuvache.
|
||
|
||
"Yes! Here she is!"
|
||
|
||
"Then send her up!"
|
||
|
||
Everyone watched her as she climbed to the platform. A
|
||
frightened-looking little old woman who seemed to have shri-
|
||
veled inside her shabby clothes. On her feet were heavy
|
||
wooden clogs, and she wore a long blue apron. Her thin face,
|
||
framed in a simple coif, was more wrinkled than a withered
|
||
russet, and out of the sleeves of her red blouse hung her
|
||
large, gnarled hands. Years of barn dust, washing soda and
|
||
wool grease had left them so crusted and rough and hard that
|
||
they looked dirty despite all the clear water they'd been
|
||
rinsed in. And from long habit of service they hung half
|
||
open, as though offering their own humble testimony to the
|
||
hardships they had endured. A kind of monklike rigidity gave
|
||
a certain dignity to her face, but her pale stare was softened
|
||
by no hint of sadness or human kindness. Living among animals,
|
||
she had taken on their muteness and placidity. This was the
|
||
first time she had ever been in the midst of so great a crowd.
|
||
And inwardly terrified by the flags and the drums, by the
|
||
gentlemen in tail coats and by the decoration worn by the
|
||
councilor, she stood still, uncertain whether to move ahead or
|
||
to turn and run, comprehending neither the urgings of the
|
||
crowd nor the smiles of the jury. Thus did half a century of
|
||
servitude stand before these beaming bourgeois.
|
||
|
||
"Step forward, venerable Catherine-Nicaise-Elizabeth
|
||
Leroux!" cried the councilor, who had taken the list of prize
|
||
winners from the chairman.
|
||
|
||
Looking at the sheet of paper and at the old woman in
|
||
turn, he kept urging her forward like a father. "Come right
|
||
here, come ahead!"
|
||
|
||
"Are you deaf?" cried Tuvache, jumping up from his chair.
|
||
|
||
And he proceeded to shout into her ear. "Fifty-four
|
||
years of service! A silver medal! Twenty-five francs! For
|
||
you!"
|
||
|
||
She took the medal and stared at it. Then a beatific
|
||
smile spread over her face, and as she left the platform those
|
||
nearby could hear her mumble, "I'll give it to our priest and
|
||
he'll say some Masses for me."
|
||
|
||
"Such fanaticism!" hissed the pharmacist, bending toward
|
||
the notary.
|
||
|
||
The ceremonies were ended. The crowd dispersed, and now
|
||
that the speeches had been read everyone resumed his rank and
|
||
everything reverted to normal. Masters bullied their servants,
|
||
the servants beat their cows and their sheep, and the cows and
|
||
the sheep, indolent in their triumph, moved slowly back to
|
||
their sheds, their horns decked with the green wreaths that
|
||
were their trophies.
|
||
|
||
Meanwhile the national guard had gone up to the second
|
||
floor of the town hall. Brioches were impaled on their
|
||
bayonets, and their drummer bore a basketful of bottles.
|
||
Madame Bovary took Rodolphe's arm. He escorted her home.
|
||
They said good-bye at her door, and then he went for a stroll
|
||
in the meadow until it was time for the banquet.
|
||
|
||
The feast was long, noisy, clumsily served. The guests
|
||
were so crowded that they could scarcely move their elbows,
|
||
and the narrow planks that were used for benches threatened
|
||
to snap under their weight. They ate enormously, each piling
|
||
his plate high to get full value for his assessment. Sweat
|
||
poured off every forehead. And over the table, between the
|
||
hanging lamps, hovered a whitish vapor, like a river mist on
|
||
an autumn morning. Rodolphe, his back against the cloth side
|
||
of the tent, was thinking so much about Emma that he was aware
|
||
of nothing going on around him. Out on the grass behind him
|
||
servants were stacking dirty plates. His tablemates spoke to
|
||
him and he didn't answer. Someone kept filling his glass, and
|
||
his mind was filled with stillness despite the growing noise.
|
||
He was thinking of the things she had said and of the shape of
|
||
her lips. Her face shone out from the plaques on the shakos
|
||
as from so many magic mirrors. The folds of her dress hung
|
||
down the walls, and days of love-making stretched endlessly
|
||
ahead in the vistas of the future.
|
||
|
||
He saw her again that evening, during the fireworks, but
|
||
she was with her husband and Madame Homais and the pharmacist.
|
||
The latter was very worried about stray rockets, and constantly
|
||
left the others to give Binet a word of advice.
|
||
|
||
Through overprecaution, the fireworks, which had been
|
||
delivered in care of Monsieur Tuvache, had been stored in his
|
||
cellar, with the result that the damp powder could scarcely
|
||
be got to light. And the culminating number, which was to
|
||
have depicted a dragon swallowing its own tail, was a complete
|
||
fiasco. Now and then some pathetic little Roman candle would
|
||
go off and bring a roar from the gaping crowd. A roar amidst
|
||
which could be heard the screams of women, fair game for
|
||
ticklers in the darkness. Emma nestled silently against
|
||
Charles' shoulder, raising her head to follow the bright trail
|
||
of the rockets in the black sky. Rodolphe watched her in the
|
||
glow of the colored lamps.
|
||
|
||
Gradually these went out, the stars gleamed. Then came
|
||
a few drops of rain, and she tied a scarf over her hair.
|
||
|
||
Just then the councilor's landau drove out of the hotel
|
||
yard. The drunken coachman chose that moment to collapse, and
|
||
high above the hood, between the two lamps, everyone could see
|
||
the mass of his body swaying right and left with the pitching
|
||
of the springs.
|
||
|
||
"There ought to be strong measures taken against drunken-
|
||
ness," said the apothecary. "If I had my way, there'd be a
|
||
special bulletin board put up on the door of the town hall,
|
||
and every week there'd be a list posted of all who had intoxi-
|
||
cated themselves with alcoholic liquors during that period.
|
||
Such a thing would be very valuable statistically, a public
|
||
record that might . . . Excuse me!"
|
||
|
||
And once again he hurried off toward the captain.
|
||
|
||
The latter was homeward bound. He was looking forward to
|
||
rejoining his lathe.
|
||
|
||
"It might not do any harm," said Homais, "to send one of
|
||
your men, or go yourself, to . . ."
|
||
|
||
"Get away and leave me alone," replied the tax collector.
|
||
"Everything's taken care of."
|
||
|
||
"You can all stop worrying," the apothecary announced
|
||
when he was back with his friends. "Monsieur Binet guarantees
|
||
that all necessary measures have been taken. Not a spark has
|
||
fallen. The pumps are full. We can safely retire to our beds."
|
||
|
||
"I can certainly do with some sleep," said Madame Homais,
|
||
with a vast yawn. "Never mind, we had a wonderfully beautiful
|
||
day for the show."
|
||
|
||
Rodolphe echoed her words in a low voice, his eyes soft.
|
||
"Yes, it was, wonderfully beautiful."
|
||
|
||
They exchanged good-byes and went their respective ways.
|
||
|
||
Two days later, in the Fanal de Rouen, there was a great
|
||
article about the Agricultural Show. Homais had written it in
|
||
a burst of inspiration the very next day.
|
||
|
||
"Why these festoons, these flowers, these garlands?
|
||
Whither was it bound, this crowd rushing like the billows of
|
||
a raging sea under a torrential tropic sun that poured its
|
||
torrid rays upon our fertile meadows?"
|
||
|
||
Then he went on to speak of the condition of the peasants.
|
||
The government was doing something, certainly, but not enough.
|
||
"Be bold!" he cried, addressing the administration. "A thou-
|
||
sand reforms are indispensable. Let us accomplish them."
|
||
Then, describing the arrival of the councilor, he didn't for-
|
||
get "the warlike air of our militia," or "our sprightliest
|
||
village maidens," or the bald-headed old men, veritable patri-
|
||
archs, "some of whom, survivors of our immortal phalanxes,
|
||
felt their hearts throb once again to the manly sound of the
|
||
drums." His own name came quite early in his listing of the
|
||
members of the jury, and he even reminded his readers in a
|
||
footnote that Monsieur Homais, the pharmacist, had sent a
|
||
monograph concerning cider to the Agricultural Society. When
|
||
he came to the distribution of the prizes, he depicted the
|
||
joy of the winners in dithyrambic terms. Father embraced son,
|
||
brother embraced brother, husband embraced wife. More than
|
||
one worthy rustic proudly displayed his humble medal to the
|
||
assemblage, and, returning home to his helpmeet, doubtless
|
||
wept tears of joy as he hung it on the modest wall of his cot.
|
||
|
||
"About six o'clock the leading participants in the festi-
|
||
vities forgathered at a banquet in the pasture belonging to
|
||
Monsieur Liegeard. The utmost cordiality reigned throughout.
|
||
A number of toasts were proposed. By Monsieur Lieuvain, `To
|
||
the king!' By Monsieur Tuvache, `To the prefect!' By Monsieur
|
||
Derozerays, `To agriculture!' By Monsieur Homais, `To those
|
||
twin sisters, industry and the fine arts!' By Monsieur
|
||
Leplichey, `To progress!' After nightfall a brilliant display
|
||
of fireworks all at once illuminated the heavens. It was a
|
||
veritable kaleidescope, a true stage-set for an opera, and for
|
||
a moment our modest village imagined itself transported into
|
||
the midst of an Arabian Nights dream.
|
||
|
||
"We may mention that no untoward incidents arose to disturb
|
||
this family gathering."
|
||
|
||
And he added, "Only the clergy was conspicuous by its
|
||
absence. Doubtless a totally different idea of progress obtains
|
||
in the sacristies. Suit yourselves, messieurs de Loyola!"
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER NINE
|
||
|
||
Six weeks went by without further visit from Rodolphe.
|
||
Then one evening he came.
|
||
|
||
The day after the Show he had admonished himself, "I
|
||
mustn't go back right away. That would be a mistake." And
|
||
at the end of the week he had left for a hunting trip.
|
||
|
||
After his hunting was over he thought he had waited too
|
||
long. But then, "If she loved me from the first, she must be
|
||
impatient to see me again," he reasoned. "And this means she
|
||
must love me all the more by now. So, back to the attack!"
|
||
|
||
And when he saw Emma turn pale as he entered the parlor
|
||
he knew he was right.
|
||
|
||
She was alone. Daylight was fading. The muslin sash
|
||
curtains deepened the twilight, and the gilt barometer had
|
||
just caught a ray of sun and was blazing in the mirror between
|
||
the lacy edges of the coral.
|
||
|
||
Rodolphe remained standing, and Emma scarcely replied to
|
||
his first conventionally polite phrases.
|
||
|
||
"I've been having all kinds of things happen," he said.
|
||
"I was ill."
|
||
|
||
"Anything serious?" she cried.
|
||
|
||
"Well, not really," he said, sitting beside her on a stool.
|
||
"It was just that I didn't want to come here again."
|
||
|
||
"Why?"
|
||
|
||
"Can't you guess?"
|
||
|
||
He stared at her, this time so intently that she blushed
|
||
and lowered her head.
|
||
|
||
"Emma . . ." he said.
|
||
|
||
"Monsieur!" she exclaimed, drawing away a little.
|
||
|
||
"Ah, you can see for yourself," he said, in a resigned
|
||
voice, "that I was right not to want to come here again. Your
|
||
name . . . my heart's full of it . . . I spoke it without
|
||
meaning to, and you stopped me. `Madame Bovary'! Everyone
|
||
calls you that, and it's not your name at all. It's somebody
|
||
else's. Somebody else's," he said a second time, and he buried
|
||
his face in his hands. "I think of you every minute! The
|
||
thought of you drives me crazy! Forgive me . . . I won't stay
|
||
with you. I'll go away . . . far away . . . so far that you'll
|
||
never hear of me again. But today . . . I don't know what
|
||
power it was that made me come. We can't fight against fate.
|
||
There's no resisting when an angel smiles. Once something
|
||
lovely and charming and adorable has wound itself around your
|
||
heart . . ."
|
||
|
||
It was the first time that Emma had had such things said
|
||
to her. And her pride, like someone relaxing in a steam bath,
|
||
stretched luxuriously in the warmth of his words.
|
||
|
||
"No," he continued. "I didn't come, these past few weeks.
|
||
I haven't seen you. But everything close to you I've looked at
|
||
and looked at. At night, night after night, I got up and came
|
||
here and stared at your house. The roof shining in the moon-
|
||
light, the trees in the garden swaying at your window, and a
|
||
little lamp, just a gleam, shining through the windowpanes in
|
||
the dark. Ah! You little knew that a poor wretch was standing
|
||
there, so near you and yet so far . . ."
|
||
|
||
She turned to him with a sob. "How kind you are . . .!"
|
||
|
||
"I'm not kind! I love you, that's all! You must know
|
||
it. Tell me you do! One word! Just one word!"
|
||
|
||
And Rodolphe was sliding imperceptibly from the stool to
|
||
his knees when there was a sound of sabots in the kitchen and
|
||
he saw that the door of the room was ajar.
|
||
|
||
"You'd be doing me a favor," he said, resuming his
|
||
position on the stool, "if you'd gratify a whim I have."
|
||
|
||
The whim was to be taken through her house. He wanted
|
||
to see it. Madame Bovary saw nothing out of the way in the
|
||
request, and they were both just rising to their feet when
|
||
Charles appeared.
|
||
|
||
"Bonjour, docteur," Rodolphe greeted him.
|
||
|
||
Flattered to be so addressed, the officier de sante was
|
||
profusely obsequious, and Rodolphe profitted from those few
|
||
moments to regain some of his composure.
|
||
|
||
"Madame was talking to me about her health," he began,
|
||
"and . . ."
|
||
|
||
Charles interrupted him. He was very worried indeed,
|
||
his wife was having difficulty breathing again. Rodolphe
|
||
asked whether horseback riding might not be good for her.
|
||
|
||
"Certainly it would! Just the thing! An excellent
|
||
suggestion, darling! You ought to follow it."
|
||
|
||
She pointed out that she had no horse, Monsieur Rodolphe
|
||
offered her one of his. She declined, he did not insist, and
|
||
finally, to explain the purpose of his visit, he told Charles
|
||
that his teamster, the man who had been bled, was still having
|
||
dizzy spells.
|
||
|
||
"I'll stop by and see him," said Bovary.
|
||
|
||
"No, no, I'll send him to you. We'll come here, that
|
||
will be easier for you."
|
||
|
||
"Very good. Thank you."
|
||
|
||
As soon as they were alone, "Why don't you accept Monsieur
|
||
Boulanger's suggestions? He's being so gracious."
|
||
|
||
She pouted, made one excuse after another, and finally
|
||
said that "it might look strange."
|
||
|
||
"A lot I care about that!" said Charles, turning on his
|
||
heel. "Health comes first! You're wrong!"
|
||
|
||
"But how do you expect me to ride a horse if I have no
|
||
habit?'
|
||
|
||
"You must order one," he replied.
|
||
|
||
It was the riding habit that decided her.
|
||
|
||
When it was ready, Charles wrote to Monsieur Boulanger
|
||
that his wife was at his disposition, and that they thanked
|
||
him in advance for his kindness.
|
||
|
||
The next day at noon Rodolphe presented himself at
|
||
Charles' door with two riding horses. One of them had pink
|
||
pompons decorating its ears and bore a lady's buckskin
|
||
saddle.
|
||
|
||
Rodolphe had put on a pair of high soft boots, telling
|
||
himself that she had probably never seen anything like them.
|
||
And Emma was indeed charmed with his appearance when he came
|
||
up to the landing in his velvet frock coat and white tricot
|
||
riding breeches. She was ready and waiting for him.
|
||
|
||
Justin ran out of the pharmacy to take a look at her,
|
||
and the apothecary himself left his work for a few moments.
|
||
He gave Monsieur Boulanger several bits of advice.
|
||
|
||
"Accidents happen so quickly! Take care! Your horses
|
||
may be more spirited than you know!"
|
||
|
||
She heard a sound above her head. It was Felicite
|
||
drumming on the windowpanes to amuse little Berthe. The
|
||
child blew her a kiss, and Emma made a sign with her riding
|
||
crop in answer.
|
||
|
||
"Have a good ride!" cried Monsieur Homais. "Be careful!
|
||
That's the main thing! Careful!"
|
||
|
||
And he waved his newspaper after them as he watched them
|
||
ride away.
|
||
|
||
As soon as it felt soft ground, Emma's horse broke into
|
||
a gallop. Rodolphe galloped at her side. Now and again they
|
||
exchanged a word. With her head slightly lowered, her hand
|
||
raised and her right arm outstretched, she let herself go to
|
||
the rhythmic rocking motion.
|
||
|
||
At the foot of the hill Rodolphe gave his horse its head.
|
||
Both horses leapt forward as one, and then at the top they as
|
||
suddenly stopped, and Emma's large blue veil settled and hung
|
||
still.
|
||
|
||
It was early October. There was a mist over the country-
|
||
side. Wisps of vapor lay along the horizon, following the
|
||
contours of the hills, and elsewhere they were drifting and
|
||
rising and evaporating. Now and then as the clouds shifted, a
|
||
ray of sun would light up the roofs of Yonville in the distance,
|
||
with its riverside gardens, it yards and its church steeple.
|
||
Emma half closed her eyes trying to pick out her house, and
|
||
never had the wretched village she lived in looked so very
|
||
small. From the height on which they were standing the whole
|
||
valley was like an immense pale lake, dissolving into thin air.
|
||
Clumps of trees stood out here and there like dark rocks, and
|
||
the tall lines of poplars piercing the fog were like its leafy
|
||
banks, swaying in the wind.
|
||
|
||
To one side, over the turf between the firs, the light
|
||
was dim and the air mild. The reddish earth, the color of
|
||
snuff, deadened the sound of the hoofs, and the horses kicked
|
||
fir cones before them as they walked.
|
||
|
||
For a time Rodolphe and Emma continued to follow the edge
|
||
of the wood. Now and then she turned her head away to avoid
|
||
his eyes, and at such moments she saw only the regularly spaced
|
||
trunks of the firs, almost dizzying in their unbroken succession.
|
||
The horses were blowing, and the leather creaked in the saddles.
|
||
|
||
Then they turned into the forest, and at that moment the
|
||
sun came out.
|
||
|
||
"God's watching over us," said Rodolphe.
|
||
|
||
"You think so?" she said.
|
||
|
||
"Let's go on!" he said.
|
||
|
||
He clicked his tongue, and both horses broke into a trot.
|
||
|
||
Tall ferns growing along the path kept catching in Emma's
|
||
stirrup, and Rodolphe bent over as he rode and pulled them out.
|
||
At other times he came close to her to push aside overhanging
|
||
branches, and she felt his knee brush against her leg. Now the
|
||
sky was blue, and the leaves were still. There were clearings
|
||
full of heather in bloom, and the sheets of purple alternated
|
||
with the multicolored tangle of the trees, gray, fawn and gold.
|
||
Often a faint rustling and fluttering of wings would come from
|
||
under the bushes, or there would be the cry, at once raucous
|
||
and sweet, of crows flying off among the oaks.
|
||
|
||
They dismounted. Rodolphe tethered the horses. She
|
||
walked ahead of him on the moss between the cart tracks.
|
||
|
||
But the long skirt of her habit impeded her, even though
|
||
she held it up by the end. And Rodolphe, walking behind her,
|
||
kept staring at her sheer white stocking that showed between
|
||
the black broadcloth and the black shoe as though it were a
|
||
bit of her naked flesh.
|
||
|
||
She stopped.
|
||
|
||
"I'm tired," she said.
|
||
|
||
"Just a little further," he said. "Come along, try."
|
||
|
||
Then a hundred yards further on she stopped again, and
|
||
the veil that slanted down from her man's hat to below her
|
||
waist covered her face with a translucent blue film, as
|
||
though she were swimming under limpid water.
|
||
|
||
"Where are we going?"
|
||
|
||
He didn't answer. She was breathing quickly. Rodolphe
|
||
looked this way and that, biting his mustache.
|
||
|
||
They came to a larger open space, one that had recently
|
||
been cleared of saplings. They sat down on a log, and Rodolphe
|
||
spoke to her of his love.
|
||
|
||
He was careful not to frighten her, at first, by saying
|
||
anything overbold. He was calm, serious, melancholy.
|
||
|
||
She listened to him with lowered head, stirring the wood
|
||
chips on the ground with the toe of her shoe.
|
||
|
||
But when he said, "Our lives are bound up together now,
|
||
aren't they?" she answered, "No . . . you know they can't be."
|
||
|
||
She rose to leave. He grasped her wrist. She stood still
|
||
and gave him a long look, her eyes moist and tender. Then she
|
||
said hastily. "Please . . . let's not talk about it any more.
|
||
Where are the horses? Let's go back."
|
||
|
||
A movement of angry displeasure escaped him.
|
||
|
||
"Where are the horses?" she asked again. "Where are the
|
||
horses?"
|
||
|
||
Then, smiling a strange smile, staring fixedly, his teeth
|
||
clenched, he advanced toward her with arms outstretched. She
|
||
drew back trembling.
|
||
|
||
"You're frightening me!" she stammered. "What are you
|
||
doing? Take me back!"
|
||
|
||
His expression changed. "Since you insist," he said.
|
||
|
||
And abruptly he was once more considerate, tender, timid.
|
||
She took his arm and they turned back.
|
||
|
||
"What was the matter?" he asked. "What came over you?
|
||
I don't understand. You must have some mistaken idea. I have
|
||
you in my heart like a Madonna on a pedestal, in an exalted
|
||
place, secure, immaculate. But I need you if I'm to go on
|
||
living! I need your eyes, your voice, your thoughts. I be-
|
||
seech you. Be my friend, my sister, my angel!"
|
||
|
||
And he reached out his arm and put it around her waist.
|
||
She made a half-hearted effort to free herself, but he kept it
|
||
there, holding her as they walked.
|
||
|
||
Now they were so close to the horses that they heard them
|
||
munching leaves.
|
||
|
||
"Just a little longer," begged Rodolphe. "Let's not go
|
||
yet. Wait."
|
||
|
||
He drew her further on, to the edge of a little pond
|
||
whose surface was green with duck weed and where faded water
|
||
lilies lay still among the rushes. At the sound of their
|
||
steps in the grass, frogs leaped to hiding.
|
||
|
||
"It's wrong of me," she said. "Wrong. I must be out of
|
||
my mind to listen to you."
|
||
|
||
"Why? Emma! Emma!"
|
||
|
||
|
||
"Oh! Rodolphe!" The syllables came out slowly, and she
|
||
pressed against his shoulder.
|
||
|
||
The broadcloth of her habit clung to the velvet of his
|
||
coat. She leaned back her head, her white throat swelled in
|
||
a sigh, and, her resistance gone, weeping, hiding her face,
|
||
with a long shudder she gave herself to him.
|
||
|
||
Evening shadows were falling, and the level rays of the
|
||
sun streamed through the branches and dazzled her eyes. Here
|
||
and there, all about her, among the leaves and on the ground,
|
||
were shimmering patches of light, as though hummingbirds
|
||
winging by had scattered their feathers. All was silent. A
|
||
soft sweetness seemed to be seeping from the trees. She felt
|
||
her heart beating again, and her blood flowing in her flesh
|
||
like a river of milk. Then from far off, beyond the woods in
|
||
distant hills, she heard a vague, long, drawn-out cry, a sound
|
||
that lingered, and she listened silently as it mingled like a
|
||
strain of music with the last vibrations of her quivering
|
||
nerves. Rodolphe, a cigar between his teeth, was mending a
|
||
broken bridle with his penknife.
|
||
|
||
They returned to Yonville by the same route. In the
|
||
mud they saw, side by side, the hoof prints left there by
|
||
their own two horses. They saw the same bushes, the same
|
||
stones in the grass. Nothing around them had changed, and yet
|
||
to her something had happened that was more momentous than if
|
||
mountains had moved. Rodolphe reached over, now and then, and
|
||
raised her hand to this lips.
|
||
|
||
She was charming on horseback. Erect and slender, her
|
||
knee bent against the animal's mane, her face flushed a little
|
||
by the air in the red glow of evening.
|
||
|
||
As she entered the village she made her horse prance on
|
||
the stone pavement, and people stared at her from their windows.
|
||
|
||
Her husband, at dinner, found that she looked well, but
|
||
she seemed not to hear him when he asked about her ride, and
|
||
she leaned her elbow on the table beside her plate, between the
|
||
two lighted candles.
|
||
|
||
"Emma!" he said.
|
||
|
||
"What?"
|
||
|
||
"Well, I called on Monsieur Alexandre this afternoon. He
|
||
bought a filly a few years ago and she's still in fine shape,
|
||
just a little broken in the knees. I'm sure I could get her
|
||
for a hundred ecus . . ."
|
||
|
||
And he went on, "I thought you might like to have her, so
|
||
I reserved her . . . I bought her . . . Did I do right? Tell
|
||
me."
|
||
|
||
She nodded her head in assent. Then, a quarter of an hour
|
||
later.
|
||
|
||
"Are you going out tonight?" she asked.
|
||
|
||
"Yes, why?"
|
||
|
||
"Oh, nothing . . . nothing, dear."
|
||
|
||
And as soon as she was rid of Charles she went upstairs
|
||
and shut herself in her room.
|
||
|
||
At first it was as though she were in a daze. She saw the
|
||
trees, the paths, the ditches, Rodolphe. Once again she felt
|
||
his arms tighten around her as the leaves were all a-tremble
|
||
and the reeds whistled in the wind.
|
||
|
||
Then she caught sight of herself in the mirror, and was
|
||
amazed by the way she looked. Never had her eyes been so
|
||
enormous, so dark, so deep. Her whole being was transfigured
|
||
by some subtle emanation.
|
||
|
||
"I have a lover! I have a lover!" she kept repeating to
|
||
herself, reveling in the thought as though she were beginning
|
||
a second puberty. At last she was going to know the joys of
|
||
love, the fever of the happiness she had despaired of. She
|
||
was entering a marvelous realm where all would be passion,
|
||
ecstasy, rapture. She was in the midst of an endless blue
|
||
expanse, scaling the glittering heights of passion. Everyday
|
||
life had receded, and lay far below, in the shadows between
|
||
those peaks.
|
||
|
||
She remembered the heroines of novels she had read, and
|
||
the lyrical legion of those adulterous women began to sing in
|
||
her memory with sisterly voices that enchanted her. Now she
|
||
saw herself as one of those amoureuses whom she had so envied.
|
||
She was becoming, in reality, one of that gallery of fictional
|
||
figures, the long dream of her youth was coming true. She was
|
||
full of a delicious sense of vengeance. How she had suffered!
|
||
But now her hour of triumph had come, and love, so long re-
|
||
pressed, was gushing forth in joyful effervescence. She
|
||
savored it without remorse, without anxiety, without distress.
|
||
|
||
The next day brought new delight. They exchanged vows.
|
||
She told him her sorrows. Rodolphe interrupted her with
|
||
kisses. And she begged him, gazing at him with half-shut
|
||
eyes, to say her name again and tell her once more that he
|
||
loved her. They were in the forest, like the day before,
|
||
this time in a hut used by sabot-makers. The walls were of
|
||
straw, and the roof was so low that they could not stand
|
||
erect. They sat side by side on a bed of dry leaves.
|
||
|
||
From that day on they wrote each other regularly every
|
||
night. Emma took her letter out into the garden and slipped
|
||
it into a crack in the terrace wall beside the river. Rodolphe
|
||
came, took it, and left one for her. One that was always,
|
||
she complained, too short.
|
||
|
||
One morning when Charles had gone out before sunrise
|
||
she was seized with a longing to see Rodolphe at once. She
|
||
could go quickly to La Huchette, stay there an hour, and be
|
||
back in Yonville before anyone was up. The thought made her
|
||
pant with desire, and soon she was halfway across the meadow,
|
||
walking fast and not looking back.
|
||
|
||
Day was just breaking. From far off Emma recognized her
|
||
lover's farm, with its two swallow-tailed weathervanes silhou-
|
||
etted in black against the pale twilight.
|
||
|
||
Beyond the farmyard was a building that could only be
|
||
the chateau. She entered it as though the walls opened of
|
||
themselves at her approach. A long straight staircase led to
|
||
an upper hall. Emma turned the latch of a door, and there at
|
||
the far end of a room she saw a man asleep. It was Rodolphe.
|
||
She uttered a cry.
|
||
|
||
"It's you!" he cried. "You, here! How did you come?
|
||
Ah! Your dress is wet!"
|
||
|
||
"I love you!" was her answer, and she flung her arms
|
||
around his neck.
|
||
|
||
She had dared and won, and from then on, each time that
|
||
Charles went out early she quickly dressed and stole down the
|
||
river stairs.
|
||
|
||
If the cow plank had been raised she had to follow the
|
||
garden walls that bordered the stream. The bank was slippery,
|
||
and to keep from falling she would clutch at tufts of faded
|
||
wallflowers. Then she would strike out across the ploughed
|
||
fields, sinking in, stumbling, her light shoes getting con-
|
||
tinually stuck in the soft soil. The scarf she had tied over
|
||
her head fluttered in the wind as she crossed the meadows.
|
||
She was afraid of the oxen, and would begin to run. And she
|
||
would arrive breathless, rosy-cheeked, everything about her
|
||
smelling of sap and verdure and fresh air. Rodolphe would
|
||
still be asleep. She was like a spring morning entering his
|
||
room.
|
||
|
||
The yellow curtains masking the windows let through a
|
||
soft, dull golden light. Emma would grope her way, squinting,
|
||
dewdrops clinging to her hair like a halo of topazes around
|
||
her face. And Rodolphe would laugh and draw her to him and
|
||
strain her to his heart.
|
||
|
||
Afterwards she would explore the room, opening drawers,
|
||
combing her hair with his comb, looking at herself in his
|
||
shaving mirror. Often she took the stem of his pipe in her
|
||
teeth, a large pipe that he kept on his night table, beside
|
||
the lemons and lumps of sugar that were there with his water
|
||
jug.
|
||
|
||
It always took them a good quarter of an hour to say
|
||
good-bye. Emma invariably wept. She wished that she never
|
||
had to leave him. Some irresistible force kept driving her
|
||
time and again to his side, until one day when she arrived
|
||
unexpectedly he frowned as though displeased.
|
||
|
||
"What's wrong?" she cried. "Are you ill? Tell me!"
|
||
|
||
After some urging, he declared gravely that her visits
|
||
were becoming foolhardy and that she was risking her repu-
|
||
tation.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER TEN
|
||
|
||
As time went on she came to share Rodolphe's fears. Love
|
||
had intoxicated her at first, and she had no thought beyond it.
|
||
But now that life was inconceivable without it she was terri-
|
||
fied lest she be deprived of any protion of this love, or even
|
||
that it be in any way interfered with. Each time she returned
|
||
from one of her visits she cast uneasy glances about her, peer-
|
||
ing at every figure moving on the horizon, at every dormer in
|
||
the village from which she might be seen. Her ears picked up
|
||
the sound of every footstep, every voice, every plough. And
|
||
she would stand still, paler and more trembling than the leaves
|
||
of the swaying poplars overhead.
|
||
|
||
One morning on her way back she suddenly thought she saw
|
||
a rifle pointing at her. It was slanting out over the edge of
|
||
a small barrel half hidden in the grass beside a ditch. She
|
||
felt faint with fright, but continued to walk ahead, and a man
|
||
emerged from the barrel like a jack-in-the-box. He wore gaiters
|
||
buckled up to his knees, and his cap was pulled down over his
|
||
eyes. His lips were trembling with cold and his nose was red.
|
||
It was Captain Binet, out after wild duck.
|
||
|
||
"You should have called!" he cried. "When you see a gun
|
||
you must always give warning."
|
||
|
||
That reproach was actually the tax collector's attempt to
|
||
cover up the fright that Emma had given him. There was a police
|
||
ordinance prohibiting duck-shooting except from boats, and for
|
||
all his respect for the law, Monsieur Binet was in the process
|
||
of committing a violation. He had been expecting the game
|
||
warden to appear any minute. But fear had added spice to his
|
||
enjoyment, and in the solitude of his barrel he had been con-
|
||
gratulating himself on his luck and his deviltry.
|
||
|
||
At the sight of Emma he felt relieved of a great weight,
|
||
and he opened conversation, "Chilly, isn't it! Really nippy!"
|
||
|
||
Emma made no answer.
|
||
|
||
"You're certainly out bright and early," he went on.
|
||
|
||
"Yes," she stammered. "I've been to see my baby at the
|
||
nurse's."
|
||
|
||
"Ah, I see! I see! As for me, I've been right here where
|
||
I am now ever since daybreak, but it's such dirty weather that
|
||
unless you have the bird at the very end of your gun . . ."
|
||
|
||
"Good-bye, Monsieur Binet," she interrupted, turning away.
|
||
|
||
"Good-bye, Madame," he answered dryly. And he went back
|
||
into his barrel.
|
||
|
||
Emma regretted having taken such brusque leave of the tax
|
||
collector. Whatever surmises he made would certainly be to
|
||
her discredit. What she had said about the wet nurse was the
|
||
worst possible story she could have invented. Everyone in
|
||
Yonville knew perfectly well that little Berthe had been back
|
||
with her parents for a year. Besides, no one lived out in
|
||
that direction. That particular path led only to La Huchette.
|
||
Binet must certainly have guessed where she was coming from.
|
||
He wouldn't keep his mouth shut, either. He would gossip,
|
||
unquestionably. All day she racked her brains, trying to
|
||
dream up all possible lies, and she brooded incessantly about
|
||
that fool with his game bag.
|
||
|
||
After dinner Charles, seeing that she looked worried
|
||
about something, had the idea of distracting her from whatever
|
||
it was by taking her to call on the pharmacist, and the first
|
||
person she saw in the pharmacy was, once again, the tax
|
||
collector! He was standing at the counter in the glow of the
|
||
red jar, saying, "Give me a half-ounce of vitriol."
|
||
|
||
"Justin," called the pharmacist, "bring the sulphuric
|
||
acid."
|
||
|
||
Then, to Emma, who was about to go up to Madame Homais'
|
||
quarters.
|
||
|
||
"No, don't bother to climb the stairs, she'll be coming
|
||
down directly. Warm yourself at the stove while you wait.
|
||
Excuse me . . . Bonjour, docteur." (The pharmacist greatly
|
||
enjoyed uttering the word docteur, as though by applying it
|
||
to someone else he caused some of the glory it held for him
|
||
to be reflected on himself.) "But be careful not to knock
|
||
over the mortars," he called to Justin. "No, no! Go get
|
||
some of the chairs from the little room! You know perfectly
|
||
well we never move the parlor armchairs."
|
||
|
||
And Homais was just bustling out from behind the counter
|
||
to put his armchair back where it belonged when Binet asked
|
||
him for a half-ounce of sugar acid.
|
||
|
||
"Sugar acid?" said the pharmacist scornfully. "I don't
|
||
know what that is. I never heard of it. You want oxalic
|
||
acid, perhaps? Oxalic is what you mean, isn't it?"
|
||
|
||
Binet explained that he needed a corrosive. He wanted
|
||
to make some metal polish to clean the rust off parts of his
|
||
hunting gear. Emma stood rigid.
|
||
|
||
"Yes, the weather is certainly umpropitious," said the
|
||
pharmacist, "what with all this dampness."
|
||
|
||
"Still," said the tax collector slyly, "there are people
|
||
who don't mind it."
|
||
|
||
She was choking.
|
||
|
||
"Now give me . . ."
|
||
|
||
"He'll never go!" she thought.
|
||
|
||
" . . . a half-ounce of rosin and turpentine, four ounces
|
||
of beeswax, and an ounce and a half of boneblack to clean the
|
||
patent leather on my outfit."
|
||
|
||
As the apothecary began cutting the wax, Madame Homais
|
||
appeared with Irma in her arms, Napoleon beside her and Athalie
|
||
bringing up the rear. She sat down on the plush-covered bench
|
||
by the window, while the boy took a stool and his elder sister
|
||
kept close to the jujube jar, near her dear papa. The latter
|
||
was pouring things into funnels, corking bottles, gluing labels
|
||
and wrapping parcels. Everyone watched him in silence. The
|
||
only sound was an occasional clink of weights in the scales,
|
||
and a few low-voiced words of advice from the pharmacist to his
|
||
apprentice.
|
||
|
||
"How is your little girl?" Madame Homais suddenly asked.
|
||
|
||
"Quiet!" cried her husband, who was jotting figures on a
|
||
scratch-pad.
|
||
|
||
"Why didn't you bring her?" she went on, in an undertone.
|
||
|
||
"Sh! Sh!" said Emma, pointing to the apothecary.
|
||
|
||
But Binet, absorbed in checking the pharmacist's arith-
|
||
metic, seemed to have heard nothing. Then at last he left.
|
||
Emma gave a deep sigh of relief.
|
||
|
||
"How heavily you're breathing!" said Madame Homais.
|
||
|
||
"Don't you find it rather warm?" she answered.
|
||
|
||
The next day, therefore, Emma and Rodolphe discussed the
|
||
best way of arranging their meetings. Emma was for bribing
|
||
her maid with a present, but it would be better if they could
|
||
find some other, safer place in Yonville. Rodolphe promised
|
||
to look for one.
|
||
|
||
From then on, three or four times a week throughout the
|
||
winter, he came to the garden in the dark of the night. Emma
|
||
had removed the key from the gate, letting Charles think it
|
||
was lost.
|
||
|
||
To announce himself, Rodolphe threw a handful of gravel
|
||
against the shutters. She always started up, but sometimes
|
||
she had to wait, for Charles loved to chat beside the fire,
|
||
and went on and on. She would grow wild with impatience, if
|
||
she could have accomplished it with a look, she would have
|
||
flung him out a window. Finally she would begin to get ready
|
||
for bed, and then she would take up a book and sit quietly
|
||
reading, as though absorbed. Charles, in bed by this time,
|
||
would call her.
|
||
|
||
"Come, Emma," he would say. "It's time."
|
||
|
||
"Yes, I'm coming," she would answer.
|
||
|
||
But the candles shone in his eyes, and he would turn to
|
||
the wall and fall asleep. Then she slipped out, holding her
|
||
breath, smiling, palpitating, half undressed.
|
||
|
||
Rodolphe would enfold her in the large full cape he wore
|
||
and, with his arm around her waist, lead her without a word to
|
||
the foot of the garden.
|
||
|
||
It was in the arbor that they spent their time together,
|
||
on the same dilapidated rustic bench from which Leon used to
|
||
stare at her so amorously on summer evenings. She scarcely
|
||
thought of him now.
|
||
|
||
The stars glittered through the bare branches of the
|
||
jasmine. Behind them they heard the flowing of the river, and
|
||
now and again the crackle of dry reeds on the bank. Here and
|
||
there in the darkness loomed patches of deeper shadow. And
|
||
sometimes these would suddenly seem to shudder, rear up and
|
||
then curve downward, like huge black waves threatening to
|
||
engulf them. In the cold of the night they clasped each other
|
||
the more tightly, the sighs that came from their lips seemed
|
||
deeper, their half-seen eyes looked larger, and amidst the
|
||
silence their soft-spoken words had a crystalline ring that
|
||
echoed and reechoed in their hearts.
|
||
|
||
If the night was rainy they sought shelter in the con-
|
||
sulting room, between the shed and the stable. She would
|
||
light a kitchen lamp that she kept hidden behind the books.
|
||
Rodolphe made himself at home here, as though the place be-
|
||
longed to him. The sight of the bookcase and the desk, indeed
|
||
the whole room, aroused his hilarity. He couldn't keep from
|
||
joking about Charles in a way that made Emma uncomfortable.
|
||
She would have liked him to be more serious, or even more
|
||
dramatic sometimes, like the night she thought she heard the
|
||
sound of approaching footsteps in the lane.
|
||
|
||
"Someone's coming," she whispered.
|
||
|
||
He blew out the light.
|
||
|
||
"Have you got your pistols?'
|
||
|
||
|
||
"What for?"
|
||
|
||
"Why . . . to defend yourself," said Emma.
|
||
|
||
"You mean against your husband? That poor . . .?"
|
||
|
||
And Rodolphe ended his sentence with a gesture that meant
|
||
that he could annihilate Charles with a flick of his finger.
|
||
|
||
This display of fearlessness dazzled her, even though she
|
||
sensed in it a crudity and bland vulgarity that shocked her.
|
||
|
||
Rodolphe thought a good deal about that episode of the
|
||
pistols. If she had spoken in earnest, it was absurd of her,
|
||
he thought, really an odious thing, for he had no cause to
|
||
hate poor Charles. He was by no means "devoured by jealousy,"
|
||
as the saying went. And indeed, in this connection, Emma had
|
||
made him a tremendous vow that he, for his part, thought in
|
||
rather poor taste.
|
||
|
||
Besides, she was becoming frightfully sentimental. They
|
||
had had to exchange miniatures and cut handfuls of each other's
|
||
hair. And now she was asking for a ring, a real wedding band,
|
||
as a sign of eternal union. She often talked to him about the
|
||
"bells of evening," or the "voices of nature," and then she
|
||
would go on about her mother and his. Rodolphe's mother had
|
||
been dead for twenty years, but Emma kept consoling him in the
|
||
kind of affected language one uses to a bereaved child. And
|
||
sometimes she would even look at the moon and say to him,
|
||
"Somewhere up there I'm sure they're both looking down at us
|
||
and approving of our love.
|
||
|
||
But she was so pretty! He couldn't remember ever having
|
||
had so unspoiled a mistress. The purity of her love was some-
|
||
thing entirely new to him. It was a change from his usual
|
||
loose habits, and it both flattered his pride and inflamed his
|
||
senses. Emma's continual raptures, which his bourgeois common
|
||
sense despised, seemed to him in his heart of hearts charming,
|
||
since it was he who inspired them.
|
||
|
||
As time went on he stopped making any effort, secure in
|
||
the knowledge that he was loved, and imperceptibly his manner
|
||
changed. No longer did he speak to her, as before, in words
|
||
so sweet that they made her weep, nor were there any more of
|
||
those fervid embraces that frenzied her. Their great love, in
|
||
which she lived completely immersed, seemed to be ebbing away,
|
||
like the water of a river that was sinking into its own bed,
|
||
and she saw the mud at the bottom. She refused to believe it.
|
||
She redoubled her caresses, and Rodolphe hid his indifference
|
||
less and less.
|
||
|
||
She didn't know whether she regretted having yielded to
|
||
him or whether she didn't rather long to love him more dearly.
|
||
Her humiliating feeling of weakness was turning into resent-
|
||
ment, but this melted away in the heat of his embraces. It
|
||
was not an attachment, it was a kind of permanent seduction.
|
||
She was in his bondage. It almost frightened her.
|
||
|
||
Nevertheless, from the outside everything looked more
|
||
serene than ever, Rodolphe having succeeded in conducting the
|
||
affair as he pleased. And at the end of six months, when
|
||
spring came, they were like a married couple peacefully
|
||
tending a domestic flame.
|
||
|
||
It was the time of the year when Monsieur Rouault always
|
||
sent his turkey, in commemoration of his mended leg. As
|
||
usual, the present was accompanied by a letter. Emma cut the
|
||
string tying it to the basket, and read the following:
|
||
|
||
Dear Children:
|
||
I hope these lines find you well and that this
|
||
one will be up to the others. It seems to me a
|
||
little tenderer, if I may say so, and meatier. But
|
||
next time I'll send you a cock for a change, unless
|
||
you'd rather stick to gobblers, and please send me
|
||
back the basket along with the last two. I had an
|
||
accident with the cart shed, one night a heavy wind
|
||
blew the roof off into the trees. Crops haven't
|
||
been too good either. I can't tell when I'll come
|
||
to see you. It's so hard for me to leave the place
|
||
now that I'm alone.
|
||
|
||
Here there was a space between the lines, as though the
|
||
old man had put down his pen to think a while.
|
||
|
||
As for me, I'm all right, except for a cold I
|
||
caught the other day at the fair in Yvetot, where I
|
||
went to hire a shepherd, having got rid of the one I
|
||
had because he was too particular about his food.
|
||
All these good-for-nothings give you more trouble
|
||
than they're worth. This one was disrespectful
|
||
besides.
|
||
|
||
I heard from a peddler who stopped in your town
|
||
to have a tooth drawn that Bovary keeps busy. It
|
||
doesn't surprise me, and he showed me his tooth. We
|
||
took a cup of coffee together. I asked if he'd seen
|
||
you, Emma, he said no, but he'd seen two horses in
|
||
the stable from which I assume that business is pros-
|
||
pering. I'm glad of it, dear children, may the good
|
||
Lord send you every possible happiness.
|
||
|
||
It grieves me that I've never seen my beloved
|
||
granddaughter Berthe Bovary. I've planted a tree of
|
||
September plums for her under the window of your room
|
||
and I won't let anybody touch it except to make some
|
||
jam for her later that I'll keep in the cupboard for
|
||
her when she comes.
|
||
|
||
Good-bye, dear children. I kiss you on both
|
||
cheeks, all three of you.
|
||
|
||
I am, with all good wishes,
|
||
Your loving father
|
||
Theodore Rouault
|
||
|
||
She sat for a few minutes with the sheet of coarse paper
|
||
in her hand. The letter was thick with spelling mistakes, and
|
||
Emma brooded on the affectionate thought that cackled through
|
||
them like a hen half hidden in a thorn hedge. Her father had
|
||
dried his writing with ash from the fireplace, for a bit of
|
||
gray dust drifted out of the letter onto her dress, and she
|
||
could almost see the old man bending down toward the hearth to
|
||
take up the tongs. How long it was since she had sat there
|
||
beside him, on the fireseat, burning the end of a stick in the
|
||
flame of the crackling furze! She remembered summer evenings,
|
||
full of sunshine. The foals would whinny when anyone came
|
||
near, and gallop and gallop to their hearts' content. There
|
||
had been a beehive under her window, and sometimes the bees,
|
||
wheeling in the light, would strike against the panes like
|
||
bouncing golden balls. How happy she had been in those days!
|
||
How free! How full of hope! How rich in illusions! There
|
||
were no illusions left now! She had had to part with some
|
||
each time she had ventured on a new path, in each of her
|
||
successive conditions, as virgin, as wife, as mistress. All
|
||
along the course of her life she had been losing them, like a
|
||
traveler leaving a bit of his fortune in every inn along the
|
||
road.
|
||
|
||
But what was making her so unhappy? Where was the
|
||
extraordinary disaster that had wrought havoc with her life?
|
||
And she lifted her head and looked about her, as though
|
||
trying to discover the cause of her suffering.
|
||
|
||
An April sunbeam was dancing on the china in the what-
|
||
not. The fire was burning. She felt the rug soft beneath
|
||
her slippers. The day was cloudless, the air mild, and she
|
||
could hear her child shouting with laughter.
|
||
|
||
The little girl was rolling on the lawn, in the cut grass
|
||
that Lestiboudois was raking. She was lying on her stomach on
|
||
a pile that he had got together. Felicite was holding her by
|
||
the skirt. The gardener was working nearby, and whenever he
|
||
came close she leaned over toward him, waving her arms in the
|
||
air.
|
||
|
||
"Bring her in to me!" her mother cried. And she rushed
|
||
over and kissed her. "How I love you, darling! How I love
|
||
you!"
|
||
|
||
Then, noticing that the tips of the child's ears were a
|
||
little dirty, she quickly rang for hot water. And she washed
|
||
her, changed her underclothes, stockings and shoes, asked a
|
||
thousand questions about how she felt, as though she were just
|
||
back from a trip, and finally, giving her more and more kisses,
|
||
|
||
and weeping a little, she handed her back to the maid, who
|
||
stood gaping at this overflow of affection.
|
||
|
||
That night Rodolphe found her more reserved than usual.
|
||
|
||
"It will pass," he thought. "It's some whim."
|
||
|
||
And on three successive evenings he didn't appear for
|
||
their rendezvous. When he finally came she was cold, almost
|
||
disdainful.
|
||
|
||
"Ah! You'll get nowhere playing that game . . .!" And
|
||
he pretended not to notice her melancholy sighs or the hand-
|
||
kerchief she kept bringing out.
|
||
|
||
Then Emma's repentance knew no bounds.
|
||
|
||
She even wondered why she detested Charles, and whether
|
||
it mightn't be better to try to love him. But there was so
|
||
little about him to which her resurgent feeling could attach
|
||
itself that she was at a loss as to how to put her noble reso-
|
||
lution into effect. And then one day the apothecary provided
|
||
the desired opportunity.
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER ELEVEN
|
||
|
||
Homais had lately read an article extolling a new method
|
||
of curing clubfoot. And since he was on the side of progress
|
||
he conceived the patriotic idea that Yonville, to keep abreast
|
||
of the times, should have its own operation for talipes, as he
|
||
learnedly called the deformity.
|
||
|
||
"After all," he said to Emma, "what's the risk? Look."
|
||
And he enumerated on his fingers the advantages that would
|
||
accrue from the attempt. "Almost sure success, relief and
|
||
improved appearance for the patient, and for the surgeon a
|
||
rapid rise to fame. Why shouldn't your husband fix up poor
|
||
Hippolyte, at the Lion d'Or? The boy would unquestionably
|
||
talk about his cure to every traveler at the inn, and then,"
|
||
here Homais lowered his voice and cast a glance about him,
|
||
"what is there to keep me from sending a little piece about it
|
||
to the paper? Ah! An article gets around, people talk about
|
||
it, a thing like that really snowballs. Who can tell? Who
|
||
can tell?"
|
||
|
||
He was right. Bovary might very well succeed. Emma had
|
||
never had any reason to think that he wasn't skillful in his
|
||
work. And what satisfaction she would derive from persuading
|
||
him to take a step that would increase his fame and fortune!
|
||
Something more solid than love to lean on would be only too
|
||
welcome.
|
||
|
||
Egged on by her and by the apothecary, Charles consented.
|
||
He sent to Rouen for Doctor's Duval's treatise, and every
|
||
night, his head in his hands, he buried himself in its pages.
|
||
|
||
He studied talipes in its various forms, equinus, varus
|
||
and valgus. In other words, the varying malformations of the
|
||
foot downwards, inwards, or outwards, sometimes scientifically
|
||
called strephocatopodia, strephendopodia and strephexopodia.
|
||
And he studied strephypopodia and strephanopodia, downward or
|
||
upward torsion. And meanwhile Monsieur Homais tried to per-
|
||
suade the stable-boy to agree to be operated. He used every
|
||
possible argument.
|
||
|
||
"You'll scarcely feel it, there'll be the very slightest
|
||
pain if any. It's just a prick, like the tiniest blood-letting.
|
||
Not nearly as bad as cutting out certain kinds of corns."
|
||
|
||
Hippolyte rolled his eyes stupidly as he thought it over.
|
||
|
||
"Besides," the pharmacist went on, "it's not for my sake
|
||
that I'm urging you, but for yours, out of pure humanity. I'd
|
||
like to see you rid of that ugly limp, my boy, and that swaying
|
||
in the lumbar region that must interfere seriously with your
|
||
work, whatever you say."
|
||
|
||
Then Homais painted a picture of how much more lively and
|
||
nimble he would feel, and even intimated that he'd be much
|
||
more successful with women. The stable-boy grinned sheepishly
|
||
at that. Then Homais played on his vanity.
|
||
|
||
"Are you a man or aren't you? Think what it would have
|
||
been like if you'd had to serve in the army and go into combat!
|
||
Ah, Hippolyte!"
|
||
|
||
In the end the poor wretch yielded, unable to stand up
|
||
against what was a veritable conspiracy. Binet, who never
|
||
meddled in other people's affairs, Madame Lefrancois, Artemise,
|
||
the neighbors, even the mayor, Monsieur Tuvache, everybody
|
||
urged him, lectured him, shamed him. But what finally decided
|
||
him was that it wouldn't cost him anything. Bovary even
|
||
offered to supply the apparatus that would be used after the
|
||
operation. Emma had thought up that bit of generosity, and
|
||
Charles had agreed, inwardly marveling at what an angel his
|
||
wife was.
|
||
|
||
Guided by the pharmacist's advice, he finally succeeded
|
||
on the third try in having the cabinetmaker and the locksmith
|
||
|
||
construct a sort of box weighing about eight pounds. A compli-
|
||
cated mass of iron, wood, tin, leather, screws and nuts.
|
||
|
||
Meanwhile, in order to know which of Hippolyte's tendons
|
||
had to be cut, he first had to find out what variety of club-
|
||
foot his was.
|
||
|
||
The foot made almost a straight line with the leg, and at
|
||
the same time was twisted inward, so that it was an equinus
|
||
with certain characteristics of a varus, or else a varus with
|
||
strong equinus features. But with his equinus, which actually
|
||
was as wide across as an equine hoof, with rough skin, stringy
|
||
tendons, oversized toes, and black nails that were like the
|
||
nails of a horseshoe, the taliped ran about fleet as a deer
|
||
from morning to night. He was constantly to be seen in the
|
||
square, hopping about among the carts, thrusting his clubfoot
|
||
ahead of him. Actually, the affected leg seemed to be stronger
|
||
than the other. From its long years of service it had taken on
|
||
moral qualities, as it were, qualities of patience and energy.
|
||
And whenever Hippolyte was given a particularly heavy task to
|
||
do, it was that leg that he threw his weight on.
|
||
|
||
Since it was an equinus, the Achilles tendon would have
|
||
to be cut, and then later, perhaps, the anterior tibial muscle,
|
||
to take care of the varus. Charles didn't dare risk two
|
||
operations at once, and indeed he was trembling already lest
|
||
he interfere with some important part of the foot he knew
|
||
nothing about.
|
||
|
||
Neither Ambroise Pare, applying an immediate ligature to
|
||
an artery for the first time since Celsus had done it fifteen
|
||
centuries before, nor Dupuytren cutting open an abscess through
|
||
a thick layer of the brain, nor Gensoul, when he performed the
|
||
first removal of an upper maxillary, none of them, certainly,
|
||
felt such a beating of the heart, such a quivering of the hand,
|
||
such a tenseness of the mind, as Monsieur Bovary when he ap-
|
||
proached Hippolyte with his tenotomy knife. On a table nearby,
|
||
just as in a hospital, lay a pile of lint, waxed thread and a
|
||
quantity of bandages. A veritable pyramid of bandages, the
|
||
apothecary's entire stock. It was Monsieur Homais who had been
|
||
making these preparations ever since early morning, as much to
|
||
dazzle the multitude as to inflate his self-importance. Charles
|
||
pierced the skin, there was a sharp snap. The tendon was cut,
|
||
the operation was over. Hippolyte couldn't stop marveling, he
|
||
bent over Bovary's hands and covered them with kisses.
|
||
|
||
"Don't get excited," said the apothecary. "You'll have
|
||
plenty of occasion to express your gratitude to your benefactor."
|
||
|
||
And he went out to announce the result to five or six
|
||
sensation-seekers who were waiting in the yard expecting
|
||
Hippolyte to make his appearance walking normally. Then Charles
|
||
strapped his patient into the apparatus and went home, where
|
||
Emma was anxiously awaiting him at the door. She flung her arms
|
||
around his neck. They sat down at table, he ate heartily, and
|
||
even asked for a cup of coffee with his dessert. A bit of
|
||
intemperance he ordinarily allowed himself only on Sunday when
|
||
there was company.
|
||
|
||
Their evening together was charming. They spoke of their
|
||
future, the improvement they expected in their fortunes, changes
|
||
they would make in their house. He saw himself a man of renown
|
||
and riches, adored by his wife. And she felt herself pleasantly
|
||
revived by this new sensation, this noble, wholesome experience
|
||
of returning at least some of poor Charles' love. For a moment
|
||
the thought of Rodolphe crossed her mind, but then her eyes
|
||
swung back to Charles, and she noticed with surprise that his
|
||
teeth weren't bad at all.
|
||
|
||
They were in bed when Monsieur Homais suddenly entered
|
||
their room. He had brushed aside the cook's attempts to
|
||
announce him, and was holding a newly written sheet of paper.
|
||
It was the publicity article he had prepared for the Fanal de
|
||
Rouen. He had brought it for them to read.
|
||
|
||
"You read it to us," said Bovary.
|
||
|
||
He began, "Despite the network of prejudices that still
|
||
extends across part of the face of Europe, our country dis-
|
||
tricts are beginning to see the light. Just this Tuesday our
|
||
small community of Yonville was the scene of a surgical experi-
|
||
ment that was also an act of pure philanthropy. Monsieur
|
||
Bovary, one of our most distinguished practitioners . . ."
|
||
|
||
"That's going too far! Too far!" cried Charles, choked
|
||
with emotion.
|
||
|
||
"Not at all! Certainly not! . . . performed an operation
|
||
on a clubfoot . . . I didn't use the scientific term, in a
|
||
newspaper, you know . . . not everybody would understand. the
|
||
masses have to be . . ."
|
||
|
||
"You're right," said Bovary. "Go ahead."
|
||
|
||
"Where was I?" said the pharmacist. "Oh, yes. Monsieur
|
||
Bovary, one of our most distinguished practitioners, performed
|
||
an operation on a clubfoot. The patient was one Hippolyte
|
||
Tautain, stable-boy for the past twenty-five years at the Lion
|
||
d'Or hotel, owned by Madame Lefrancois, on the Place d'Armes.
|
||
The novelty of the enterprise and the interest felt in the
|
||
patient had attracted such a large throng of our local citi-
|
||
zenry that there was a veritable crush outside the establish-
|
||
ment. The operation went off like magic, and only a few drops
|
||
of blood appeared on the skin, as though to announce that the
|
||
rebellious tendon had finally surrendered to the surgeon's art.
|
||
The patient, strange though it may seem (we report this fact de
|
||
visu), experienced not the slightest pain. Up to the moment of
|
||
the present writing, his condition is entirely satisfactory.
|
||
Everything gives us reason to expect that his convalescence
|
||
will be rapid. Who knows? At the next village festival we may
|
||
well see our good friend Hippolyte tripping Bacchic measures
|
||
amidst a chorus of joyous companions, thus demonstrating to all,
|
||
by his high spirits and his capers, the completeness of his cure.
|
||
All honor to those tireless benefactors who go without sleep to
|
||
work for the improvement or the relief of mankind! All honor to
|
||
them! Now indeed we can proclaim that the blind shall see, the
|
||
deaf shall hear and the lame shall walk! But what fanaticism
|
||
promised in times past to the elect, science is now achieving for
|
||
all men! We shall keep our readers informed concerning the sub-
|
||
sequent stages of this remarkable cure."
|
||
|
||
But all that eloquence did not alter the course of events.
|
||
Five days later Madame Lefrancois rushed into the doctor's house
|
||
frightened out of her wits, crying, "Help! He's dying! It's
|
||
driving me mad!"
|
||
|
||
Charles made a dash for the Lion d'Or, and the pharmacist,
|
||
catching sight of him as he rushed bareheaded across the square,
|
||
hurriedly left his pharmacy. He, too, arrived at the hotel
|
||
breathless, flushed and worried. "What has happened," he inquired
|
||
of the numerous people climbing the stairs, "to our interesting
|
||
taliped?'
|
||
|
||
The taliped was writhing. Writhing in frightful convulsions,
|
||
so severe that the apparatus locked around his leg was beating
|
||
against the wall, threatening to demolish it.
|
||
|
||
Taking every precaution not to disturb the position of the
|
||
|
||
leg, Charles and Monsieur Homais removed the box, and a terrible
|
||
sight met their eyes. The foot was completely formless, so
|
||
immensely swollen that the skin seemed ready to burst. And the
|
||
entire surface was covered with black and blue spots caused by
|
||
the much-vaunted apparatus. Hippolyte ad been complaining of
|
||
pain for some time, but no one had paid any attention. Now it
|
||
was clear that he hadn't entirely imagined it, and he was allowed
|
||
to keep his foot out of the box for several hours. But hardly
|
||
had the swelling subsided a little than the two experts decided
|
||
that the treatment should be resumed, and they screwed the appa-
|
||
ratus on more tightly than before, to hasten results. Finally,
|
||
three days later, when Hippolyte could bear it no longer, they
|
||
removed the box again and were amazed by what they saw. A livid
|
||
tumescence now extended up the leg, and a dark liquid was oozing
|
||
from a number of blood blisters. Things were taking a serious
|
||
turn. Hippolyte had no courage left, and Madame Lefrancois moved
|
||
him into the small room, just off the kitchen, so that he might
|
||
at least have some distraction.
|
||
|
||
But the tax collector, who took his dinner there every
|
||
evening, complained bitterly of such company, so Hippolyte was
|
||
moved again, this time into the billiard room.
|
||
|
||
He lay there, groaning under his heavy blankets, pale,
|
||
unshaven, hollow-eyed, turning and twisting his sweaty head on
|
||
the dirty, fly-covered pillow. Madame Bovary came to see him.
|
||
She brought him linen for his poultices, comforted him, tried
|
||
to cheer him. He had no lack of company, especially on market
|
||
days, when the peasants crowded around him, playing billiards,
|
||
dueling with the cues, smoking, drinking, singing, shouting.
|
||
|
||
"How're you getting along?' they would say, giving him a
|
||
poke in the shoulder. "You don't look too good. But it's your
|
||
own fault. You should have . . ." And they would give their
|
||
advice, telling him about people who had all been cured by
|
||
methods quite different from the one that had been used on him.
|
||
Then they would add, by way of comfort, "You fuss too much!
|
||
Why don't you get up, instead of having everybody wait on you?
|
||
Well, never mind, old boy, you certainly stink!"
|
||
|
||
And indeed the gangrene was climbing higher and higher.
|
||
Bovary was sick about it. He kept coming in every hour, every
|
||
few minutes. Hippolyte would look at him with terror-filled
|
||
eyes, and sob and stammer. "When will I be cured? Help me!
|
||
Help me! Oh, God, it's terrible!"
|
||
|
||
And each time the doctor could only go away again, advis-
|
||
ing him to eat lightly.
|
||
|
||
|
||
"Don't listen to him," Madame Lefrancois would say, when
|
||
Bovary had left. "They've made you suffer enough already.
|
||
You'll lose still more of your strength. Here, swallow this!"
|
||
|
||
And she would give him some tasty soup, or a slice from a
|
||
leg of mutton, or a bit of bacon, and now and again a little
|
||
glass of brandy that he hardly dared drink.
|
||
|
||
The abbe Bournisien, learning that he was getting worse,
|
||
came to the hotel and asked to see him. He began by condoling
|
||
with him on his suffering, declaring, however, that he should
|
||
rejoice in it, since it was the Lord's will, and lose no time
|
||
taking advantage of this occasion to become reconciled with
|
||
heaven.
|
||
|
||
"You've been a little neglectful of your religious duties,"
|
||
he pointed out in a paternal tone. "I've seldom seen you at
|
||
Mass. How many years is it since you've been to Communion?
|
||
It's understandable that your work and other distractions should
|
||
have made you careless about your eternal salvation. But now is
|
||
the time to think about it. Don't give way to despair. I've
|
||
known grievous sinners who implored God's mercy when they were
|
||
about to appear before Him, I know you haven't reached that point
|
||
yet, and who certainly made better deaths as a result. Be an
|
||
example to us, as they were! What's to prevent you from saying
|
||
a Hail Mary and an Our Father every night and morning just as a
|
||
precaution? Do it! Do it for me, to oblige me! It doesn't
|
||
amount to much. Will you promise?'
|
||
|
||
The poor devil promised. The priest came again the fol-
|
||
lowing days. He chatted with the hotel-keeper, told stories,
|
||
made jokes and puns that were over Hippolyte's head. Then, at
|
||
the first possible opening, he would return to religious matters,
|
||
his face taking on an appropriate expression as he did so.
|
||
|
||
His zeal seemed to have some effect, for soon the taliped
|
||
expressed a wish to make a pilgrimage to Bon-Secours if he was
|
||
cured. To which the abbe replied that he could see nothing
|
||
against it, two precautions were better than one. What . . .
|
||
as he put it . . . was the risk?
|
||
|
||
The apothecary railed against what he called the priest's
|
||
"manoeuvres." They were interfering, he claimed, with Hippo-
|
||
lyte's convalescence, and he kept saying to Madame Lefrancois,
|
||
"Leave him alone! You're confusing him with all your mysticism!"
|
||
|
||
But the lady wouldn't listen to him. He was "to blame for
|
||
everything." And on a nail in the wall at the head of the sick
|
||
bed she defiantly hung a brimming holy-water font with a sprig
|
||
of boxwood in it.
|
||
|
||
However, religion seemed to be of no greater help than sur-
|
||
gery, and the gangrenous process continued to extend inexorably
|
||
upward toward the groin. In vain did they change medications
|
||
and poultices. Each day the muscles rotted a little more, and
|
||
finally Charles replied with an affirmative nod when Madame
|
||
Lefrancois asked him whether as a last resort she couldn't call
|
||
in Monsieur Canivet, a celebrated surgeon in Neufchatel.
|
||
|
||
This fellow practitioner, a fifty-year-old M.D. of consi-
|
||
derable standing and equal self-assurance, laughed with uncon-
|
||
cealed scorn when he saw Hippolyte's leg, by now gangrenous to
|
||
the knee. Then, after declaring flatly that he would have to
|
||
amputate, he visited the pharmacist and inveighed against the
|
||
jackasses capable of reducing an unfortunate man to such a
|
||
plight. He grasped Monsieur Homais by one of his coat buttons
|
||
and shook him, shouting, "New-fangled ideas from Paris! It's
|
||
like strabismus and chloroform and lithotrity. The government
|
||
ought to forbid such tomfoolery! But everybody wants to be
|
||
smart nowadays, and they stuff you full of remedies without
|
||
caring about the consequences! We don't pretend to be so
|
||
clever, here in the country. We're not such know-it-alls,
|
||
such la-di-das! We're practitioners, healers! It doesn't
|
||
occur to us to operate on somebody who's perfectly well!
|
||
Straighten a clubfoot! Who ever heard of straightening a
|
||
clubfoot? It's like wanting to iron out a hunchback!"
|
||
|
||
Those words were a whiplash to Homais, but he hid his
|
||
discomfiture under an obsequious smile. It was important to
|
||
humor Canivet, whose prescriptions were sometimes brought
|
||
into the pharmacy by Yonvillians, and so he made no defense
|
||
of Bovary and expressed no opinion. He cast principles to
|
||
the winds, and sacrificed his dignity to the weightier
|
||
interests of his business.
|
||
|
||
It was quite an event in the village, that mid-thigh
|
||
amputation by Doctor Canivet! All the citizens rose early
|
||
that morning, and the Grande-Rue, thronged though it was, had
|
||
something sinister about it, as though it were execution day.
|
||
At the grocer's, Hippolyte's case was discussed from every
|
||
angle. None of the stores did any business. And Madame
|
||
Tuvache, the mayor's wife, didn't budge form her window, so
|
||
eager was she not to miss the surgeon's arrival.
|
||
|
||
He drove up in his gig, holding the reins himself. Over
|
||
the years the right-hand spring had given way under the weight
|
||
of his corpulence, so that the carriage sagged a little to one
|
||
side as it rolled along. Beside him, on the higher half of
|
||
the seat cushion, could be seen a huge red leather case, its
|
||
three brass clasps gleaming magisterially.
|
||
|
||
The doctor drew up in the hotel yard with a flourish and
|
||
called loudly for someone to unharness his mare, and then went
|
||
to the stable to see whether she was really being given oats
|
||
as he had ordered. His first concern, whenever he arrived at
|
||
a patient's, was always for his mare and his gig. "That
|
||
Canivet, he's a character!" people said of him. And they
|
||
thought the more of him for his unshakable self-assurance.
|
||
The universe might have perished to the last man, and he
|
||
wouldn't have altered his habits a jot.
|
||
|
||
Homais made his appearance.
|
||
|
||
"I'm counting on you," said the doctor. "Are we ready?
|
||
Let's go!"
|
||
|
||
But the apothecary blushingly confessed that he was too
|
||
sensitive to be present at such an operation.
|
||
|
||
"When you just stand there watching," he said, "your
|
||
imagination begins to play tricks on you, you know. And I'm
|
||
of such a nervous temperament anyway that . . ."
|
||
|
||
"Bah!" interrupted Canivet. "You look more like the
|
||
apoplectic type to me. It doesn't surprise me, either, you
|
||
pharmacists are always cooped up in your kitchens. It can't
|
||
help undermining your constitutions in the long run. Look at
|
||
me. I'm up every day at four, shave in cold water every season
|
||
of the year. I'm never chilly, never wear flannel underwear,
|
||
never catch cold, I'm sound as a bell. I eat well one day,
|
||
badly the next, however it comes. I take it philosophically.
|
||
That's why I'm not a bit squeamish, like you. And that's why
|
||
it's all the same to me whether I carve up a Christian or any
|
||
old chicken they put in front of me. It's all a question of
|
||
habit."
|
||
|
||
Thereupon, with no consideration whatever for Hippolyte,
|
||
who was sweating with pain and terror under his bedclothes in
|
||
the billiard room, the two gentlemen proceeded there in the
|
||
kitchen to engage in a conversation in which the apothecary
|
||
likened the coolness of a surgeon to that of a general. The
|
||
comparison pleased Canivet, who expatiated on the demands made
|
||
by his profession. He looked on it as a kind of sacred charge,
|
||
even though dishonored nowadays by the activities of the
|
||
officiers de sante. Then, finally giving thought to his
|
||
patient, he inspected the bandages Homais had brought, the same
|
||
ones he had furnished the day of the earlier operation, and
|
||
asked for someone to hold the leg for him while he worked.
|
||
Lestiboudois was sent for, and Canivet rolled up his sleeves
|
||
and went into the billiard room. The apothecary stayed outside
|
||
with Artemise and the landlady, both of the latter whiter than
|
||
their aprons and all three of them with their ears to the door.
|
||
|
||
Bovary, meanwhile, didn't dare show himself outside his
|
||
house. He sat downstairs in the parlor beside the empty fire-
|
||
place, his chin on his chest, his hands folded, his eyes set.
|
||
What a misfortune! he was thinking. What a disappointment!
|
||
Certainly he had taken all conceivable precautions. Fate had
|
||
played a hand in it. Be that as it may, if Hippolyte were
|
||
later to die it would be he who would have murdered him. And
|
||
then, how was he to answer the questions his patients were
|
||
sure to ask him? What reason could he give for his failure?
|
||
Perhaps he had made some mistake? He sought for what it
|
||
might be, and failed to find it. The greatest surgeons made
|
||
mistakes, didn't they? That was something no one would ever
|
||
believe. Everyone would laugh at him, talk about him. The
|
||
news would spread to Forges, to Neufchatel, to Rouen, every-
|
||
where! Who knew. Other doctors might write letters and
|
||
articles attacking him! There would be a controversy. He
|
||
would have to send replies to the newspapers. Hippolyte him-
|
||
self might sue him. He saw himself dishonored, ruined, lost!
|
||
And his imagination, engendering countless fears, was tossed
|
||
about like an empty barrel carried out to sea and bobbing on
|
||
the waves.
|
||
|
||
Emma, sitting opposite, was watching him. She was not
|
||
participating in his humiliation. She was experiencing a humi-
|
||
liation of a different sort. The humiliation of having imagined
|
||
that such a man might be worth something. As though she hadn't
|
||
twenty times already had full proof of his mediocrity.
|
||
|
||
Charles began to stride up and down the room. The floor
|
||
creaked under his heavy boots.
|
||
|
||
"Sit down!" she said. "You're getting on my nerves!"
|
||
|
||
He sat down.
|
||
|
||
How in the world had she managed, she who was so intelligent,
|
||
to commit yet another blunder? What deplorable mania was it that
|
||
had made her wreck her life by constant self-sacrifice? She
|
||
recalled all her desires for luxury, all her spiritual privations,
|
||
the sordid details of marriage and housekeeping, her dreams mired
|
||
like wounded swallows, everything she had ever craved for, every-
|
||
thing she had denied herself, all the things she might have had.
|
||
And for whose sake had she given up so much?
|
||
|
||
|
||
The silence that hung over the village was suddenly rent by
|
||
a scream. Bovary went deathly pale. For an instant her brows
|
||
contracted in a nervous frown, then she resumed her brooding. It
|
||
was for him that she had done it. For this creature here, this
|
||
man who understood nothing, who felt nothing. He was sitting
|
||
quite calmly, utterly oblivious of the fact that the ridicule
|
||
henceforth inseparable from his name would disgrace her as well.
|
||
And she had tried to love him! She had wept tears of repentance
|
||
at having given herself to another!
|
||
|
||
"I wonder, could it perhaps have been a valgus?" The
|
||
question came abruptly from the musing Charles.
|
||
|
||
At the sudden impact of those words, crashing into her
|
||
mind like a leaden bullet into a silver dish, Emma felt her-
|
||
self shudder. And she raised her head, straining to under-
|
||
stand what he had meant by them. They looked at each other
|
||
in silence, almost wonderstruck, each of them, to see that
|
||
the other was there, so far apart had their thoughts carried
|
||
them. Charles stared at her with the clouded gaze of a
|
||
drunken man, motionless in his chair, he was listening to the
|
||
screams that continued to come from the hotel. One followed
|
||
after another. Each was a long, drawn-out succession of tones,
|
||
and they were interspersed with short, shrill shrieks. It was
|
||
all like the howling of some animal being butchered far away.
|
||
Emma bit her pale lips, and twisting and turning in her fingers
|
||
a sliver she had broken off the coral, she stared fixedly at
|
||
Charles with blazing eyes that were like twin fiery arrows.
|
||
Everything, everything about him exasperated her now. His face,
|
||
his clothes, what he didn't say, his entire person, his very
|
||
existence. She repented her virtue of days past as though it
|
||
had been a crime, and what virtue she had left now crumbled
|
||
under the furious assault of her pride. Adultery was triumphant,
|
||
and she reveled in the prospect of its sordid ironies. The
|
||
thought of her lover made her reel with desire. Heart and soul
|
||
she flung herself into her longing, borne toward him on waves of
|
||
new rapture. And Charles seemed to her as detached from her
|
||
life, as irrevocably gone, as impossible and done for, as though
|
||
he were a dying man, gasping his last before her eyes.
|
||
|
||
There was a sound of footsteps on the sidewalk. Charles
|
||
looked through the lowered blind. In the hot sun near the market
|
||
Doctor Canivet was mopping his forehead with his handkerchief.
|
||
Behind him was Homais, carrying a large red box, and they were
|
||
both heading for the pharmacy.
|
||
|
||
Flooded with sudden tenderness and despondency, Charles
|
||
turned to his wife. "Kiss me!" he cried. "Kiss me, darling!"
|
||
|
||
"Don't touch me!" she flared, scarlet with fury.
|
||
|
||
"What . . . what is it?" he stammered, bewildered. "What's
|
||
wrong? You're not yourself! You know how I love you! I need
|
||
you!"
|
||
|
||
"Stop!" she cried in a terrible voice.
|
||
|
||
And rushing from the room she slammed the door so violently
|
||
that the barometer was flung from the wall and broke to pieces on
|
||
the floor.
|
||
|
||
Charles sank into his chair, crushed, wondering what her
|
||
trouble was, fearing some nervous illness, weeping, and vaguely
|
||
aware that the air about him was heavy with something baleful
|
||
and incomprehensible.
|
||
|
||
When Rodolphe came to the garden that night he found his
|
||
mistress waiting for him on the lowest step of the river stairs.
|
||
They fell into each other's arms, and all their accumulated
|
||
resentments melted like snow in the heat of this embrace.
|
||
|
||
PART 2
|
||
|
||
CHAPTER TWELVE
|
||
|
||
Once again their love was at high tide.
|
||
|
||
Now Emma would often take it into her head to write him
|
||
during the day. Through her window she would signal to Justin,
|
||
and he would whip off his apron and fly to La Huchette. And
|
||
when Rodolphe arrived in response to her summons, it was to
|
||
hear that she was miserable, that her husband was odious, that
|
||
her life was a torment.
|
||
|
||
"Can I do anything about it?" he snapped at her one day.
|
||
|
||
"Ah, if you only would . . ."
|
||
|
||
She was sitting at his feet staring at nothing, her head
|
||
between his knees, her hair streaming.
|
||
|
||
"What could I do?" Rodolphe demanded.
|
||
|
||
She sighed. "We could go live somewhere else, away from
|
||
here . . ."
|
||
|
||
"You're really crazy!" he said, laughing. "You know it's
|
||
impossible!"
|
||
|
||
She tried to pursue the subject, but he pretended not to
|
||
understand, and spoke of other things.
|
||
|
||
He saw no reason why there should be all this todo about
|
||
so simple a thing as love-making.
|
||
|
||
But for her there was a reason. There was a motive force
|
||
that gave an additional impetus to her passion. Every day her
|
||
love for Rodolphe was fanned by her aversion for her husband.
|
||
The more completely she surrendered to the one, the more
|
||
intensely she loathed the other. Never did Charles seem to
|
||
her so repulsive, so thick-fingered, so heavy-witted, so
|
||
common, as when she was alone with him after her meetings with
|
||
Rodolphe. Acting, at such times, the role of wife, of vir-
|
||
tuous woman, she thought feverishly of her lover. Of his
|
||
black hair curling over his tanned forehead, of his body so
|
||
powerful and yet so elegant, of the cool judgement that went
|
||
hand in hand with his fiery passion. It was for him that she
|
||
filed her fingernails with the care of the most exquisite
|
||
artist, that she kept massaging her skin with cold cream,
|
||
scenting her handkerchiefs with patchouli. She decked herself
|
||
with bracelets, rings and necklaces. Whenever he was expected
|
||
she filled her two big blue glass vases with roses. Both her
|
||
room and herself were made ready for him, as though she were a
|
||
courtesan awaiting a prince. Felicite was perpetually bleach-
|
||
ing lingerie, all day long she was in the kitchen, and Justin
|
||
often sat there with her, watching her work.
|
||
|
||
His elbows on the ironing board, he would stare hungrily
|
||
at all the feminine garments strewn about him. The dimity
|
||
petticoats, the fichus, the collars, the drawstring pantaloons
|
||
enormously wide at the waist and narrowing below.
|
||
|
||
|
||
"What is this for?" the boy would ask, touching a crinoline
|
||
lining or a set of fastenings.
|
||
|
||
"Don't tell me you've never seen anything!" Felicite would
|
||
laugh. "As if your Madame Homais didn't wear these same things!"
|
||
|
||
"Oh, Madame Homais . . ." And he would wonder aloud, "Is
|
||
she a lady, like Madame?"
|
||
|
||
But Felicite was getting tired of having him hand around
|
||
her. She was six years his elder, and Theodore, Maitre Guil-
|
||
laumin's servant, was beginning to court her.
|
||
|
||
"Leave me alone!" she would say, reaching for her starch
|
||
pot. "Go pound your almonds. You're always fussing around the
|
||
women. You're a nasty little boy. Better wait till you get
|
||
some hair on your face for that sort of thing."
|
||
|
||
"Don't be cross. I'll do her shoes for you."
|
||
|
||
And he would go over to the doorsill and reach for Emma's
|
||
shoes, all caked with the mud she had brought in from her
|
||
meetings. It would fall away powdery under his fingers, and
|
||
he would watch the particles float gently upward in a shaft of
|
||
sun.
|
||
|
||
"You act as though you're afraid of spoiling them!" the
|
||
cook would jeer. She herself wasn't so careful when she cleaned
|
||
them, for Madame always gave them to her as soon as they looked
|
||
the least bit worn.
|
||
|
||
Emma had countless pairs in her wardrobe, and discarded
|
||
them on the slightest pretext. Charles never said a word.
|
||
|
||
Nor did he protest at paying three hundred francs for a
|
||
wooden leg that she felt should be given to Hippolyte. It was
|
||
cork-trimmed and had spring joints. A complicated mechanism
|
||
hidden under a black trouser leg that ended in a patent-leather
|
||
shoe. But Hippolyte didn't dare use such a beautiful leg every
|
||
day, and he begged Madame Bovary to get him another that would
|
||
be more suitable. Naturally Charles paid for the new one as
|
||
well.
|
||
|
||
The stable-boy gradually resumed his work. He went about
|
||
the village as before, and whenever Charles heard the sharp tap
|
||
of his stick on the cobblestones in the distance, he quickly
|
||
changed his direction.
|
||
|
||
It was Monsieur Lheureux, the shopkeeper, who had taken
|
||
charge of the order. It gave him an opportunity to see a good
|
||
deal of Emma. He chatted with her about the latest novelties
|
||
from Paris, about a thousand feminine trifles, he was more than
|
||
obliging, and never pressed for payment. Emma let herself
|
||
slide into this easy way of gratifying all her whims. When she
|
||
decided she wanted to give Rodolphe a handsome riding crop she
|
||
had seen in an umbrella shop in Rouen, she told Lheureux to
|
||
get it for her, and he set it on her table a week later.
|
||
|
||
The next day, however, he appeared with his bill, two
|
||
hundred and seventy francs, not to mention the centimes. Emma
|
||
didn't know what to do. All the desk drawers were empty, they
|
||
owed Lestiboudois two weeks' pay and the maid six months' wages,
|
||
there were a number of other bills, and Bovary was waiting
|
||
impatiently for a remittance from Monsieur Derozerays, who
|
||
usually settled with him once a year, toward the end of June.
|
||
|
||
She was able to put Lheureux off for a time, but eventually
|
||
he lost patience. He was hard pressed, he said, his capital was
|
||
tied up, and if she couldn't give him something on account he'd
|
||
be forced to take back all the items she had chosen.
|
||
|
||
"All right, take them!" she said.
|
||
|
||
"I didn't really mean that," he answered. "Except perhaps
|
||
for the riding crop. I guess I'll have to ask Monsieur for it
|
||
back."
|
||
|
||
"No! No!' she cried.
|
||
|
||
"Ah ha!" Lheureux thought. "I've got you!"
|
||
|
||
And feeling sure that he had ferreted out her secret, he
|
||
left her. "We'll see," he murmured to himself, with his cus-
|
||
tomary little whistle. "We'll see!"
|
||
|
||
She was wondering how to extricate herself when the cook
|
||
came in and put a little cylindrical parcel on the mantel.
|
||
"From Monsieur Derozerays," she said. Emma seized it and
|
||
opened it. It contained fifteen napoleons, full payment.
|
||
She heard Charles on the stairs, and she flung the gold pieces
|
||
into one of her drawers and took the key.
|
||
|
||
Three days later Lheureux came again.
|
||
|
||
"I have a suggestion," he said. "If instead of paying the
|
||
amount we agreed on you'd like to take . . ."
|
||
|
||
"Here!" she said, and she handed him fourteen napoleons.
|
||
|
||
The shopkeeper was taken aback. To hide his disappoint-
|
||
ment he overflowed with apologies and offers of service, all
|
||
of which Emma declined. When he had left she stood a few
|
||
moments with her hand in her apron, fingering the two five-
|
||
franc pieces he had given her in change. She resolved to
|
||
economize, so that eventually she could pay Charles back . . .
|
||
|
||
"Bah!" she said to herself. "He'll never give it a
|
||
thought."
|
||
|
||
Besides the riding crop with the silver-gilt knob, Rodol-
|
||
phe had been given a signet ring with the motto "Amor nel cor."
|
||
Also a scarf to use as a muffler, and a cigar case very like
|
||
the vicomte's that Charles had picked up on the road and Emma
|
||
still kept.
|
||
|
||
But he found her presents humiliating, and on several
|
||
occasions refused them. She was insistent, however, and he
|
||
gave in, grumbling to himself that she was high-handed and
|
||
interfering.
|
||
|
||
Then she had such crazy notions.
|
||
|
||
"When the bell strikes midnight," she would command him,
|
||
"think of me."
|
||
|
||
And if he confessed that he hadn't done so, there were
|
||
strings of reproaches, always ending with the eternal, "Do you
|
||
love me?"
|
||
|
||
"Of course I love you!"
|
||
|
||
"Very much?"
|
||
|
||
"Of course."
|
||
|
||
"You've never loved anybody else, have you?'
|
||
|
||
That made him laugh, "Do you think you deflowered me?"
|
||
|
||
When Emma burst into tears he tried to comfort her,
|
||
protesting his love and saying things to make her smile.
|
||
|
||
"It's because I love you," she would interrupt. "I love
|
||
you so much that I can't do without you. You know that don't
|
||
you? Sometimes I want so much to see you that it tears me to
|
||
pieces. `Where is he?' I wonder. `Maybe he's with other
|
||
women. They're smiling at him, he's going up close to them .
|
||
. .' Tell me it isn't true! Tell me you don't like any of
|
||
them! Some of them are prettier than I am, but none of them
|
||
can love you the way I do. I'm your slave and your concubine!
|
||
You're my king, my idol! You're good! You're beautiful!
|
||
You're wise! You're strong!"
|
||
|
||
He had had such things said to him so many times that
|
||
none of them had any freshness for him. Emma was like all his
|
||
other mistresses. And as the charm of novelty gradually slip-
|
||
ped from her like a piece of her clothing, he saw revealed in
|
||
all its nakedness the eternal monotony of passion, which always
|
||
assumes the same forms and always speaks the same language.
|
||
He had no perception, this man of such vast experience, of the
|
||
dissimilarity of feeling that might underlie similarities of
|
||
expression. Since he had heard those words uttered by loose
|
||
women or prostitutes, he had little belief in their sincerity
|
||
when he heard them now. The more flowery a person's speech,
|
||
he thought, the more suspect the feelings, or lack of feelings,
|
||
it concealed. Whereas the truth is that fullness of soul can
|
||
sometimes overflow in utter vapidity of language, for none of
|
||
us can ever express the exact measure of his needs or his
|
||
thoughts or his sorrows. And human speech is like a cracked
|
||
kettle on which we tap crude rhythms for bears to dance to,
|
||
while we long to make music that will melt the stars.
|
||
|
||
But with the superior acumen of those who keep aloof in
|
||
any relationship, Rodolphe discovered that the affair offered
|
||
still further possibilities of sensual gratification. He
|
||
abandoned every last shred of restraint and consideration.
|
||
He made her into something compliant, something corrupt. Hers
|
||
was an infatuation to the point of idiocy. The intensity of
|
||
her admiration for him was matched by the intensity of her own
|
||
voluptuous feelings. She was in a blissful torpor, a drunken-
|
||
ness in which her very soul lay drowned and shriveled, like the
|
||
duke of Clarence in his butt of malmsey.
|
||
|
||
This constant indulgence had its effect on her daily be-
|
||
havior. Her glance grew bolder, her language freer. She went
|
||
so far as to be seen smoking a cigarette in public, in Rodol-
|
||
phe's company. "As though," people said, "to show her contempt
|
||
for propriety." Even those who had given her the benefit of
|
||
the doubt stopped doing so when they saw her step out of the
|
||
Hirondelle on day wearing a tight-fitting vest, like a man's.
|
||
The elder Madame Bovary, who had taken refuge with her son fol-
|
||
lowing a particularly unpleasant scene with her husband, was as
|
||
scandalized as any of the Yonville matrons. There were many
|
||
other things that she disliked too. First of all, Charles
|
||
hadn't followed her advice about the ban on novels. And then
|
||
she disapproved of "the way the house was run." She took the
|
||
liberty of saying how she felt, and there were quarrels . . .
|
||
One, especially, about Felicite.
|
||
|
||
Going down the hall the previous night the elder Madame
|
||
Bovary had surprised her with a man . . . a man of about forty,
|
||
with dark chin whiskers, who had slipped out through the kit-
|
||
chen when he had heard her coming. When she reported this,
|
||
Emma burst out laughing. The older woman lost her temper,
|
||
declaring that unless one cared nothing for morals oneself, one
|
||
was bound to keep an eye on the morals of one's servants.
|
||
|
||
"What kind of social circles do you frequent?" Emma
|
||
retorted, with such an impertinent stare that her mother-in-law
|
||
asked her whether in taking her servant's part it wasn't really
|
||
herself that she was defending.
|
||
|
||
"Get out!" the young woman cried, springing from her chair.
|
||
|
||
"Emma! Mother!" cried Charles, trying to stop the argu-
|
||
ment. But in their rage they both rushed from the room.
|
||
|
||
"What manners!" Emma sneered when he came to her. And she
|
||
stamped with fury. "What a peasant!"
|
||
|
||
He hurried to his mother and found her close to hysterics.
|
||
"Such insolence! She's irresponsible! Maybe worse!"
|
||
|
||
And she declared she would leave the house at once unless
|
||
her daughter-in-law came to her and apologized. So Charles
|
||
sought out his wife again and begged her to give in. He
|
||
implored her on his knees. "Oh, all right, I'll do it," she
|
||
said finally.
|
||
|
||
She held out her hand to her mother-in-law with the dig-
|
||
nity of a marquise, "Excusez-moi, Madame." And then in her
|
||
own room she flung herself flat on the bed and wept like a
|
||
child, her head buried in the pillow.
|
||
|
||
She and Rodolphe had agreed that in case of an emergency
|
||
she would fasten a piece of white paper to the blind, so that
|
||
if he happened to be in Yonville he could go immediately into
|
||
the lane behind the house. Emma hung out the signal. After
|
||
waiting three-quarters of an hour she suddenly saw Rodolphe at
|
||
the corner of the market. She was tempted to open the window
|
||
and call to him, as she hesitated he disappeared. She sank
|
||
back hopelessly in her chair.
|
||
|
||
But after a short time she thought she heard someone on
|
||
the sidewalk. It must be he. She went downstairs and across
|
||
the yard. He was outside the gate. She flung herself into his
|
||
arms.
|
||
|
||
"Be careful!" he warned.
|
||
|
||
"Ah, if you knew what I've been through," she breathed.
|
||
And she proceeded to tell him everything. Hurriedly, disjoin-
|
||
tedly, exaggerating some facts and inventing others, and putting
|
||
in so many parentheses that he lost the thread of her story.
|
||
|
||
"Come, angel, be brave! Cheer up! Be patient!"
|
||
|
||
"But I've been patient for four years! I've suffered for
|
||
four years! A love like ours is something to boast of! I'm on
|
||
the rack, with those people! I can't stand it any longer!
|
||
Rescue me, for God's sake!"
|
||
|
||
She clung to him. Her tear-filled eyes were flashing like
|
||
undersea fires. Her breast rose and fell in quick gasps, never
|
||
had he found her so desirable. He lost his head. "What must
|
||
we do?' he said. "What do you want me to do?'
|
||
|
||
"Oh! Take me away!" she cried. "I implore you! Take me
|
||
away!" And she crushed her lips to his, as though to catch the
|
||
consent she hadn't dared hope for. The consent that was now
|
||
breathed out in a kiss.
|
||
|
||
"But . . ." Rodolphe began.
|
||
|
||
"What is it?"
|
||
|
||
"What about your little girl?'
|
||
|
||
She pondered a few moments. Then, "We'll take her with us.
|
||
It's the only way."
|
||
|
||
"What a woman!" he thought as he watched her move off. She
|
||
had quickly slipped back into the garden, someone was calling
|
||
her.
|
||
|
||
The elder Madame Bovary was astonished, the next few days,
|
||
by her daughter-in-law's transformation. Emma was docility
|
||
itself, deferential to the point of asking her for a recipe for
|
||
pickles.
|
||
|
||
Was it her way of covering her tracks more thoroughly!
|
||
Or was it a kind of voluptuous stoicism? A deliberate, deeper
|
||
savoring of the bitterness of everything she was about to
|
||
abandon? Scarcely the latter, for she noticed nothing around
|
||
her. She was living as though immersed in advance in her
|
||
future happiness. With Rodolphe she talked of nothing else.
|
||
She would lean on his shoulder, and murmur, "Think of what it
|
||
will be like when we're in the stagecoach! Can you imagine
|
||
it? Is it possible? The moment I feel the carriage moving,
|
||
I think I'll have the sensation we're going up in a balloon,
|
||
sailing up into the clouds. I'm counting the days. Are you?"
|
||
|
||
Never had Madame Bovary been as beautiful as now. She had
|
||
that indefinable beauty that comes from happiness, enthusiasm,
|
||
success, a beauty that is nothing more or less than a harmony
|
||
of temperament and circumstances. Her desires, her sorrows, her
|
||
experience of sensuality, her evergreen illusions, had developed
|
||
her step by step, like a flower nourished by manure and by the
|
||
rain, by the wind and the sun. And she was finally blooming
|
||
in the fullness of her nature. Her eyelids seemed strangely
|
||
perfect when she half closed them in a long amorous glance.
|
||
And each of her deep sighs dilated her fine nostrils and raised
|
||
the fleshy corners of her lips, lightly shadowed by dark down.
|
||
Some artist skilled in corruption seemed to have designed the
|
||
knot of her hair. It lay on her neck coiled in a heavy mass,
|
||
twisted carelessly and always a little differently, for every
|
||
day it was loosened by embraces. Her voice now took on softer
|
||
inflections. Her body, too, something subtle and penetrating
|
||
emanated from the very folds of her dress, from the very arch
|
||
of her foot. Charles found her exquisite and utterly irresis-
|
||
tible, as in the first days of their marriage.
|
||
|
||
When he returned home in the middle of the night he dared
|
||
not wake her. The porcelain night-light cast a trembling cir-
|
||
cular glow on the ceiling, and the drawn curtains of the cradle
|
||
made it look like a tiny white hut swelling out in the darkness
|
||
beside the bed. Charles looked at both sleepers. He thought
|
||
he could hear the light breathing of his child. She would be
|
||
growing rapidly now, every season would bring a change. Already
|
||
he saw her coming home from school at the end of the day, laugh-
|
||
ing, her blouse spotted with ink, her basket on her arm. Then
|
||
they would have to send her away to boarding school. That would
|
||
cost a good deal, how would they manage? He thought and thought
|
||
about it. He had the idea of renting a little farm on the out-
|
||
skirts, one that he could supervise himself mornings, as he rode
|
||
out to see his patients. He would put the profits aside, in the
|
||
savings bank. Later he would buy securities of some kind. Be-
|
||
sides, his practice would grow. He was counting on it, for he
|
||
wanted Berthe to have a good education. He wanted her to be
|
||
accomplished, to take piano lessons. Ah! How pretty she would
|
||
be later, at fifteen! She would look just like her mother. And
|
||
like her, in the summer, she would wear a great straw hat. From
|
||
the distance they'd be taken for sisters. He pictured her sewing
|
||
at night beside them in the lamplight. She would embroider slip-
|
||
pers for him, and look after the house. She would fill their
|
||
lives with her sweetness and her gaiety. And then he would think
|
||
about her marriage. They would find her some fine young man with
|
||
a good position, who would make her happy. And her happiness
|
||
would last forever and ever.
|
||
|
||
Emma wasn't asleep at such times. She was only pretending to
|
||
be, and as Charles gradually sank into slumber beside her she lay
|
||
awake dreaming different dreams.
|
||
|
||
A team of four horses, galloping every day for a week, had
|
||
been whirling her and Rodolphe toward a new land from which
|
||
they would never return. On and on the carriage bore them, and
|
||
they sat there, arms entwined, saying not a word. Often from
|
||
a mountain top they would espy some splendid city, with domes,
|
||
bridges, ships, forests of lemon trees, and white marble cathe-
|
||
drals whose pointed steeples were crowned with storks' nests.
|
||
Here the horses slowed, picking their way over the great paving-
|
||
stones, and the ground was strewn with bouquets of flowers
|
||
tossed at them by women laced in red bodices. The ringing of
|
||
bells and the braying of mules mingled with the murmur of gui-
|
||
tars and the sound of gushing fountains. Pyramids of fruit
|
||
piled at the foot of pale statues were cooled by the flying
|
||
spray, and the statues themselves seemed to smile through the
|
||
streaming water. And then one night they arrived in a fishing
|
||
village, where brown nets were drying in the wind along the
|
||
cliff and the line of cottages. Here they stopped, this would
|
||
be their dwelling place. They would live in a low flat roofed
|
||
house in the shade of a palm tree, on a bay beside the sea.
|
||
They would ride in gondolas, swing in hammocks. And their lives
|
||
would be easy and ample like the silk clothes they wore, warm
|
||
like the soft nights that enveloped them, starry like the skies
|
||
they gazed upon. Nothing specific stood out against the vast
|
||
background of the future that she thus envoked. The days were
|
||
all of them splendid, and as alike as the waves of the sea. And
|
||
the whole thing hovered on the horizon, infinite, harmonious,
|
||
blue and sparkling in the sun. But then the baby would cough in
|
||
the cradle, or Bovary would give a snore louder than the rest,
|
||
and Emma wouldn't fall asleep till morning, when dawn was whiten-
|
||
ing the windowpanes and Justin was already opening the shutters
|
||
of the pharmacy.
|
||
|
||
She had sent for Monsieur Lheureux and told him she would
|
||
be needing a cloak. "A long cloak with a deep collar and a
|
||
lining."
|
||
|
||
"You're going on a trip?" he asked.
|
||
|
||
"No! But . . . Anyway, I can count on you to get it, can't
|
||
I? Soon?"
|
||
|
||
He bowed.
|
||
|
||
"I'll want a trunk, too. Not too heavy, roomy."
|
||
|
||
"I know the kind you mean. About three feet by a foot and
|
||
a half, the sort they're making now."
|
||
|
||
"And an overnight bay."
|
||
|
||
"A little too much smoke not to mean fire," Lheureux said
|
||
to himself.
|
||
|
||
"And here," said Madame Bovary, unfastening her watch
|
||
from her belt. "Take this, you can pay for the things out of
|
||
what you get for it."
|
||
|
||
But the shopkeeper protested. She was wrong to suggest
|
||
such a thing, he said. They were well acquainted, he trusted
|
||
her completely. She mustn't be childish. But she insisted
|
||
that he take at least the chain, and Lheureux had put it in
|
||
his pocket and was on his way out when she called him back.
|
||
|
||
"Hold the luggage for me," she said. "As for the cloak"
|
||
she pretended to ponder the question, "don't bring that to me,
|
||
either. But give me the address of the shop and tell them to
|
||
have it ready for me when I come."
|
||
|
||
They were to elope the following month. She would leave
|
||
Yonville as though to go shopping in Rouen. Rodolphe was to
|
||
arrange for their reservations and their passports, and would
|
||
write to Paris to make sure that they would have the coach to
|
||
themselves as far as Marseilles. There they would buy a
|
||
barouche and continue straight on toward Genoa. She would
|
||
send her things to Lheureux's whence they would be loaded
|
||
directly onto the Hirondelle, thus arousing no one's suspi-
|
||
cions. In all these plans there was never a mention of little
|
||
Berthe. Rodolphe avoided speaking of her, perhaps Emma had
|
||
forgotten her.
|
||
|
||
He said he needed two weeks more, to wind up some affairs.
|
||
Then, at the end of the first of them, he said he would need
|
||
an additional two. Then he said he was sick. Then he went on
|
||
a trip somewhere. The month of August passed. Finally they
|
||
decided they would leave without fail on the fourth of Septem-
|
||
ber, a Monday.
|
||
|
||
The Saturday night before that Monday, Rodolphe arrived
|
||
earlier than usual.
|
||
|
||
"Is everything ready?' she asked him.
|
||
|
||
"Yes."
|
||
|
||
They strolled around the flower beds and sat on the ter-
|
||
race wall.
|
||
|
||
"You seem sad," said Emma.
|
||
|
||
"No, why?'
|
||
|
||
But he kept looking at her strangely, with unusual soft-
|
||
ness and tenderness.
|
||
|
||
"Is it because you're going away?' she asked. "Leaving
|
||
everything that's dear to you, everything that makes up your
|
||
life? I understand that . . . But I have nothing, nothing
|
||
in the world. You're my everything. And I'll be yours. I'll
|
||
be your family, your country. I'll look after you, I'll love
|
||
you."
|
||
|
||
"How sweet you are!" he cried, clasping her in his arms.
|
||
|
||
"Am I really?" she laughed, melting with pleasure. "Do
|
||
you love me? Swear that you do?"
|
||
|
||
"Do I love you! Do I! I adore you, darling!"
|
||
|
||
The moon, a deep red disc, was rising straight out of the
|
||
earth beyond the meadows. They could see it climb swiftly
|
||
between the poplar branches that partially screened it like a
|
||
torn black curtain. And finally, dazzlingly white, it shone
|
||
high above them in the empty sky illumined by its light. Now,
|
||
moving more slowly, it poured onto a stretch of the river a
|
||
great brightness that flashed like a million stars. And this
|
||
silvery gleam seemed to be writhing in its depths like a head-
|
||
less serpent covered with luminous scales. It looked, too,
|
||
like a monstrous many-branched candlestick dripping with
|
||
molten diamonds. The night spread softly around them, patches
|
||
of shadow hung in the leaves of the trees. Emma, her eyes
|
||
half closed, drank in the cool breeze with deep sighs. Lost
|
||
in their revery, they said not a word. Full and silent as the
|
||
flowing river, languid as the perfume of the syringas, the
|
||
sweetness they had known in earlier days once again surged up
|
||
in their hearts, casting on their memories longer and more
|
||
melancholy shadows than those of the motionless willows on the
|
||
grass. Now and again some prowling night animal, hedgehog or
|
||
weasel, disturbed the leaves, or they heard the sound of a
|
||
ripe peach as it dropped to the ground.
|
||
|
||
"What a lovely night!" said Rodolphe.
|
||
|
||
"We'll have many more," Emma answered. And as though
|
||
speaking to herself, "Yes, it will be good to be traveling.
|
||
But why should I feel sad? Is it fear of the unknown, or the
|
||
effect of leaving everything I'm used to? No . . . it's from
|
||
too much happiness. How weak of me! Forgive me!"
|
||
|
||
"There's still time," he cried. "Think carefully . . .
|
||
you might be sorry!"
|
||
|
||
"Never!" she answered impetuously. And moving close to
|
||
him, "What harm can come to me? There's not a desert, not a
|
||
precipice, not an ocean, that I wouldn't cross with you.
|
||
Living together will be like an embrace that's tighter and
|
||
more perfect every day. There'll be nothing to bother us, no
|
||
cares . . . nothing in our way. We'll be alone, entirely to
|
||
ourselves, for ever and ever. Say something, darling!
|
||
Answer me!"
|
||
|
||
At regular intervals he answered, "Yes . . . yes . . ."
|
||
Her fingers were in his hair, and through the great tears
|
||
that were welling from her eyes she kept repeating his name
|
||
in a childish voice, "Rodolphe! Rodolphe! Sweet little
|
||
Rodolphe!"
|
||
|
||
Midnight struck.
|
||
|
||
"Midnight!" she said. "Now it's tomorrow! one more day!"
|
||
|
||
He stood up to go, and as though his movement was the
|
||
signal for their flight, Emma suddenly brightened.
|
||
|
||
"You have the passports?"
|
||
|
||
"Yes."
|
||
|
||
"You haven't forgotten anything?"
|
||
|
||
"No."
|
||
|
||
"You're sure?"
|
||
|
||
"Absolutely."
|
||
|
||
"And you'll be waiting for me at the Hotel de Provence
|
||
at noon?"
|
||
|
||
He nodded.
|
||
|
||
"Till tomorrow, then," said Emma, giving him a last caress.
|
||
|
||
And she watched him go.
|
||
|
||
He did not turn around. She ran after him, and leaning
|
||
out over the water among the bushes, "Till tomorrow!" she
|
||
cried.
|
||
|
||
Already he was on the other side of the river, walking
|
||
quickly across the meadow.
|
||
|
||
After several minutes Rodolphe stopped. And when he saw
|
||
her in her white dress gradually vanishing into the shadows
|
||
like a wraith, his heart began to pound so violently that he
|
||
leaned against a tree to keep from falling.
|
||
|
||
"God, what a fool I am!" he muttered with an obscene
|
||
curse. "But she certainly made a pretty mistress!"
|
||
|
||
Emma's beauty and all the joys of their love rushed back
|
||
into his mind, and for a moment he softened. But then he
|
||
turned against her.
|
||
|
||
"After all," he cried, gesticulating and talking aloud to
|
||
himself to strengthen his resolution, "I can't spend the rest
|
||
of my life abroad! I can't be saddled with a child! All that
|
||
trouble! All that expense! No! No! Absolutely not! It
|
||
would be too stupid!"
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER THIRTEEN
|
||
|
||
As soon as he reached home Rodolphe sat down at his desk,
|
||
under the stag's-head trophy that hung on the wall. But when
|
||
he took up his pen he couldn't think of what to write, and he
|
||
leaned on his elbows and pondered. Emma seemed to have receded
|
||
into a far-off past, as though the resolution he had just made
|
||
had put a great distance between them.
|
||
|
||
In order to recapture some feeling of her he went to the
|
||
wardrobe at the head of his bed and took out an old Rheims
|
||
|
||
cookie box that was his storage place for letters from women.
|
||
Out of it came a smell of damp dust and withered roses. The
|
||
first thing his eye fell on was a handkerchief spotted with
|
||
faint stains, it was one of Emma's. She had had a nosebleed
|
||
one day when they were out together, he hadn't remembered it
|
||
till now. Then he took up something that had been knocking
|
||
against the sides of the box. It was the miniature she had
|
||
given him. She looked much too fussily dressed, he thought,
|
||
and her ogling expression was preposterous. He kept staring
|
||
at the artist's handiwork in an attempt to evoke the model
|
||
as he remembered her, and this gradually resulted in Emma's
|
||
features becoming confused in his memory, as though the real
|
||
face and the painted face had been rubbing against each other
|
||
and wearing each other away. Finally he read some of her
|
||
letters. They were as brief, as technical, as urgent as
|
||
business letters, filled chiefly with details pertaining to
|
||
their trip. He wanted to reread the longer ones, the earlier
|
||
ones. They were further down in the box, and to get at them
|
||
he had to disarrange everything else. He found himself mec-
|
||
hanically going through the pile of letters and other things,
|
||
turning up a heterogeneous assortment. Bouquets, a garter,
|
||
a black mask, pins, locks of hair. So many locks of hair!
|
||
Brunette and blond. Some of them, catching in the metal
|
||
hinges of the box, had broken off as he opened it.
|
||
|
||
He rummaged among his souvenirs, lingering on the dif-
|
||
ferences of handwriting and style in the letters, as marked
|
||
as the differences of spelling. There were affectionate
|
||
letters, jolly letters, facetious letters, melancholy letters.
|
||
There were some that begged for love and others the begged for
|
||
money. Now and then a word brought back a face, a gesture,
|
||
the sound of a voice. Certain letters brought back nothing at
|
||
all.
|
||
|
||
All those women, thronging into his memory, got in each
|
||
other's way. None of them stood out above the rest, leveled
|
||
down as they all were by the measure of his love. He took up
|
||
handfuls of the various letters and for some minutes amused
|
||
himself by letting them stream from one hand to another. In
|
||
the end he lost interest in the game and put the box back into
|
||
the wardrobe. "What a lot of nonsense!" he said to himself.
|
||
|
||
This accurately summed up his opinion, for his companions
|
||
in pleasure, like children playing in a schoolyard, had so
|
||
trampled his heart that nothing green could grow there. Indeed
|
||
they were more casual than children, they hadn't even scribbled
|
||
their names on the walls.
|
||
|
||
"Come now," he said to himself. "Get busy."
|
||
|
||
He began to write, "You must be courageous, Emma, the last
|
||
thing I want to do in ruin your life . . ."
|
||
|
||
"That's absolutely true, after all," he assured himself.
|
||
"I'm acting in her interest. I'm only being honest."
|
||
|
||
"Have you given really serious thought to your decision?
|
||
Do you realize into what abyss I was about to hurl you, poor
|
||
darling? You don't, I'm sure. You were going ahead blind and
|
||
confident, full of faith in happiness, in the future . . . Ah!
|
||
Poor wretched, insane creatures that we are!"
|
||
|
||
Here Rodolphe paused, looking for some good excuse. "I
|
||
could tell her that I've lost all my money . . . No . . . that
|
||
wouldn't stop her anyway. I'd have to go through the whole
|
||
thing again later. Is there any way of making such women come
|
||
to their senses?"
|
||
|
||
He thought for a while, then added, "I'll never forget you
|
||
. . . believe me . . . and I'll always feel the deepest devotion
|
||
to you. But some day sooner or later our passion would have
|
||
cooled . . . inevitable . . . it's the way with everything human.
|
||
We would have had moments of weariness. Who knows . . . I might
|
||
even have had the dreadful anguish of witnessing your remorse,
|
||
and of sharing in it, since it would have been I who caused it.
|
||
The very thought of the grief in store for you is a torture to
|
||
me. Emma! Forget me! Why was it ordained that we should meet?
|
||
Why were you so beautiful? Is the fault mine? In God's name,
|
||
no! No! Fate alone is to blame. Nothing and no one but fate!"
|
||
|
||
"That's always an effective word," he remarked to himself.
|
||
|
||
"Ah! Had you been a shallow-hearted creature like so
|
||
many others, I could very well have gone ahead and let things
|
||
happen as they might, purely for what was in it for myself. In
|
||
that case without danger to you. But that marvelous intensity
|
||
of feelings you have, such a delight for those who know you,
|
||
such a source of anguish for yourself, kept you, adorable woman
|
||
that you are, from realizing the falsity of the position the
|
||
future held for us. At first I, too, gave it no thought. I
|
||
was lying in the shade of that ideal happiness we dreamed of
|
||
as under a poison tree, without thought for the consequences."
|
||
|
||
"Maybe she'll think I'm giving her up out of stinginess.
|
||
What's it to me if she does! Let her . . . And let's get it
|
||
over with!"
|
||
|
||
"The world is cruel, Emma. It would have pursued us
|
||
everywhere. You'd have been subjected to indiscreet questions.
|
||
Calumny, scorn, even insult, perhaps. You, insulted! Oh, my
|
||
darling! And I would have been the cause of it! I, who wanted
|
||
to put you on a throne! I, who shall carry away the thought of
|
||
you like a talisman! Yes, away, for I am punishing myself for
|
||
the harm I have done you! I am going into exile! Where? How
|
||
can I tell? My poor mad brain can give no answer. Adieu,
|
||
Emma! Continue to be as good as you have always been! Never
|
||
forget the unfortunate man who lost you! Teach your child my
|
||
name. Tell her to include me in her prayers."
|
||
|
||
The flames of the two candles were flickering. Rodolphe
|
||
got up to close the window, and then, back at his desk, "That's
|
||
all, I guess," he said to himself. "Oh, just this little bit
|
||
more, to keep her from coming after me."
|
||
|
||
"I shall be far away when you read these unhappy lines, I
|
||
dare not linger, the temptation to see you again is all but
|
||
irresistible! This is no moment for weakness! I shall come
|
||
back, and perhaps one day we'll be able to speak of our love
|
||
with detachment, as a thing of the past. Adieu!"
|
||
|
||
And he appended one more, last adieu, this time written
|
||
as two words. "A Dieu!" It seemed to him in excellent taste.
|
||
|
||
"How shall I sign it?" he wondered. " `Devotedly'? No.
|
||
`Your friend'? Yes . . . that's it."
|
||
|
||
"Your friend."
|
||
|
||
He read over his letter and thought it was good.
|
||
|
||
"Poor little thing!" he thought, suddenly sentimental.
|
||
"She'll think me as unfeeling as a stone. There ought to be
|
||
a few tears on it, but weeping is beyond me . . . what can I
|
||
do?" He poured some water in a glass, wet a finger, and
|
||
holding it high above the page shook off a large drop. It
|
||
made a pale blot on the ink. Then, looking around for some-
|
||
thing to seal the letter with, his eye fell on the signet ring
|
||
with the motto "Amor nel cor." "Scarcely appropriate under
|
||
the circumstances, but what the . . ."
|
||
|
||
Whereupon he smoked three pipes and went to bed.
|
||
|
||
When he got up the next day (about two in the afternoon,
|
||
he slept late) Rodolphe had some apricots picked and arranged
|
||
in a basket. At the bottom, hidden under some vine leaves,
|
||
he put the letter. And he ordered Girard, his plough-boy,
|
||
to deliver it carefully to Madame Bovary. This was his usual
|
||
way of corresponding with her, sending her fruit or game
|
||
according to the season.
|
||
|
||
"If she asks you anything about me," he said, "tell her
|
||
I've left for a trip. Be sure to give the basket to her
|
||
personally. Get going, now, and do it right!"
|
||
|
||
Girard put on his new smock, tied his handkerchief over
|
||
the apricots, and plodding along in his great hobnailed boots,
|
||
he set out tranquilly for Yonville.
|
||
|
||
When he reached Madame Bovary's he found her helping
|
||
Felicite stack linen on the kitchen table.
|
||
|
||
"Here," said the plough-boy. "My master sent you this."
|
||
|
||
A feeling of dread came over her, and as she fumbled in
|
||
her pocket for some change she stared at the peasant with
|
||
haggard eyes. He in turn looked at her in bewilderment,
|
||
failing to understand why anyone should be so upset by such a
|
||
present. Finally he left. Felicite stayed where she was.
|
||
The suspense was too great for Emma. She ran into the other
|
||
room as though for the purpose of carrying in the apricots,
|
||
dumped them out of the basket, tore away the leaves, found the
|
||
letter and opened it, and as though she were fleeing from a
|
||
fire she ran panic-stricken up the stairs toward her room.
|
||
|
||
Charles had come in. She caught sight of him. He spoke
|
||
to her. Whatever he said, she didn't hear it. And she hurried
|
||
on up the second flight of stairs, breathless, distracted,
|
||
reeling, clutching the horrible piece of paper that rattled in
|
||
her hand like a sheet of tin. At the third-floor landing she
|
||
stopped outside the closed attic door.
|
||
|
||
She tried to calm herself. Only then did she think of
|
||
the letter. She must finish it, she didn't dare. Besides,
|
||
where could she read it? How? She'd be seen.
|
||
|
||
"I'll be all right in here," she thought. And she pushed
|
||
open the door and went in.
|
||
|
||
There the roof slates were throwing down a heat that was
|
||
all but unbearable. It pressed on her so that she could
|
||
scarcely breathe. She dragged herself over to the dormer,
|
||
whose shutters were closed. She pulled back the bolt, and the
|
||
dazzling sunlight poured in.
|
||
|
||
Out beyond the roof-tops, the open countryside stretched
|
||
as far as eye could see. Below her the village square was
|
||
empty. The stone sidewalk glittered. The weathervanes on the
|
||
houses stood motionless. From the lower floor of a house at
|
||
the corner came a whirring noise with strident changes of tone.
|
||
Binet was at his lathe.
|
||
|
||
Leaning against the window frame she read the letter
|
||
through, now and then giving an angry sneer. But the more she
|
||
tried to concentrate, the more confused her thoughts became.
|
||
She saw Rodolphe, heard his voice, clasped him in her arms,
|
||
and a series of irregular palpitations, thudding in her breast
|
||
like great blows from a battering ram, came faster and faster.
|
||
She cast her eyes about her, longing for the earth to open up.
|
||
Why not end it all? What was holding her back? She was free
|
||
to act. And she moved forward. "Do it! Do it!" she ordered
|
||
herself, peering down at the pavement.
|
||
|
||
The rays of bright light reflected directly up to her
|
||
from below were pulling the weight of her body toward the
|
||
abyss. The surface of the village square seemed to be sliding
|
||
dizzily up the wall of her house. The floor she was standing
|
||
on seemed to be tipped up on end, like a pitching ship. Now
|
||
she was at the very edge, almost hanging out, a great empti-
|
||
ness all around her. The blue of the sky was flooding her.
|
||
Her head felt hollow and filled with the rushing of the wind.
|
||
All she had to do now was to surrender, yield to the onrush.
|
||
And the lathe kept whirring, like an angry voice calling her.
|
||
|
||
But then she heard another voice. "Where are you?" It
|
||
was Charles.
|
||
|
||
She listened.
|
||
|
||
"Where are you? Come down!"
|
||
|
||
The thought that she had just escaped death almost made
|
||
her faint from terror. She closed her eyes, then she gave a
|
||
start as she felt the touch of a hand on her sleeve. It was
|
||
Felicite.
|
||
|
||
"Monsieur is waiting, Madame. The soup is on the table."
|
||
|
||
And she had to go down. Had to sit through a meal!
|
||
|
||
She did her best to eat. Each mouthful choked her. She
|
||
unfolded her napkin as though to inspect the darns, and began
|
||
really seriously to devote her attention to it and count the
|
||
stitches. Suddenly the thought of the letter came back to her.
|
||
Had she lost it? Where would she lay hands on it? But in her
|
||
exhaustion of mind she could invent no excuse for leaving the
|
||
table. Besides, she didn't dare. She was terrified of Charles.
|
||
He knew everything, she was sure he must! And oddly enough he
|
||
chose that moment to say.
|
||
|
||
"I gather we shan't be seeing Monsieur Rodolphe for some
|
||
time."
|
||
|
||
She started, "Who told you so?"
|
||
|
||
"Who told me?" he said, surprised by her abrupt tone.
|
||
"Girard. I saw him a few minutes ago at the door of the Cafe
|
||
Francais. He's left for a trip, or he's about to leave."
|
||
|
||
A sob escaped her.
|
||
|
||
"What's so surprising about it? He's always going off on
|
||
pleasure trips. Why shouldn't he? When you're a bachelor and
|
||
well off . . . Besides, he knows how to give himself a good
|
||
time, our friend. He's a real playboy. Monsieur Langlois once
|
||
told me . . ." He decorously broke off as the maid came in.
|
||
|
||
Felicite gathered up the apricots that lay scattered over
|
||
the sideboard and put them back into the basket. Unaware that
|
||
his wife had turned scarlet, Charles asked for them, took one,
|
||
and bit into it.
|
||
|
||
"Oh, perfect!" he said. "Try one."
|
||
|
||
He held the basket out toward her, and she gently pushed
|
||
it away.
|
||
|
||
"Smell them. Such fragrance!" he said, moving it back
|
||
and forth before her.
|
||
|
||
"I'm stifling in here!" she cried, leaping to her feet.
|
||
But she forced herself to conquer her spasm. "It's nothing,"
|
||
she said. "Nothing. Just nerves. Sit down. Eat your
|
||
fruit."
|
||
|
||
Her great dread was lest he question her, insist on doing
|
||
something for her, never leave her to herself.
|
||
|
||
Charles had obediently sat down and was spitting apricot
|
||
pits into his hand and transferring them to his plate.
|
||
|
||
Suddenly a blue tilbury crossed the square at a smart
|
||
trot. Emma gave a cry, fell abruptly backwards and lay on
|
||
the floor.
|
||
|
||
Rodolphe had decided, after a good deal of thought, to
|
||
leave for Rouen. Since the Yonville road was the only route
|
||
from La Huchette to Buchy, he had to pass through the village,
|
||
and Emma had recognized him in the glow of his carriage
|
||
lights as they flashed in the gathering dusk like a streak of
|
||
lightning.
|
||
|
||
The commotion at the Bovarys' brought the pharmacist
|
||
running. The table had been knocked over and all the plates
|
||
were on the floor. Gravy, meat, knives, the salt cellar and
|
||
the cruet stand littered the room. Charles was calling for
|
||
help. Berthe was frightened and in tears, and Felicite with
|
||
trembling hands was unlacing Madame, whose entire body was
|
||
racked with convulsions.
|
||
|
||
"I'll run to my laboratory and get a little aromatic
|
||
vinegar," said the apothecary.
|
||
|
||
And when he had returned and held the flacon under her
|
||
nostrils and she opened her eyes, "I knew it," he said.
|
||
"This stuff would resuscitate a corpse."
|
||
|
||
"Speak to us!" cried Charles. "Say something! Can you
|
||
hear me? It's Charles . . . Charles, who loves you. Do you
|
||
recognize me? See . . . here's your little girl . . . kiss
|
||
her, darling."
|
||
|
||
The child stretched out her arms toward her mother,
|
||
trying to clasp them around her neck. But Emma turned her
|
||
head away. "No, no," she said brokenly. "Leave me alone."
|
||
|
||
She fainted again, and they carried her to her bed.
|
||
|
||
She lay there on her back, mouth open, eyes closed,
|
||
hands flat beside her, motionless, white as a wax statue.
|
||
Two rivulets of tears trickled slowly from her eyes onto the
|
||
pillow.
|
||
|
||
Charles stood at the foot of the bed. At his side the
|
||
pharmacist was observing the thoughtful silence appropriate
|
||
to life's solemn occasions. Then, "I think she'll be all
|
||
right," he said. "The paroxysm seems to be over."
|
||
|
||
"Yes, she's resting a little now," Charles answered,
|
||
watching her sleep. "Poor thing! Poor thing! It's a real
|
||
relapse."
|
||
|
||
Then Homais asked for details, and Charles told him how
|
||
she had been stricken suddenly while eating apricots.
|
||
|
||
"Extraordinary!" said the pharmacist. "Still, the
|
||
apricots may very well have caused the syncope. Some natures
|
||
react so strongly to certain odors! It would be an interest-
|
||
ing subject to study, in both its pathological and its physio-
|
||
logical aspects. The priests are well aware of the importance
|
||
of this phenomenon. They've always made use of aromatics in
|
||
their ceremonies. They employ them deliberately, to deaden
|
||
the understanding and induce ecstatic states. Women lend
|
||
themselves to it easily, they're so much more delicate than
|
||
the rest of us. Cases are recorded of women fainting from
|
||
the smell of burnt horn, fresh bread . . ."
|
||
|
||
"Take care not to wake her!" Bovary warned softly.
|
||
|
||
"And it's not only humans who are subject to such
|
||
anomalies," continued the apothecary. "Animals are too. You
|
||
are certainly not ignorant of the intensely aphrodisiac effect
|
||
produced by nepeta cataria, vulgarly called catnip, on the
|
||
feline species. And to mention another example, one whose
|
||
authenticity I myself can vouch for, Bridoux, one of my old
|
||
schoolmates, now in business in the Rue Malpalu, has a dog
|
||
which has convulsions if you show it a snuffbox. Bridoux
|
||
sometimes makes him perform for his friends, at his suburban
|
||
residence in Bois-Guillaume. Would you believe that a simple
|
||
sternutative could work such havoc in the organism of a
|
||
quadruped? It's extremely curious, don't you find?"
|
||
|
||
"Yes," said Charles, who wasn't listening.
|
||
|
||
"This is but another illustration," said the pharmacist,
|
||
smiling with an air of benign self-satisfaction, "of the
|
||
innumerable irregularities of the nervous system. As far as
|
||
Madame is concerned, I confess she has always seemed to me a
|
||
genuine sensitive. For that reason, my good friend, I advise
|
||
you not to use any of those so-called remedies which attack
|
||
the temperament under the guise of attacking the symptoms.
|
||
No, no futile medication. Just a regimen. Sedatives,
|
||
emollients, dulcifiers. And then, don't you think it would
|
||
be a good thing to rouse her imagination, something striking?"
|
||
|
||
"How? What?"
|
||
|
||
"Ah, that's the problem. That is indeed the problem.
|
||
`That is the question,'" he quoted in English, "as I read in
|
||
the paper recently."
|
||
|
||
Just then Emma, waking from her sleep, cried, "The letter?
|
||
Where is the letter?"
|
||
|
||
They thought her delirious, and from midnight on she was.
|
||
There could be no doubt that it was brain fever.
|
||
|
||
For forty-three days Charles did not leave her side. He
|
||
neglected all his patients. He never lay down. He was con-
|
||
stantly feeling her pulse, applying mustard plasters and cold
|
||
compresses. He sent Justin to Neufchatel for ice. The ice
|
||
melted on the way, he sent him back. He called in Doctor
|
||
Canivet for consultation. He had Doctor Lariviere, his old
|
||
teacher, come from Rouen, he was desperate. What frightened
|
||
him most was Emma's degree of prostration. She didn't speak,
|
||
she gave no sign of comprehending or even hearing anything
|
||
that was said to her, and she seemed to be in no pain. It
|
||
was as though her body and her soul together had sought rest
|
||
after all their tribulations. Toward the middle of October
|
||
she could sit up in bed, propped against pillows. Charles
|
||
wept when he saw her eat her first slice of bread and jam.
|
||
Her strength returned. She left her bed for a few hours each
|
||
afternoon, and one day when she felt better than usual he got
|
||
her to take his arm and try a walk in the garden. The gravel
|
||
on the paths was almost hidden under dead leaves. She walked
|
||
slowly, dragging her slippers. And leaning on Charles'
|
||
shoulder she smiled continuously.
|
||
|
||
They made their way to the far end, near the terrace.
|
||
She drew herself up slowly and held her hand above her eyes.
|
||
She stared into the distance, the far distance, but on the
|
||
horizon there were only great grass fires, smoking on the
|
||
hills.
|
||
|
||
"You'll tire yourself, darling," said Bovary. And
|
||
guiding her gently, trying to induce her to enter the arbor.
|
||
"Sit on the bench. You'll be comfortable."
|
||
|
||
"Oh no! Not there! Not there!" she said in a faltering
|
||
voice.
|
||
|
||
Immediately she felt dizzy, and beginning that night
|
||
there was another onset of her illness. This time it was less
|
||
clearly identifiable, more complex. Now her heart would pain
|
||
her, now her chest, now her head, now her limbs. She had
|
||
vomiting spells, which Charles feared were the first symptoms
|
||
of cancer.
|
||
|
||
And as though that were not enough, the poor fellow had
|
||
money worries!
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER FOURTEEN
|
||
|
||
To begin with, he didn't know how to make good to Monsieur
|
||
Homais for all the medicaments that had come from the pharmacy.
|
||
As a doctor he might have been excused from paying for them,
|
||
but the obligation embarrassed him. Then, what with the cook
|
||
acting as mistress, the household expenses were getting to be
|
||
alarming. There was a deluge of bills. The tradespeople were
|
||
grumbling. Monsieur Lheureux, especially, was harassing him.
|
||
The drygoods dealer, taking advantage of the circumstances to
|
||
pad his bill, had chosen a moment at the very height of Emma's
|
||
illness to deliver the cloak, the overnight bag, two trunks
|
||
instead of one, and a number of other things as well. Charles
|
||
protested that he had no use for them, but the shopkeeper
|
||
arrogantly retorted that all those items had been ordered and
|
||
that he wouldn't take them back. Besides, he said, it would
|
||
be upsetting to Madame in her convalescence. Monsieur should
|
||
think it over. In short, he was determined to stand on his
|
||
rights and carry the matter to court rather than give in. A
|
||
little later Charles ordered that everything be sent back to
|
||
the shop, but Felicite forgot, and he had other things on his
|
||
mind and didn't think of them. Monsieur Lheureux brought the
|
||
matter up again, and by alternating threats and moans got
|
||
Charles to sign a six-months' promissory note. No sooner had
|
||
he signed than he had a bold idea. He would try to borrow a
|
||
thousand francs from Monsieur Lheureux. So he awkwardly asked
|
||
whether there was any chance of this, explaining that it would
|
||
be for one year and at any rate of interest Lheureux might
|
||
specify. Lheureux ran to his shop, brought back the money,
|
||
and dictated another promissory note, whereby Bovary promised
|
||
to pay to his order, the first of the following September, the
|
||
sum of 1,070 francs. Together with the 180 already stipulated,
|
||
that came to just 1,250. In this way, loaning at the rate of
|
||
six percent, plus his commission and at least one-third mark-up
|
||
on the goods, the whole thing would bring him in a clear 130
|
||
francs' profit in twelve months. And he hoped it wouldn't stop
|
||
there, that the notes wouldn't be met but renewed, and that his
|
||
poor little capital, after benefiting from the doctor's care
|
||
like a patient in a sanatorium, would eventually come back to
|
||
him considerably plumper, fat enough to burst the bag.
|
||
|
||
Everything Lheureux touched was successful at this moment.
|
||
His had been the winning bid for the cider supply contract at
|
||
the Neufchatel public hospital. Maitre Guillaumin was promising
|
||
him some shares in the peatery at Grumesnil, and he was thinking
|
||
of setting up a new coach service between Argueil and Rouen.
|
||
Such a thing would quickly spell the end of the old rattletrap
|
||
at the Lion d'Or, and being faster and cheaper and carrying a
|
||
bigger pay load would give him a monopoly on the Yonville trade.
|
||
|
||
Charles wondered more than once how he was going to be
|
||
able to pay back so large a sum the following year. And racking
|
||
his brains he imagined various expedients, such as applying to
|
||
his father or selling off something. But his father would turn
|
||
a deaf ear, and he himself owned nothing that could be sold.
|
||
The difficulties he foresaw were so formidable that he quickly
|
||
banished the disagreeable subject from his mind. He reproached
|
||
himself for having let it distract him from Emma, as though his
|
||
every thought were her property and he were filching something
|
||
from her if he took his mind off her for a second.
|
||
|
||
It was a severe winter. Madame's convalescence was slow.
|
||
On fine days they pushed her armchair to the window. The one
|
||
overlooking the square, for she had taken an aversion to the
|
||
garden, and the blind on that side was always down. She asked
|
||
that her horse be sold, things that had once given her pleasure
|
||
she now disliked. She seemed to have no thought for anything
|
||
beyond her own health. She ate her tiny meals in bed, rang for
|
||
the maid to ask about her tisanes or just to chat. All this
|
||
while the snow on the roof of the market filled the room with
|
||
its monotonous white reflection, then came a spell of rain.
|
||
And every day Emma looked forward, with a kind of anxious
|
||
expectation, to the same, unfailingly recurring, trivial
|
||
events, little though they mattered to her. The greatest of
|
||
these was the nightly arrival of the Hirondelle, when Madame
|
||
Lefrancois shouted, other voices replied, and Hippolyte's
|
||
stable lamp, as he looked for luggage under the hood, shone
|
||
out like a star in the darkness. At noon Charles always
|
||
returned from his rounds. After lunch he went out again, then
|
||
she took a cup of bouillon. And toward five, at the close of
|
||
day, children passed the house on their way home from school,
|
||
dragging their wooden shoes along the sidewalk, and invariably,
|
||
one after the other, hitting their rulers against the shutter
|
||
hooks.
|
||
|
||
About this time Monsieur Bournisien usually stopped in.
|
||
He would ask after her health, give her news, and exhort her
|
||
to prayer in an affectionate, informal way that wasn't without
|
||
its charm. Just the sight of his cassock she found comforting.
|
||
|
||
One day at the height of her sickness, when she thought
|
||
she was dying, she had asked for Communion. And as her room
|
||
was made ready for the sacrament, the chest of drawers cleared
|
||
of its medicine bottles and transformed into an altar, the
|
||
floor strewn with dahlia blossoms by Felicite, Emma felt some-
|
||
thing powerful pass over her that rid her of all pain, all
|
||
perception, all feeling. Her flesh had been relieved of its
|
||
burdens, even the burden of thought. Another life was begin-
|
||
ning. It seemed to her that her spirit, ascending to God, was
|
||
about to find annihilation in this love, like burning incense
|
||
dissolving in smoke. the sheets of her bed were sprinkled with
|
||
holy water. The priest drew the white host from the sacred
|
||
pyx, and she was all but swooning with celestial bliss as she
|
||
advanced her lips to receive the body of the Saviour. The cur-
|
||
tains of her alcove swelled out softly around her like clouds.
|
||
And the beams of the two wax tapers burning on the chest of
|
||
drawers seemed to her like dazzling emanations of divine light.
|
||
Then she let her head fall back. Through the vastnesses of
|
||
space seemed to come the music of seraphic harps, and on a
|
||
golden throne in an azure sky she thought she saw God the Father
|
||
in all His glory, surrounded by the saints bearing branches of
|
||
green palm. He was gesturing majestically, and obedient angels
|
||
with flaming wings were descending to the earth to bear her to
|
||
Him in their arms.
|
||
|
||
This splendid vision, the most beautiful of all possible
|
||
dreams, stayed in her memory. Not eclipsing all else as at
|
||
the time it occurred, but no less intensely sweet. And she
|
||
kept straining to recapture the original sensation. Her soul,
|
||
aching with pride, was at last finding rest in Christian humi-
|
||
lity, and luxuriating in her own weakness she turned her eyes
|
||
inward and watched the destruction of her will, which was to
|
||
open wide the way for an onrush of grace. She was filled with
|
||
wonderment at the discovery that there was a bliss greater
|
||
than mere happiness, a love different from and transcending
|
||
all others. A love without break and without end, a love that
|
||
increased throughout eternity! Among the illusions born of
|
||
her hope she glimpsed a realm of purity in which she aspired
|
||
to dwell. It hovered above the earth, merging with the sky.
|
||
She conceived the idea of becoming a saint. She bought rosa-
|
||
ries and festooned herself with holy medals. She wished she
|
||
had an emerald-studded reliquary within reach at her bed's
|
||
head, to kiss every night.
|
||
|
||
The priest was enchanted by her change of heart, though
|
||
he was of the opinion that her faith might by it very fervor
|
||
come to border on heresy and even on extravagance. But not
|
||
being versed in these matters once they went beyond a certain
|
||
point, he wrote Monsieur Boulard, the bishop's bookseller,
|
||
and asked him to send him "something particularly good for a
|
||
lady who had a very fine mind." As casually as though he
|
||
were shipping trinkets to savages, the bookseller made up a
|
||
heterogeneous package of everything just then current in the
|
||
religious book trade. Little question-and-answer manuals,
|
||
pamphlets couched in the contemptuous language made popular
|
||
by Monsieur de Maistre, so-called novels in pink bindings and
|
||
sugary style concocted by romantic-minded seminarists or re-
|
||
formed blue-stockings. There were titles such as Think It
|
||
Over Carefully, The Man of the World at the Feet of Mary, by
|
||
Monsieur de . . ., recipient of several decorations, The
|
||
Errors of Voltaire, for the use of the young, etc.
|
||
|
||
Madame Bovary wasn't yet sufficiently recovered in mind
|
||
to apply herself seriously to anything. And besides, she
|
||
plunged into all this literature far too precipitately. The
|
||
regulations governing worship annoyed her. She disliked the
|
||
arrogance of the polemical writings because of their relent-
|
||
less attacks on people she had never heard of, and the secular
|
||
stories flavored with religion seemed to her written out of
|
||
such ignorance of the world that she was unwittingly led away
|
||
from the very truths she was longing to have confirmed. Never-
|
||
theless she persisted, and when the volume fell from her hands
|
||
she was convinced that hers was the most exquisite Catholic
|
||
melancholy that had ever entered an ethereal soul.
|
||
|
||
As for the memory of Rodolphe, she had buried it in the
|
||
depths of her heart, and there it remained, as solemn and
|
||
motionless as the mummy of a pharaoh in an underground chamber.
|
||
Her great love that lay thus embalmed gave off a fragrance
|
||
that permeated everything, adding a touch of tenderness to the
|
||
immaculate atmosphere in which she longed to live. When she
|
||
knelt at her Gothic prie-dieu she addressed the Lord in the
|
||
same ardent words she had formerly murmured to her lover in
|
||
the ecstasies of adultery. It was her way of praying for
|
||
faith. But heaven showered no joy upon her, and she would
|
||
rise, her limbs aching, with a vague feeling that it was all a
|
||
vast fraud. This quest she considered meritorious in itself,
|
||
and in the pride of her piety Emma likened herself to those
|
||
great ladies of yore whose fame she had dreamed of while
|
||
gazing at a portrait of La Valliere. How majestically they
|
||
had trailed the gorgeous trains of their long gowns, as they
|
||
withdrew into seclusion to shed at the feet of Christ all the
|
||
tears of their life-wounded hearts!
|
||
|
||
Now she became wildly charitable. She sewed clothes for
|
||
the poor, sent firewood to women in childbed. And one day
|
||
Charles came home to find three tramps sitting at the kitchen
|
||
table eating soup. She sent for her daughter (during her ill-
|
||
ness Charles had left the child with the nurse) and she was
|
||
determined to teach her to read. Berthe wept and wept, but
|
||
she never lost her temper with her. It was a deliberately
|
||
adopted attitude of resignation, of indulgence toward all.
|
||
She used a lofty term whenever she could. "Is your stomach-
|
||
ache all gone, my angel?" she would say to her daughter.
|
||
|
||
The elder Madame Bovary found nothing to reproach her
|
||
for in all this, except perhaps her mania for knitting under-
|
||
shirts for orphans instead of mending her own dish towels.
|
||
Harassed by the incessant quarrels in her own home, the old
|
||
lady enjoyed the peaceful atmosphere of this house, and she
|
||
prolonged her visit through Easter to escape the jibes of her
|
||
husband, whose invariable habit it was to order pork sausage
|
||
on Good Friday.
|
||
|
||
In addition to the company of her mother-in-law, whom
|
||
she found a steadying influence because of her unswerving
|
||
principles and solemn demeanor, Emma nearly every day had
|
||
other visits. From Madame Langlois, Madame Caron, Madame
|
||
Dubreuil, Madame Tuvache, and, regularly from two to five,
|
||
from Madame Homais, who, good soul that she was, had always
|
||
refused to believe any of the gossip that was spread about
|
||
her neighbor. The Homais children visited her too, Justin
|
||
brought them. He came with them up into her bedroom and
|
||
stood quietly near the door, never saying a word. Often
|
||
while he was there Madame Bovary would start to dress, obli-
|
||
vious of him. She would begin by taking out her comb and
|
||
tossing her head. The first time he saw her mass of black
|
||
hair fall in ringlets to her knees, it was for the boy like
|
||
the sudden opening of a door upon something marvelous and
|
||
new, something whose splendor frightened him.
|
||
|
||
Emma never noticed his silent eagerness or his timidity.
|
||
She knew only that love had disappeared from her life. She
|
||
had no suspicion that it was pulsating there so close to her,
|
||
beneath that coarse shirt, in that adolescent heart so open
|
||
to the emanations of her beauty. Moreover, her detachment
|
||
from everything had become so complete, her language was so
|
||
sweet and the look in her eye so haughty, her behavior was so
|
||
mercurial, that there was no longer any way of telling where
|
||
selfishness and corruption ended and charity and virtue began.
|
||
One night, for instance, she lost her temper with her servant,
|
||
who was asking permission to go out and stammering some pre-
|
||
tended reason.
|
||
|
||
Then, "So you love him, do you?" Emma suddenly demanded.
|
||
And without waiting for the blushing Felicite to answer, she
|
||
added, resignedly. "All right, run along! Enjoy yourself!"
|
||
|
||
When the weather turned mild she had the garden completely
|
||
dug up and relandscaped. Bovary objected a little, but he was
|
||
glad to see her finally caring about things, and she gave more
|
||
and more evidence of this as her strength returned. She for-
|
||
bade the house to Madame Rollet the nurse, who during her con-
|
||
valescence had formed the habit of coming too often to the
|
||
kitchen with her own two babes and her little boarder, the
|
||
latter more ravenous than a cannibal. She cut down on visits
|
||
from the Homais', discouraged all her other callers, and even
|
||
went less regularly to church, thus eliciting the apothecary's
|
||
approval.
|
||
|
||
"I was afraid you'd been taken in by the mumbo-jumbo,"
|
||
he said amicably.
|
||
|
||
The abbe Bournisien still came every day, after catechism
|
||
class. He preferred to sit outdoors in the fresh air, in the
|
||
"grove," as he called the arbor. This was the hour of Charles'
|
||
return. Both men would be hot. Felicite would bring them
|
||
sweet cider, and they would raise their glasses and drink to
|
||
Madame's complete recovery.
|
||
|
||
Binet was often there, just below, that is, beside the
|
||
terrace wall, fishing for crayfish. Bovary would invite him
|
||
to join them for a drink, he prided himself on being an expert
|
||
uncorker of cider jugs.
|
||
|
||
"First," he would say, glancing at his companions compla-
|
||
cently and then giving an equally smug look at the landscape,
|
||
"first you must hold the bottle upright on the table, like
|
||
this. Then you cut the strings. And then you pry up the cork,
|
||
a little at a time, gently, gently, the way they open Seltzer
|
||
water in restaurants."
|
||
|
||
But during this demonstration the cork would often pop
|
||
out and the cider would splash one or another of them in the
|
||
face. And the cure never failed to laugh his thick laugh and
|
||
make his joke, "Its excellence is certainly striking!"
|
||
|
||
He was a good-hearted fellow, there was no denying it,
|
||
and he even expressed no objection one day when the pharmacist
|
||
advised Charles to give Madame a treat and take her to the
|
||
opera in Rouen, to hear the famous tenor, Lagardy. Homais was
|
||
surprised at his silence, and asked him how he felt about it,
|
||
and the priest declared that he considered music less dangerous
|
||
to morals than literature.
|
||
|
||
The pharmacist sprang to the defense of letters. The
|
||
theatre, he claimed, served to expose prejudice. It taught
|
||
virtue under the guise of entertainment.
|
||
|
||
"Castigat ridendo mores, Monsieur Bournisien! Take most
|
||
of Voltaire's tragedies, for example. It's clever the way
|
||
he's stuck them full of philosophical remarks. They're a
|
||
complete education in morals and diplomacy for the people."
|
||
|
||
"I saw a play once, called the Gamin de Paris," said
|
||
Binet. "There's an old general in it that's absolutely first-
|
||
class. A rich fellow seduces a working girl and the general
|
||
|
||
slaps him down and at the end . . ."
|
||
|
||
"Of course," Homais went on, "there's bad literature just
|
||
as there's bad pharmaceutics. But to make a blanket condemna-
|
||
tion of the greatest of the fine arts seems to be a yokelism, a
|
||
medievalism worthy of that abominable age when they imprisoned
|
||
Galileo."
|
||
|
||
"I know perfectly well," objected the priest, "that there
|
||
are good writers who write good things. Still, the fact alone
|
||
that people of different sexes are brought together in a glamo-
|
||
rous auditorium that's the last word in worldly luxury, and
|
||
then the heathenish disguises, the painted faces, the foot-
|
||
lights, the effeminate voices, it all can't help encouraging a
|
||
certain licentiousness and inducing evil thoughts and impure
|
||
temptations. Such, at least, is the opinion of all the church
|
||
fathers. After all," he added, suddenly assuming an unctuous
|
||
tone and rolling himself a pinch of snuff, "if the church con-
|
||
demns play-going she has good reason for doing so, we must sub-
|
||
mit to her decrees."
|
||
|
||
"Why," demanded the apothecary, "does she excommunicate
|
||
actors? They used to take part openly in ecclesiastical cere-
|
||
monies, you know. Yes, they used to act right in the middle of
|
||
the choir, put on farcical plays called mysteries. These often
|
||
violated the laws of decency, I may say."
|
||
|
||
The priest's only answer was a groan, and the pharmacist
|
||
persisted. "It's the same in the Bible. There's more than one
|
||
spicy bit in that book, you know, some pret-ty dar-ing things!"
|
||
|
||
And as Monsieur Bournisien made a gesture of annoyance.
|
||
|
||
"Ah! You'll agree that it's no book to give a young
|
||
person! I'd be sorry if my daughter Athalie . . ."
|
||
|
||
"But we don't recommend the reading of the Bible!" cried
|
||
the abbe impatiently. "It's the Protestants!"
|
||
|
||
"It makes no difference," said Homais. "I'm astonished
|
||
that in this day and age, an age of enlightenment, anyone
|
||
should persist in forbidding a form of intellectual diversion
|
||
that's harmless, morally uplifting, and sometimes, isn't it
|
||
true, Doctor? . . . even good for the health."
|
||
|
||
"I guess so." Charles made his answer in a vacant tone,
|
||
perhaps because he shared Homais' opinion and didn't want to
|
||
offend the priest, or perhaps because he had no opinion.
|
||
|
||
The conversation seemed to be at an end, when the pharma-
|
||
cist saw fit to make one last dig.
|
||
|
||
"I've known priests," he said, "who made a practice of
|
||
going out in civilian clothes and watching leg shows."
|
||
|
||
"Come now," said the priest.
|
||
|
||
"Oh yes, I've known some!"
|
||
|
||
And once again separating his syllables by way of signifi-
|
||
cant emphasis, Homais repeated. "I . . . have . . . known . . .
|
||
some!"
|
||
|
||
"Well, then, they did wrong," said Bournisien with truly
|
||
Christian patience.
|
||
|
||
"I should think so! And that wasn't all they were up to,
|
||
either!" exclaimed the apothecary.
|
||
|
||
"Monsieur!" The priest jumped to his feet and glared so
|
||
fiercely that the pharmacist was intimidated.
|
||
|
||
"All I mean," he said, much more mildly, "is that toler-
|
||
ance is the surest means of bringing souls into the church."
|
||
|
||
"Quite true, quite true," the cure conceded, sitting down
|
||
again.
|
||
|
||
He left a moment or two later, however, and Homais said
|
||
to the doctor, "Quite a squabble! How did you like the way I
|
||
got the better of him? Pretty good, eh? Anyway, follow my
|
||
advice and take Madame to the opera, if only to give a priest
|
||
a black eye for once in your life. If I could find a substi-
|
||
tute I'd come with you. Don't lose any time getting tickets.
|
||
Lagardy's giving only one performance, he's scheduled for an
|
||
English tour at staggering fees. From what they say, he must
|
||
be quite a lad. He's filthy with money. Everywhere he goes
|
||
he takes along three mistresses and a cook. All those great
|
||
artists burn their candles at both ends. They have to lead a
|
||
wild kind of life. It stimulates their imagination. But they
|
||
die in the poorhouse, because they haven't the sense to save
|
||
money when they're young. Well, bon appetit, a demain!"
|
||
|
||
The idea of the opera took rapid root in Bovary's mind.
|
||
He lost no time suggesting it to his wife. She shook her head,
|
||
pleading fatigue, trouble and expense. But for once Charles
|
||
didn't give in, so convinced was he that she would benefit from
|
||
the excursion. He saw no reason for them not to go, his mother
|
||
had sent him three hundred francs they had given up hope of
|
||
getting, their debts of the moment were nothing tremendous, and
|
||
Lheureux's notes weren't due for so long that there was no use
|
||
thinking about them. Fancying that Emma was refusing out of
|
||
consideration for him, Charles insisted the more strongly, and
|
||
finally she gave in. The next day, at eight in the morning,
|
||
they bundled themselves into the Hirondelle.
|
||
|
||
The apothecary, who had nothing in the world to keep him
|
||
in Yonville, but who was firmly convinced that he couldn't
|
||
absent himself even briefly, gave a sigh as he watched their
|
||
departure.
|
||
|
||
"Bon voyage!" he called to them. "Some people have all
|
||
the luck!"
|
||
|
||
And to Emma, who was wearing a blue silk dress with four
|
||
rows of flounces, "You're pretty as a picture! You'll be the
|
||
belle of Rouen!"
|
||
|
||
The coach took them to the Hotel de la Croix-Rouge in
|
||
the Place Beauvoisine. It was one of those inns such as you
|
||
find on the edge of every provincial city, with large stables
|
||
and small bedrooms, and chickens scratching for oats in the
|
||
coach yard under muddy gigs belonging to traveling salesmen.
|
||
Comfortable, old-fashioned stopovers, with worm-eaten wooden
|
||
balconies that creak in the wind on winter nights, constantly
|
||
full of people, bustle and victuals, their blackened table
|
||
tops sticky with spilled coffee-and-brandies, their thick
|
||
windowpanes yellowed by flies, their napkins spotted blue by
|
||
cheap red wine. They always seem a little rustic, like farm
|
||
hands in Sunday clothes. On the street side they have a cafe,
|
||
and in back, on the country side, a vegetable garden. Charles
|
||
went at once to buy tickets. He got the stage boxes mixed up
|
||
with the top balconies, and the rest of the boxes with the
|
||
orchestra. He asked for explanations, didn't understand them,
|
||
was sent from the box office to the manager, came back to the
|
||
hotel, went back to the box office again. All in all, between
|
||
the theatre and the outer boulevard he covered the entire
|
||
length of the city several times over.
|
||
|
||
Madame bought herself a hat, gloves and a bouquet.
|
||
Monsieur was nervous about missing the beginning, and without
|
||
stopping for as much as a cup of bouillon they arrived at the
|
||
theatre before the doors were even open.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER FIFTEEN
|
||
|
||
There was a crowd waiting outside, lined up behind rail-
|
||
ings on both sides of the entrance. At the adjoining street
|
||
corners huge posters in fancy lettering announced, "Lucie de
|
||
Lammermoor . . . Lagardy . . . Opera . . . etc." It was a
|
||
fine evening. Everyone was hot. Many a set of curls was
|
||
drenched in sweat, and handkerchiefs were out, mopping red
|
||
brows. Now and again a soft breeze blowing from the river
|
||
gently stirred the edges of the canvas awnings over cafe doors.
|
||
But just a short distance away there was a coolness, provided
|
||
by an icy draft smelling of tallow, leather and oil, the effu-
|
||
via of the Rue des Charettes, with its great, gloomy, barrel-
|
||
filled warehouses.
|
||
|
||
Fearing lest they appear ridiculous, Emma insisted that
|
||
they stroll a bit along the river front before going in. And
|
||
Bovary, by way of precaution, kept the tickets in his hand and
|
||
his hand in his trousers pocket, pressed reassuringly against
|
||
his stomach.
|
||
|
||
Her heart began to pound as they entered the foyer. A
|
||
smile of satisfaction rose involuntarily to her lips at seeing
|
||
the crowd hurry off to the right down the corridor, while she
|
||
climbed the stairs leading to the first tier. She took plea-
|
||
sure, like a child, in pushing open the wide upholstered doors
|
||
with one finger. She filled her lungs with the dusty smell of
|
||
the corridors, and seated in her box she drew herself up with
|
||
all the airs of a duchess.
|
||
|
||
The theatre began to fill. Opera glasses came out of
|
||
cases, and subscribers exchanged greetings as they glimpsed
|
||
one another across the house. The arts, for them, were a
|
||
relaxation from the worries of buying and selling, that was
|
||
why they had come, but it was quite impossible for them to
|
||
forget business even here, and their conversation was about
|
||
cotton, spirits and indigo. The old men looked blank and
|
||
placid. With their gray-white hair and gray-white skin they
|
||
were like silver medals that had been tarnished by lead fumes.
|
||
The young beaux strutted in the orchestra. The openings of
|
||
their waistcoats were bright with pink or apple-green cravats,
|
||
and Madame Bovary looked admiringly down at them as they
|
||
leaned with tightly yellow-gloved hands on their gold-knobbed
|
||
walking sticks.
|
||
|
||
Meanwhile the candles were lighted on the music stands
|
||
and the chandelier came down from the ceiling, the sparkle of
|
||
its crystals filling the house with sudden gaiety. Then the
|
||
musicians filed in and there was a long cacophony of booming
|
||
cellos, scraping violins, blaring horns, and piping flutes
|
||
and flageolets. Then three heavy blows came from the stage.
|
||
There was a roll of kettledrums and a series of chords from
|
||
the brasses, and the curtain rose on an outdoor scene.
|
||
|
||
It was a crossroad in a forest, on the right a spring
|
||
shaded by an oak. A group of country folk and nobles, all
|
||
with tartans over their shoulders, sang a hunting chorus.
|
||
Then a captain strode in and inveighed against an evil spirit,
|
||
raising both arms to heaven. Another character joined him.
|
||
They both walked off, and the huntsmen repeated their chorus.
|
||
|
||
She was back in the books she had read as a girl, deep in
|
||
Walter Scott. She imagined she could hear the sound of Scot-
|
||
tish pipes echoing through the mist across the heather. Her
|
||
recollection of the novel made it easy for her to grasp the
|
||
libretto, and she followed the plot line by line, elusive,
|
||
half-forgotten memories drifting into her thoughts only to be
|
||
dispelled by the onrush of the music. She let herself be
|
||
lulled by the melodies, feeling herself vibrate to the very
|
||
fiber of her being, as though the bows of the violins were
|
||
playing on her nerve-strings. She couldn't take in enough of
|
||
the costumes, the sets, the characters, the painted trees
|
||
that shook at the slightest footstep, the velvet bonnets, the
|
||
cloaks, the swords, all those fanciful things that fluttered
|
||
on waves of music as though in another world. Then a young
|
||
woman came forward, tossing a purse to a squire in green. She
|
||
was left alone on the stage, and there came the sound of a
|
||
flute, like the ripple of a spring or the warbling of a bird.
|
||
Lucie, looking solemn, began her cavatina in G major. She
|
||
uttered love laments, begged for wings. And at that moment
|
||
Emma, too, longed that she might leave life behind and take
|
||
wing in an embrace. Suddenly Edgar Lagardy came on stage.
|
||
|
||
He was pale to the point of splendor with that marmoreal
|
||
majesty sometimes found among the passionate races of the
|
||
south. His stalwart figure was clad in a tight brown doublet.
|
||
A small chased dagger swung at his left hip, and he rolled his
|
||
eyes about him languorously and flashed his white teeth.
|
||
|
||
People said that a Polish princess had heard him sing one
|
||
night on the beach at Biarritz, where he was a boat-boy, and
|
||
had fallen in love with him. She had beggared herself for
|
||
him, and he had left her for other women. This reputation
|
||
as a ladies' man had done no disservice to his professional
|
||
career. Shrewd ham actor that he was, he always saw to it
|
||
that his publicity should include a poetic phrase or two about
|
||
the charm of his personality and the sensibility of his soul.
|
||
A fine voice, utter self-possession, more temperament than
|
||
intelligence, more bombast than feeling, such were the prin-
|
||
cipal attributes of this magnificent charlatan. There was
|
||
a touch of the hairdresser about him, and a touch of the
|
||
toreador.
|
||
|
||
He had the audience in transports from the first. He
|
||
clasped Lucie in his arms, left her, returned to her, seemed
|
||
in despair. He would shout with rage, then let his voice
|
||
expire, plaintive and infinitely sweet, and the notes that
|
||
poured from his bare throat were full of sobs and kisses.
|
||
|
||
Emma strained forward to watch him, her fingernails
|
||
scratching the plush of her box. Her heart drank its full of
|
||
the medodious laments that hung suspended in the air against
|
||
the sound of the double-basses like the cries of shipwrecked
|
||
sailors against the tumult of a storm. Here was the same
|
||
ecstasy, the same anguish that had brought her to the brink
|
||
of death. The soprano's voice seemed but the echo of her own
|
||
soul, and this illusion that held her under its spell a part
|
||
of her own life. But no one on earth had ever loved her with
|
||
so great a love. That last moonlight night, when they had
|
||
told each other, "Till tomorrow! Till tomorrow!" he had not
|
||
wept as Edgar was weeping now. The house was bursting with
|
||
applause. The whole stretto was repeated. The lovers sang
|
||
about the flowers on their graves, about vows and exile and
|
||
|
||
fate and hope. And when their voices rose in the final fare-
|
||
well, Emma herself uttered a sharp cry that was drowned in
|
||
the blast of the final chords.
|
||
|
||
"What's that lord doing, mistreating her like that?"
|
||
Charles asked.
|
||
|
||
"No, no," she answered. "That's her lover."
|
||
|
||
"But he's swearing vengeance on her family, whereas the
|
||
other one, the one that came on a while ago, said `I love
|
||
Lucie and I think she loves me!' Besides, he walked off arm
|
||
in arm with her father. That is her father, isn't it, the
|
||
ugly little one with the cock-feather in his hat?"
|
||
|
||
Despite Emma's explanations, Charles got everything mixed
|
||
up beginning with the duet in recitative in which Gilbert ex-
|
||
plains his abominable machinations to his master Ashton. The
|
||
false engagement ring serving to trick Lucie he took to be a
|
||
love token sent by Edgar. In fact he couldn't follow the story
|
||
at all, he said, because of the music. It interfered so with
|
||
the words.
|
||
|
||
"What difference does it make?" said Emma. "Be quiet!"
|
||
|
||
"But I like to know what's going on," he persisted, lean-
|
||
ing over her shoulder. "You know I do."
|
||
|
||
"Be quiet! Be quiet!" she whispered impatiently.
|
||
|
||
Lucie came on, half borne up by her women. There was a
|
||
wreath of orange blossoms in her hair, and she was paler than
|
||
the white satin of her gown. Emma thought of her own wedding
|
||
day. She saw herself walking toward the church along the
|
||
little path amid the wheatfields. Why in heaven's name hadn't
|
||
she resisted and entreated, like Lucie? But no, she had been
|
||
light-hearted, unaware of the abyss she was rushing toward.
|
||
Ah! If only in the freshness of her beauty, before defiling
|
||
herself in marriage, before the disillusionments of adultery,
|
||
she could have found some great and noble heart to be her
|
||
life's foundation! Then virtue and affection, sensual joys
|
||
and duty would all have been one, and she would never have
|
||
fallen from her high felicity. But that kind of happiness was
|
||
doubtless a lie, invented to make one despair of any love.
|
||
Now she well knew the true paltriness of the passions that art
|
||
painted so large. So she did her best to think of the opera
|
||
in a different light. She resolved to regard this image of
|
||
her own griefs as a vivid fantasy, an enjoyable spectacle and
|
||
nothing more. And she was actually smiling to herself in
|
||
scornful pity when from behind the velvet curtains at the
|
||
back of the stage there appeared a man in a black cloak.
|
||
|
||
A single gesture sent his broad-brimmed Spanish hat to
|
||
the ground, and the orchestra and the singers abruptly broke
|
||
into the sextet. Edgar, flashing fury, dominated all the
|
||
others with his high, clear voice. Ashton flung him his
|
||
homicidal challenge in solemn tones. Lucie uttered her shrill
|
||
lament. Arthur sang his asides in middle register. And the
|
||
chaplain's baritone boomed like an organ while the women,
|
||
echoing his words, repeated them in delicious chorus. All the
|
||
characters now formed a single line across the stage. All were
|
||
gesticulating at once, and rage, vengeance, jealousy, terror,
|
||
pity and amazement poured simultaneously from their open
|
||
mouths. The outraged lover brandished his naked sword. His
|
||
lace collar rose and fell with the heaving of his chest, and
|
||
he strode up and down, clanking the silver-gilt spurs on his
|
||
soft, flaring boots. His love, she thought, must be inexhaus-
|
||
tible, since he could pour it out in such great quantities on
|
||
the crowd. Her resolution not to be taken in by the display
|
||
of false sentiment was swept away by the impact of the singer's
|
||
eloquence. The fiction that he was embodying drew her to his
|
||
real life, and she tried to imagine what it was like. That
|
||
glamorous, fabulous, marvelous life that she, too, might have
|
||
lived had chance so willed it. They might have met! They
|
||
might have loved! With him she might have traveled over all
|
||
the kingdoms of Europe, from capital to capital, sharing his
|
||
hardships and his triumphs, gathering up the flowers his ad-
|
||
mirers threw. Embroidering his costumes with her own hands,
|
||
and every night behind the gilded lattice of her box she might
|
||
have sat open-mouthed, breathing in the outpourings of that
|
||
divine creature who would be singing for her alone. He would
|
||
have gazed at her from the stage as he played his role. A mad
|
||
idea seized her, he was gazing at her now! She was sure of
|
||
it! She longed to rush into his arms and seek refuge in his
|
||
strength as in the very incarnation of love. She longed to
|
||
cry, "Ravish me! Carry me off! Away from here! All my
|
||
passion and all my dreams are yours, yours alone!"
|
||
|
||
The curtain fell.
|
||
|
||
The smell of gas mingled with human exhalations, and the
|
||
air seemed the more stifling for being stirred up by fans.
|
||
Emma tried to get out, but there was a crush in the corridors,
|
||
and she sank back onto a chair, oppressed by palpitations.
|
||
Charles, fearful lest she fall into a faint, hurried to the
|
||
bar for a glass of orgeat.
|
||
|
||
He had a hard time getting back to the box. He held the
|
||
glass in both hands because his elbows were being jarred at
|
||
every other step, but even so he spilled three-quarters of it
|
||
over the shoulders of a Rouen lady in short sleeves, who began
|
||
to scream like a peacock, as though she were being murdered,
|
||
when she felt the cold liquid trickling down her spine. While
|
||
she took her handkerchief to the spots on her beautiful cerise
|
||
taffeta gown, her mill-owner husband gave poor clumsy Charles
|
||
a piece of his mind, angrily muttering the words "damages,"
|
||
"cost," and "replacement." Finally Charles made his way to
|
||
his wife.
|
||
|
||
"I thought I'd never get out of there," he gasped. "Such
|
||
a crowd! Such a crowd!"
|
||
|
||
And he added, "Guess who I ran into, Monsieur Leon!"
|
||
|
||
"Leon?"
|
||
|
||
"Absolutely. He'll be coming along to pay you his re-
|
||
spects."
|
||
|
||
As he uttered the words the former Yonville clerk entered
|
||
the box.
|
||
|
||
He held out his hand with aristocratic casualness, and
|
||
Madame Bovary automatically extended hers, yielding, no doubt,
|
||
to the attraction of a stronger will. She hadn't touched it
|
||
since that spring evening when the rain was falling on the new
|
||
green leaves, the evening they had said farewell as they stood
|
||
beside the window. But quickly reminding herself of the social
|
||
requirements of the situation, she roused herself with an
|
||
effort from her memories and began to stammer hurried phrases.
|
||
|
||
"Ah, good evening! You here? How amazing . . .!"
|
||
|
||
"Quiet!" cried a voice from the orchestra, for the third
|
||
act was beginning.
|
||
|
||
"So you're living in Rouen?"
|
||
|
||
"Yes."
|
||
|
||
"Since when?'
|
||
|
||
"Sh! Sh!"
|
||
|
||
People were turning around at them indignantly, and they
|
||
fell silent.
|
||
|
||
But from that moment on Emma no longer listened to the
|
||
music. The chorus of guests, the scene between Ashton and his
|
||
attendant, the great duet in D major. For her it all took
|
||
place at a distance, as though the instruments had lost their
|
||
sound and the characters had moved away. She recalled the
|
||
card games at the pharmacist's and the walk to the wet nurse's,
|
||
their readings under the arbor, the tete-a-tetes beside the
|
||
fire. The whole poor story of their love, so quiet and so
|
||
long, so discreet, so tender, and yet discarded from her
|
||
memory. Why was he returning like this? What combination
|
||
of events was bringing him back into her life? He sat behind
|
||
her, leaning a shoulder against the wall of the box. And
|
||
from time to time she quivered as she felt his warm breath
|
||
on her hair.
|
||
|
||
"Are you enjoying this?' he asked, leaning over so close
|
||
that the tip of his mustache brushed against her cheek.
|
||
|
||
"Heavens no," she said carelessly, "not particularly."
|
||
|
||
And he suggested that they leave the theatre and go
|
||
somewhere for an ice.
|
||
|
||
"Oh, not yet! Let's stay!" said Bovary. "Her hair's
|
||
down. It looks as though it's going to be tragic."
|
||
|
||
But the mad scene interested Emma not at all. The
|
||
soprano, she felt, was overdoing her role.
|
||
|
||
"She's shrieking too loud," she said, turning toward
|
||
Charles, who was drinking it in.
|
||
|
||
"Yes . . . perhaps . . . a little," he replied, torn
|
||
between the fullness of his enjoyment and the respect he had
|
||
for his wife's opinions.
|
||
|
||
"It's so hot . . ." sighed Leon.
|
||
|
||
"It is . . . Unbearable."
|
||
|
||
"Are you uncomfortable?' asked Bovary.
|
||
|
||
"Yes, I'm stifling. Let's go."
|
||
|
||
Monsieur Leon carefully laid her long lace shawl over her
|
||
shoulders, and the three of them walked to the river front and
|
||
sat down on the outdoor terrace of a cafe. First they spoke
|
||
of her sickness, Emma interrupting Charles now and then lest,
|
||
as she said, he bore Monsieur Leon. And Monsieur Leon told
|
||
them he had just come to Rouen to spend two years in a large
|
||
office to familiarize himself with the kind of business car-
|
||
ried on in Normandy, which was different from anything he had
|
||
learned about in Paris. Then he asked about Berthe, the
|
||
Homais', and Madame Lefrancois, and since they had no more to
|
||
say to each other in front of Charles the conversation soon
|
||
died.
|
||
|
||
People coming from the theatre strolled by on the side-
|
||
walk, humming or bawling at the top of their voices, "O bel
|
||
ange, ma Lucie!" Leon began to show off his musical know-
|
||
ledge. He had heard Tamburini, Rubini, Persiani, Grisi, and
|
||
in comparison with them, Lagardy, for all the noise he made,
|
||
was nothing.
|
||
|
||
"Still," interrupted Charles, who was eating his rum
|
||
sherbet a tiny bit at a time, "they say he's wonderful in
|
||
the last act. I was sorry to leave before the end. I was
|
||
beginning to like it."
|
||
|
||
"Don't worry," said the clerk, "he'll be giving another
|
||
performance soon."
|
||
|
||
But Charles said they were leaving the next day.
|
||
|
||
"Unless," he said, turning to his wife, "you'd like to
|
||
stay on by yourself, sweetheart?"
|
||
|
||
And changing his tune to suit this unexpected opportunity,
|
||
the young man sang the praises of Lagardy in the final scenes.
|
||
He was superb, sublime!
|
||
|
||
Charles insisted, "You can come home Sunday. Yes, make
|
||
up your mind to do it. You'd be wrong not to, if you think
|
||
there's the slightest chance it might do you some good."
|
||
|
||
Meanwhile the tables around them were emptying. A waiter
|
||
came and stood discreetly nearby. Charles took the hint and
|
||
drew out his purse. The clerk put a restraining hand on his
|
||
arm, paid the bill, and noisily threw down a couple of silver
|
||
coins for the waiter.
|
||
|
||
"I'm really embarrassed," murmured Bovary, "at the money
|
||
that you . . ."
|
||
|
||
The younger man shrugged him off in a friendly way and
|
||
took up his hat. "So it's agreed?' he said. "tomorrow at
|
||
six?'
|
||
|
||
Charles repeated that he couldn't stay away that much
|
||
longer, but that there was nothing to prevent Emma . . .
|
||
|
||
"Oh," she murmured, smiling a peculiar smile, "I really
|
||
don't know whether . . ."
|
||
|
||
"Well, think it over," said Charles. "Sleep on it and
|
||
we'll decide in the morning." Then, to Leon, who was walking
|
||
with them, "Now that you're back in our part of the world I
|
||
hope you'll drop in now and then and let us give you dinner?"
|
||
|
||
The clerk said that he certainly would, especially since
|
||
he'd soon be going to Yonville anyway on a business matter.
|
||
They said good night at the corner of the Passage Saint-
|
||
Herbland as the cathedral clock was striking half past eleven.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 3
|
||
|
||
CHAPTER ONE
|
||
|
||
Busy though he had been with his law studies, Monsieur
|
||
Leon had nevertheless found time to frequent the Chaumiere,
|
||
and in that cabaret he had done very well for himself with
|
||
the grisettes, who considered him "distinguished-looking."
|
||
He was the best-behaved student imaginable. His hair was
|
||
neither too long nor too short, he didn't spend his entire
|
||
quarter's allowance the day he got it, and he kept on good
|
||
terms with his professors. As for excesses, he had been too
|
||
timorous as well as too squeamish to go in for them.
|
||
|
||
Often, when he sat reading in his room, or under the
|
||
lindens of the Luxembourg in the evening, he let his law book
|
||
fall to the ground, and the memory of Emma came back to him.
|
||
But gradually his feeling for her faded, and other sensual
|
||
appetites supplanted it. Even so, it persisted in the back-
|
||
ground, for Leon never gave up all hope. It was as though a
|
||
vague promise kept dangling before him in the future, like a
|
||
golden fruit hanging from some exotic tree.
|
||
|
||
Then, seeing her again after three years, his passion
|
||
revived. This time, he decided he must make up his mind to
|
||
possess her. Much of his shyness had worn off as a result
|
||
of the gay company he had kept, and he had returned to the
|
||
provinces filled with contempt for the local ladies, so
|
||
different from the trim-shod creatures of the boulevards.
|
||
Before an elegant Parisienne in the salon of some famous,
|
||
rich, be-medaled physician, the poor clerk would doubtless
|
||
have trembled like a child. But here on the Rouen river
|
||
front, in the presence of this wife of an officier de sante,
|
||
he felt at ease, sure in advance that she would be dazzled.
|
||
Self-confidence depends on surroundings. The same person
|
||
talks quite differently in the drawing room and in the
|
||
garret, and a rich woman's virtue is protected by her bank-
|
||
notes quite as effectively as by any cuirass worn under a
|
||
corset.
|
||
|
||
After taking leave of Monsieur and Madame Bovary the
|
||
previous night, Leon had followed them at a distance in the
|
||
street, and when he saw them turn into the Croix-Rouge, he
|
||
retraced his steps and spent the rest of the night working
|
||
out a plan of action.
|
||
|
||
The next afternoon about five, pale-faced, with a tight-
|
||
ness in his throat and with the blind resolution of the panic-
|
||
stricken, he walked into the inn kitchen.
|
||
|
||
"Monsieur isn't here," a servant told him.
|
||
|
||
He took that to be a good omen, and went upstairs.
|
||
|
||
She received him calmly, and even apologized for having
|
||
forgotten to mention where they were staying.
|
||
|
||
"Oh, I guessed!" said Leon.
|
||
|
||
"How?"
|
||
|
||
He pretended that he had been led to her by pure chance,
|
||
a kind of instinct. That made her smile, and, ashamed of his
|
||
blunder, he quickly told her that he had spent the morning
|
||
looking for her all over the city, in one hotel after another.
|
||
|
||
"So you decided to stay?" he asked.
|
||
|
||
"Yes," she said, "and I was wrong. One can't afford to
|
||
be self-indulgent if one has a thousand things to attend to."
|
||
|
||
"Oh, I can imagine . . ."
|
||
|
||
"No, you can't! You're not a woman."
|
||
|
||
But men had their troubles too. And so the conversation
|
||
got under way, with philosophical reflections. Emma expati-
|
||
ated on the vanity of earthly attachments and on the eternal
|
||
isolation of every human heart. Either to impress her, or
|
||
naturally taking on the color of her melancholy, the young
|
||
man declared that he had found his studies prodigiously frus-
|
||
trating. The technicalities of law irritated him, he was
|
||
|
||
tempted by other careers, and in her letters his mother never
|
||
stopped pestering him. Indeed, as they talked on they both
|
||
became more specific in their complaints, and less reserved
|
||
in their confidences. Occasionally they shrank from giving
|
||
full expression to their thought, and groped for phrases that
|
||
would convey it obliquely. But she never disclosed having had
|
||
another passion, and he said nothing about having forgotten
|
||
her.
|
||
|
||
Perhaps he no longer remembered the suppers following
|
||
fancy-dress balls, with the girls costumed as stevedores. And
|
||
doubtless she didn't recall those early-morning meetings when
|
||
she had run through the fields to her lover's chateau. The
|
||
sounds of the city reached them only faintly, and the room
|
||
seemed small, designed with them in mind, to make their soli-
|
||
tude the closer. Emma, in a dimity dressing gown, leaned her
|
||
chignon against the back of the old armchair. The yellow
|
||
wallpaper was like a gold ground behind her, and her bare head
|
||
was reflected in the mirror, with the white line of her center
|
||
part, and the tips of her ears peeping out from under the
|
||
sweeps of her hair.
|
||
|
||
"But forgive me," she said. "I shouldn't bore you with
|
||
all my complaints!"
|
||
|
||
"How can you say that!" he said reproachfully.
|
||
|
||
"Ah!" she said, lifting her lovely tear-bright eyes to
|
||
the ceiling. "If you knew all the dreams I've dreamed!"
|
||
|
||
"It's the same with me! Oh, I had a terrible time! Very
|
||
often I dropped everything and went out and wandered along the
|
||
quays, trying to forget my thoughts in the noise of the crowd.
|
||
But I could never drive out the obsession that haunted me. In
|
||
the window of a print shop on the boulevard there's an Italian
|
||
engraving showing one of the Muses. She's draped in a tunic
|
||
and looking at the moon. Her hair's streaming down, with for-
|
||
get-me-nots in it. Something made me go back there over and
|
||
over again. I used to stand in front of that window for hours
|
||
on end." Then, in a trembling voice, "She looked like you a
|
||
little."
|
||
|
||
Madame Bovary averted her face lest he see the smile that
|
||
she couldn't suppress.
|
||
|
||
"I kept writing you letters," he said, "and then tearing
|
||
them up."
|
||
|
||
She made no answer.
|
||
|
||
He went on, "I used to imagine we'd meet by chance. I
|
||
kept thinking I saw you on street corners, and I even ran
|
||
after cabs sometimes, if I saw a shawl or a veil at the window
|
||
that looked like yours . . ."
|
||
|
||
She seemed determined to let him speak without interrup-
|
||
tion. Arms crossed and head lowered, she stared at the ros-
|
||
ettes on her slippers, now and again moving her toes a little
|
||
under the satin.
|
||
|
||
Finally she gave a sigh. "The worst thing of all, it
|
||
seems to me, is to go on leading a futile life the way I do.
|
||
If our unhappiness were of use to someone, we could find con-
|
||
solation in the thought of sacrifice!"
|
||
|
||
He launched into a eulogy of virtue, duty, silent renun-
|
||
ciation. He, too, he said, had a fantastic need for selfless
|
||
dedication that he was unable to satisfy.
|
||
|
||
"What I should love to do," she said, "would be to join
|
||
an order of nursing Sisters."
|
||
|
||
"Alas!" he answered. "No such sacred missions are open
|
||
to men. I can't think of any calling . . . except maybe be-
|
||
coming a doctor . . ."
|
||
|
||
She gave a slight shrug and interrupted him, expressing
|
||
regret that her illness had not been fatal. What a pity! By
|
||
now she would be past all suffering. Leon at once chimed in
|
||
with a longing for "the peace of the grave." One night he had
|
||
even written out his will, asking to be buried in the beautiful
|
||
velvet-striped coverlet she had given him.
|
||
|
||
That was how they would have liked to be. What they were
|
||
doing was to dream up ideals and then refashion their past
|
||
lives to match them. Speech is a rolling-machine that always
|
||
stretches the feelings it expresses!
|
||
|
||
But, "Why?" she asked him, at his made-up tale about the
|
||
coverlet.
|
||
|
||
"Why?" He hesitated. "Because . . . I was terribly in
|
||
love with you!"
|
||
|
||
And congratulating himself on having got over the hurdle,
|
||
Leon watched her face out of the corner of his eye.
|
||
|
||
It was like the sky when a gust of wind sweeps away the
|
||
clouds. The mass of sad thoughts that had darkened her blue
|
||
eyes seemed to lift, her whole face was radiant.
|
||
|
||
He waited. Finally she answered, "I always thought so."
|
||
|
||
They went over, then, the tiny happenings of that far-off
|
||
time, whose joys and sorrows had been evoked by a single word.
|
||
He spoke of the clematis bower, of the dresses she had worn,
|
||
of the furniture in her room . . . of everything in the house.
|
||
|
||
"And our poor cactuses . . . what's become of them?'
|
||
|
||
"The cold killed them last winter."
|
||
|
||
"I've thought about them so often, would you believe it?
|
||
I've pictured them the way they used to look on summer morn-
|
||
ings, with the sun on the blinds and your bare arms in among
|
||
the flowers."
|
||
|
||
"Poor boy," she said, holding out her hand.
|
||
|
||
Leon lost no time pressing it to his lips. Then, after
|
||
taking a deep breath.
|
||
|
||
"You were a strange, mysterious, captivating force in my
|
||
life in those days. There was one time, for example, when I
|
||
came to call on you . . . But you probably don't remember."
|
||
|
||
"Yes, I do. Go on."
|
||
|
||
"You were downstairs in the hall, ready to go out, stand-
|
||
ing on the bottom step. I even remember your hat . . . it had
|
||
little blue flowers on it. And without your asking me at all
|
||
I went with you. I couldn't help it. I felt more and more
|
||
foolish every minute, though, and I kept on walking near you.
|
||
I didn't dare really follow you, and yet I couldn't bear to go
|
||
away. When you went into a shop I stayed in the street, watch-
|
||
ing you through the window take off your gloves and count the
|
||
change on the counter. Then you rang Madame Tuvache's bell.
|
||
You went in, and I stood there like an idiot in front of the
|
||
big heavy door even after it had closed behind you."
|
||
|
||
As she listened to him, Madame Bovary marveled at how old
|
||
she was. All those re-emerging details made her life seem
|
||
vaster, as though she had endless emotional experiences to
|
||
look back on. Her voice low, her eyes half closed, she kept
|
||
saying, "Yes, I remember! I remember! I remember . . .!"
|
||
|
||
They heard eight o'clock strike from several belfries
|
||
near the Place Beauvoisine, a section of Rouen full of board-
|
||
ing schools, churches and great deserted mansions. They were
|
||
no longer speaking, but as they looked at one another they
|
||
felt a throbbing in their heads. It was as though their very
|
||
glances had set off a physical vibration. Now they had clasped
|
||
hands, and in the sweetness of their ecstasy everything merged,
|
||
the past, the future, their memories and their dreams. Night
|
||
was darkening the walls of the room. Still gleaming in the
|
||
dimness were the garish colors of four prints showing four
|
||
scenes from La Tour de Nesle, with captions below in Spanish
|
||
and French. Through the sash window they could see a patch of
|
||
dark sky between peaked roofs.
|
||
|
||
She rose to light two candles on the chest of drawers,
|
||
and then sat down again.
|
||
|
||
"Well . . . ?" said Leon.
|
||
|
||
"Well . . . ?" she echoed.
|
||
|
||
And as he wondered how to resume the interrupted con-
|
||
versation, she asked, "Why has no one ever said such things
|
||
to me before?"
|
||
|
||
The clerk assured her warmly that idealistic natures
|
||
were rarely understood. But he had loved her the moment he
|
||
saw her, and despair filled him whenever he thought of the
|
||
happiness that might have been theirs. Had fortune been
|
||
kind, had they met earlier, they would long since have been
|
||
united indissolubly.
|
||
|
||
"I've thought about that, sometimes," she said.
|
||
|
||
"What a dream!" murmured Leon.
|
||
|
||
And then, gently fingering the blue bordeer of her long
|
||
white belt, "What's to prevent us from beginning all over
|
||
again, now?"
|
||
|
||
"No, no," she said. "I'm too old . . . you're too young
|
||
. . . forget me! You'll find other women to love you . . .
|
||
and to love."
|
||
|
||
"Not as I do you!" he cried.
|
||
|
||
"What a child you are! Come, let's be sensible. I want
|
||
us to be."
|
||
|
||
And she explained why they couldn't be lovers, why they
|
||
must continue to be friends, like brother and sister, as in
|
||
the past.
|
||
|
||
Did she mean those things she was saying? Doubtless
|
||
Emma herself couldn't tell, engrossed as she was by the charm
|
||
of seduction and the need to defend herself. Looking fondly
|
||
at the young man, she gently repulsed the timid caresses his
|
||
trembling hands essayed.
|
||
|
||
"Ah! Forgive me!" he said, drawing back.
|
||
|
||
And Emma was seized by a vague terror in the face of this
|
||
timidity, a greater danger for her than Rodolphe's boldness
|
||
when he had advanced with outstretched arms. Never had any
|
||
man seemed to her so handsome. There was an exquisite candor
|
||
about him. His long, fine, curving eyelashes were lowered,
|
||
the smooth skin of his cheek was flushing with desire for her,
|
||
so she thought. And she felt an all but invincible longing to
|
||
touch it with her lips. She leaned away toward the clock, as
|
||
though to see the time.
|
||
|
||
"Heavens!" she said. "How late! How we've been chatter-
|
||
ing!"
|
||
|
||
He understood, and rose to go.
|
||
|
||
"I forgot all about the opera! And poor Bovary left me
|
||
here on purpose to see it! It was all arranged that I was to
|
||
go with Monsieur and Madame Lormeaux, of the Rue Grand-Pont!"
|
||
It was her last chance, too, for she was leaving the next day.
|
||
|
||
"Really?' said Leon.
|
||
|
||
"Yes."
|
||
|
||
"But I must see you again," he said. "I had something to
|
||
tell you . . ."
|
||
|
||
"What?"
|
||
|
||
"Something . . . something serious, important. No, really.
|
||
You mustn't go, you mustn't. If you knew . . . Listen . . .
|
||
You haven't understood me, then? You haven't guessed . . ."
|
||
|
||
"On the contrary, you have a very clear way of putting
|
||
things," said Emma.
|
||
|
||
"Ah! Now you're laughing at me! Please don't! Have
|
||
pity on me. Let me see you again. Once . . . just once."
|
||
|
||
"Well . . ." She paused, then, as though changing her
|
||
mind, "Not here, certainly!"
|
||
|
||
"Wherever you like."
|
||
|
||
"Will you . . ." She seemed to ponder, and then, tersely,
|
||
"Tomorrow at eleven in the cathedral."
|
||
|
||
"I'll be there!" he cried. He seized her hands, but she
|
||
pulled them away.
|
||
|
||
They were standing close together, he behind and she
|
||
with lowered head, and he bent over and kissed her long and
|
||
lingeringly on the nape of the neck.
|
||
|
||
"You're crazy, crazy!" she cried between short bursts
|
||
of laughter as he kissed her again and again.
|
||
|
||
Then, leaning his head over her shoulder, he seemed to
|
||
be imploring her eyes to say yes, but the gaze he received
|
||
was icy and aloof.
|
||
|
||
Leon stepped back. In the doorway he paused, and trem-
|
||
blingly whispered, "Till tomorrow."
|
||
|
||
Her only reply was a nod, and like a bird she vanished
|
||
into the adjoining room.
|
||
|
||
That night Emma wrote the clerk an endless letter can-
|
||
celing their appointment. Everything was over between them,
|
||
and for the sake of their own happiness they must never meet
|
||
again. But when she finished the letter she didn't know what
|
||
to do with it, she hadn't Leon's address.
|
||
|
||
"I'll give ti to him myself," she thought, "when he
|
||
comes."
|
||
|
||
Leon, the next morning, humming a tune on his balcony be-
|
||
side his open window, polished his pumps himself, going over
|
||
them again and again. He donned a pair of white trousers,
|
||
fine socks, and a green tail coat. He doused his handkerchief
|
||
with all the perfumes he possessed, had his hair curled, then
|
||
uncurled it again to make it look more elegantly natural.
|
||
|
||
"Still too early!" he thought. He was looking at the
|
||
barber's cuckoo clock, and it pointed to nine.
|
||
|
||
He read an old fashion magazine, went out, smoked a cigar,
|
||
walked a few blocks. Finally he decided it was time to go, and
|
||
set off briskly toward the Parvis Notre-Dame.
|
||
|
||
It was a fine summer morning. Silver gleamed in jewelers'
|
||
windows, and the sunlight slanting onto the cathedral flashed
|
||
on the cut surface of the gray stone. A flock of birds was
|
||
swirling in the blue sky around the trefoiled turrets. The
|
||
square, echoing with cries, smelled of the flowers that edged
|
||
its pavement. Roses, jasmine, carnations, narcissus and
|
||
tuberoses interspersed with well-watered plants of catnip and
|
||
chickweed. The fountain gurgled in the center, and under
|
||
great umbrellas, among piles of cantaloups, bareheaded flower-
|
||
women were twisting paper around bunches of violets.
|
||
|
||
The young man chose one. It was the first time he had
|
||
bought flowers for a woman, and his chest swelled with pride
|
||
as he inhaled their fragrance, as though this homage that he
|
||
intended for another were being paid, instead, to him.
|
||
|
||
But he was afraid of being seen, and resolutely entered
|
||
the church.
|
||
|
||
The verger was just then standing in the left doorway,
|
||
under the figure of the dancing Salome. He was in full re-
|
||
galia, with plumed hat, rapier and staff, more majestic than
|
||
a cardinal, shining like a pyx.
|
||
|
||
He advanced toward Leon, and with the smiling, bland
|
||
benignity of a priest questioning a child, he said, "Monsieur
|
||
is from out of town, perhaps? Monsieur would like to visit
|
||
the church?'
|
||
|
||
"No," said Leon.
|
||
|
||
He walked down one of the side aisles and up the other,
|
||
then stood outside and looked over the square. There was no
|
||
sign of Emma, and he re-entered the church and strolled as
|
||
far as the choir.
|
||
|
||
The nave was mirrored in the holy-water fonts, with the
|
||
lower portions of the ogives and some of the stained glass.
|
||
The reflection of the painted windows broke off at the marble
|
||
rim only to continue beyond, on the pavement, like a many-
|
||
colored carpet. Brilliant daylight streamed into the church
|
||
in three enormous shafts through the three open portals. Now
|
||
and again a sacristan moved across the far end, dipping before
|
||
the altar in the half-sidewise genuflection practiced by hur-
|
||
ried worshippers. The crystal chandeliers hung motionless. A
|
||
silver lamp was burning in the choir, and from the side chapels
|
||
and shadowy corners of the church came an occasional sound like
|
||
a sigh, and the noise of a metal gate clanging shut and echoing
|
||
under the lofty vaults.
|
||
|
||
Leon walked meditatively, keeping near the walls. Never
|
||
had life seemed so good. Any minute now she would appear,
|
||
charming, all aquiver, turning around to see whether anyone
|
||
was looking. With her flounced dress, her gold eyeglass, her
|
||
dainty shoes, all kinds of feminine elegancies he had never
|
||
had a taste of, and all the ineffable allurement of virtue on
|
||
the point of yielding. The church was like a gigantic bou-
|
||
doir, suffused by her image. The vaults curved dimly down to
|
||
breathe in the avowal of her love. The windows were ablaze
|
||
to cast their splendor on her face. And even the incense
|
||
burners were lighted, to welcome her like an angel amid clouds
|
||
of perfume.
|
||
|
||
But still she didn't come. He took a chair and his eyes
|
||
rested on a blue stained-glass window showing boatmen carrying
|
||
baskets. He stared at it fixedly, counting the scales on the
|
||
fish and the buttonholes in the doublets, his thoughts mean-
|
||
while roving in search of Emma.
|
||
|
||
The verger, standing to one side, was raging inwardly at
|
||
this person who was taking it upon himself to admire the cathe-
|
||
dral on his own. He was behaving monstrously, he considered.
|
||
He was stealing from him, really, almost committing sacrilege.
|
||
|
||
Then there was a rustle of silk on the stone pavement,
|
||
the edge of a hat under a hooded cape . . . It was she! Leon
|
||
jumped up and ran to meet her.
|
||
|
||
She was pale. She walked quickly.
|
||
|
||
"Read this!" she said, holding out a sheet of paper.
|
||
"Oh, no!"
|
||
|
||
And abruptly she drew back her hand and turned into the
|
||
chapel of the Virgin, where she knelt down against a chair
|
||
and began to pray.
|
||
|
||
The young man was irritated by this sanctimonious bit
|
||
of whimsy. Then he felt a certain charm at seeing her, in
|
||
the midst of a love meeting, plunged into devotions like an
|
||
Andalusian marquesa. But he soon grew impatient, for there
|
||
seemed to be no end to it.
|
||
|
||
Emma was praying, or rather forcing herself to pray, in
|
||
the hope that heaven might miraculously send her strength of
|
||
will. And to draw down divine aid she filled her eyes with
|
||
the splendors of the tabernacle, she breathed the fragrance
|
||
of the sweet rockets, white and lush in their tall vases, and
|
||
she listened intently to the silence of the church, which
|
||
only increased the tumult of her heart.
|
||
|
||
She rose, and they were about to leave when the verger
|
||
came swiftly over, "Madame is perhaps from out of town?
|
||
Madame would like to visit the church?'
|
||
|
||
"Oh, no!" the clerk cried.
|
||
|
||
"Why not?' she retorted.
|
||
|
||
Her desperate attempt to steady her virtue made her
|
||
clutch at the Virgin, at the sculptures, at the tombs, at
|
||
anything that came to hand.
|
||
|
||
Insisting that they must "begin at the beginning," the
|
||
verger led them outside the entrance door to the edge of
|
||
the square, and there pointed with his staff to a large
|
||
circle of black stones in the pavement, devoid of carving
|
||
or inscription.
|
||
|
||
"That," he said majestically, "is the circumference of
|
||
the great Amboise bell. It weighed forty thousand pounds.
|
||
It was without equal in all Europe. The workman who cast it
|
||
died of joy . . ."
|
||
|
||
"Let's get away from here," said Leon.
|
||
|
||
The guide moved on, and back in the chapel of the Virgin
|
||
he extended his arms in a showman's gesture that took in every-
|
||
thing, and addressed them more proudly than a gentleman farmer
|
||
displaying his fruit trees.
|
||
|
||
"This plain stone marks the resting place of Pierre de
|
||
Breze, lord of La Varenne and Brissac, grand marshal of Poitou
|
||
and governor of Normandy, killed at the battle of Montlhery,
|
||
July 16, 1465."
|
||
|
||
Leon bit his lips in a fury of impatience.
|
||
|
||
"And on the right the nobleman in full armor on a rearing
|
||
horse is his grandson Louis de Breze, lord of Braval and Mont-
|
||
chauvet, comte de Maulevrier, baron de Mauny, royal chamberlain,
|
||
knight of the order and likewise governor of Normandy, who died
|
||
July 23, 1531, a Sunday, as it says on the inscription. And
|
||
below, the man about to descend into the tomb represents the
|
||
same person exactly. Human mortality has never been more per-
|
||
fectly represented."
|
||
|
||
Madame Bovary raised her eyeglass. Leon stood still and
|
||
stared at her, no longer even trying to utter a word or make
|
||
the slightest move, so discouraged was he by this combination
|
||
of patter and indifference.
|
||
|
||
The guide droned on, "Near him, there, that kneeling
|
||
weeping woman is his wife, Diane de Poitiers, comtesse de
|
||
Breze, duchesse de Valentinois, born 1499, died 1566. And on
|
||
the left, holding a child, the Holy Virgin. Now face this
|
||
way. Those are the tombs of the Amboises. They were both
|
||
cardinals and archbishops of Rouen. That one was one of King
|
||
Louis XII's ministers. He was a great benefactor of the cathe-
|
||
dral. In his will he left 30,000 ecus d`or for the poor."
|
||
|
||
And immediately, without interrupting his stream of talk,
|
||
he pushed them into a chapel cluttered with railings, some of
|
||
which he moved aside to reveal a blockish object that looked
|
||
like a roughly carved statue.
|
||
|
||
"This," he said with a deep sigh, "once formed part of
|
||
the decoration of the tomb of Richard Coeur-de-Lion, king of
|
||
England and duke of Normandy. It was the Calvinists, Monsieur,
|
||
who reduced it to the condition in which you see it now. Out
|
||
of pure malice they buried it in the earth, under Monseigneur's
|
||
episcopal throne. That door, there, by the way, is the one he
|
||
uses, Monseigneur, I mean, to reach his residence. Now we'll
|
||
move on to the gargoyle windows."
|
||
|
||
But Leon hastily took a silver piece from his pocket and
|
||
grasped Emma's arm. The verger was taken aback, mystified by
|
||
such premature munificence. The visitor still had so much to
|
||
see! He called after him, "Monsieur! The steeple! The
|
||
steeple!"
|
||
|
||
"No, thanks," said Leon.
|
||
|
||
"Monsieur is wrong! It's going to be four hundred forty
|
||
feet high, only nine feet lower than the Great Pyramid of
|
||
Egypt. It's entirely of cast iron, it . . ."
|
||
|
||
Leon fled, for it seemed to him that his love, after being
|
||
reduced to stonelike immobility in the church for nearly two
|
||
hours, was now going to vanish like smoke up that truncated
|
||
pipe, that elongated cage, that fretwork chimney, or what you
|
||
will, that perches so precariously and grotesquely atop the
|
||
cathedral like the wild invention of a crazy metal-worker.
|
||
|
||
"But where are we going?" she asked.
|
||
|
||
Making no answer, he continued swiftly on, and Madame
|
||
Bovary was already dipping a finger in the holy water when
|
||
behind them they heard a sound of heavy panting regularly
|
||
punctuated by the tapping of a staff. Leon turned around.
|
||
|
||
"Monsieur!"
|
||
|
||
"What?"
|
||
|
||
It was the verger, holding about twenty thick paper-
|
||
bound volumes against his stomach. They were "books about
|
||
the cathedral."
|
||
|
||
"Fool!" muttered Leon, hurrying out of the church.
|
||
|
||
An urchin was playing in the square.
|
||
|
||
"Go get me a cab!"
|
||
|
||
The youngster vanished like a shot up the Rue des Quatre-
|
||
Vents, and for a few minutes they were left alone, face to
|
||
face and a little constrained.
|
||
|
||
"Oh, Leon! Really . . . I don't know whether I should!"
|
||
she simpered. Then, in a serious tone, "It's very improper,
|
||
you know."
|
||
|
||
"What's improper about it?' retorted the clerk. "Every-
|
||
body does it in Paris!"
|
||
|
||
It was an irresistible and clinching argument.
|
||
|
||
But there was no sign of a cab. Leon was terrified lest
|
||
she retreat into the church. Finally the cab appeared.
|
||
|
||
"Drive past the north door, at least!" cried the verger,
|
||
from the entrance. "Take a look at the Resurrection, the Last
|
||
Judgment, Paradise, King David, and the souls of the damned in
|
||
the flames of hell!"
|
||
|
||
"Where does Monsieur wish to go?" asked the driver.
|
||
|
||
"Anywhere!" said Leon, pushing Emma into the carriage.
|
||
|
||
And the lumbering contraption rolled away.
|
||
|
||
It went down the Rue Grand-Pont, crossed the Place des
|
||
Arts, the Quai Napoleon and the Pont Neuf, and stopped in
|
||
front of the statue of Pierre Corneille.
|
||
|
||
"Keep going!" called a voice from within.
|
||
|
||
It started off again, and gathering speed on the down-
|
||
grade beyond the Carrefour Lafayette it came galloping up to
|
||
the railway station.
|
||
|
||
"No! Straight on!" cried the same voice.
|
||
|
||
Rattling out through the station gates, the cab soon
|
||
turned into the Boulevard, where it proceeded at a gentl trot
|
||
between the double row of tall elms. The coachman wiped his
|
||
brow, stowed his leather hat between his legs, and veered the
|
||
cab off beyond the side lanes to the grass strip along the
|
||
river front.
|
||
|
||
It continued along the river on the cobbled towing path
|
||
for a long time in the direction of Oyssel, leaving the is-
|
||
lands behind.
|
||
|
||
But suddenly it rushed off through Quatre-Mares, Sotte-
|
||
ville, the Grande-Chaussee, the Rue d'Elbeuf, and made its
|
||
third stop, this time at the Jardin des Plantes.
|
||
|
||
"Drive on!" cried the voice, more furiously.
|
||
|
||
And abruptly starting off again it went through Saint-
|
||
Sever, along the Quai des Curandiers and the Quai aux Meules,
|
||
recrossed the bridge, crossed the Place du Champ-de-Mars and
|
||
continued on behind the garden of the hospital, where old men
|
||
in black jackets were strolling in the sun on a terrace green
|
||
with ivy. It went up the Boulevard Bouvreuil, along the
|
||
Boulevard Cauchoise, and traversed Mont-Riboudet as far as
|
||
the hill at Deville.
|
||
|
||
There it turned back, and from then on it wandered at
|
||
random, without apparent goal. It was seen at Saint-Pol, at
|
||
Lescure, at Mont-Gargan, at Rouge-Mare and the Place du Gail-
|
||
lardbois. In the Rue Maladrerie, the Rue Dinanderie, and in
|
||
front of one church after another, Saint-Romain, Saint-Vivien,
|
||
Saint-Maclou, Saint-Nicaise. In front of the customs house,
|
||
at the Basse Vieille-Tour, at Trois-Pipes, and at the Cimeti-
|
||
ere Monumental. From his seat the coachman now and again cast
|
||
a desperate glance at a cafe. He couldn't conceive what loco-
|
||
motive frenzy was making these people persist in refusing to
|
||
stop. He tried a few times, only to hear immediate angry ex-
|
||
clamations from behind. So he lashed the more furiously at
|
||
his two sweating nags, and paid no attention whatever to bumps
|
||
in the road. He hooked into things right and left. He was
|
||
past caring, demoralized, and almost weeping from thirst,
|
||
fatigue, and despair.
|
||
|
||
Along the river front amidst the trucks and the barrels,
|
||
along the streets from the shelter of the guard posts, the
|
||
bourgeois stared wide-eyed at this spectacle unheard of in the
|
||
provinces. A carriage with drawn shades that kept appearing
|
||
and reappearing, sealed tighter than a tomb and tossing like
|
||
a ship.
|
||
|
||
At a certain moment in the early afternoon, when the sun
|
||
was blazing down most fiercely on the old silver-plated lamps,
|
||
a bare hand appeared from under the little yellow cloth cur-
|
||
tains and threw out some torn scraps of paper. The wind caught
|
||
them and scattered them, and they alighted at a distance, like
|
||
white butterflies, on a field of flowering red clover.
|
||
|
||
Then, about six o'clock, the carriage stopped in a side
|
||
street near the Place Beauvoisine. A woman alighted from it
|
||
and walked off, her veil down, without a backward glance.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 3
|
||
|
||
CHAPTER TWO
|
||
|
||
When she reached the hotel, Madame Bovary was surprised
|
||
to see no sign of the stagecoach. Hivert had waited for her
|
||
fifty-three minutes, and then driven off.
|
||
|
||
Nothing really obliged her to go, even though she had
|
||
said that she would be back that evening. But Charles would
|
||
be waiting for her. And in advance her heart was filled with
|
||
that craven submissiveness with which many women both redeem
|
||
their adultery and punish themselves for it.
|
||
|
||
She quickly packed her bag, paid her bill, and hired a
|
||
gig in the yard. She told the driver to hurry, and kept
|
||
urging him on and asking him the time and how many miles they
|
||
had gone. They caught up with the Hirondelle on the outskirts
|
||
of Quincampoix.
|
||
|
||
She shut her eyes almost before she was seated in her
|
||
corner, and opened them at the outskirts of the village.
|
||
Ahead she saw Felicite standing watch outside the blacksmith's.
|
||
Hivert pulled up the horses, and the cook, standing on tiptoe
|
||
to address her through the window, said with an air of mystery,
|
||
"Madame, you must go straight to Monsieur Homais'. It's some-
|
||
thing urgent."
|
||
|
||
The village was silent as usual. Little pink mounds were
|
||
steaming in the gutters. It was jelly-making time, and every-
|
||
one in Yonville was putting up the year's supply the same day.
|
||
The mound in front of the pharmacy was by far the largest and
|
||
most impressive, and quite properly so. A laboratory must
|
||
always be superior to home kitchens. A universal demand must
|
||
always overshadow mere individual tastes!
|
||
|
||
She went in. The big armchair was overturned, and, what
|
||
was more shocking, the Fanal de Rouen itself had been left
|
||
lying on the floor between the two pestles. She pushed open
|
||
the hall door, and in the middle of the kitchen, amid earthen-
|
||
ware jars full of stemmed currants, grated sugar, lump sugar,
|
||
scales on the table and pans on the fire, she found all the
|
||
Homais', big and little, swathed to the chin in aprons and
|
||
wielding forks. Justin was standing there hanging his head,
|
||
and the pharmacist was shouting, "Who told you to go get it in
|
||
the Capharnaum?"
|
||
|
||
"What is it?' Emma asked. "What's the matter?'
|
||
|
||
"What's the matter?" replied the apothecary. "We're
|
||
making jelly. It's on the fire. It threatens to boil over.
|
||
I call for another pan. And this good-for-nothing, out of
|
||
sheer laziness, goes and takes . . . goes into my laboratory
|
||
and takes off the hook . . . the key to the Capharnaum!"
|
||
|
||
Such was the apothecary's name for a small room under
|
||
the eaves, filled with pharmaceutical utensils and supplies.
|
||
He often spent long hours there alone, labeling, decanting,
|
||
repackaging. He considered it not a mere storeroom, but a
|
||
veritable sanctuary, birthplace of all kinds of pills,
|
||
boluses, tisanes, lotions and potions concocted by himself
|
||
and destined to spread his renown throughout the countryside.
|
||
Not another soul ever set foot in it, so fiercely did he
|
||
respect the place that he even swept it out himself. If the
|
||
pharmacy, open to all comers, was the arena where he paraded
|
||
in all his glory, the Capharnaum was the hideaway where he
|
||
rapturously pursued his favorite occupations in selfish
|
||
seclusion. No wonder Justin's carelessness seemed to him a
|
||
monstrous bit of irreverence. His face was redder than the
|
||
currants as he continued his tirade.
|
||
|
||
"Yes, the key to the Capharnaum! The key that guards
|
||
the acids and the caustic alkalis! And to calmly go and take
|
||
one of the spare pans! A pan with a lid! One I may never
|
||
use! Every detail is important in an art as precise as ours!
|
||
Distinctions must be preserved! Pharmaceutical implements
|
||
mustn't be used for near-domestic tasks! It's like carving
|
||
a chicken with a scalpel, as though a judge were to . . ."
|
||
|
||
"Stop exciting yourself!" Madame Homais kept saying.
|
||
|
||
And Athalie pulled at his frock coat and cried, "Papa!
|
||
Papa!"
|
||
|
||
"No! Leave me alone!" ordered the apothecary. "Leave
|
||
me alone! God! I might as well be a grocer, I swear! Go
|
||
ahead . . . go right ahead . . . don't respect anything!
|
||
Smash! Crash! Let the leeches loose! Burn the marshmallow!
|
||
Make pickles in the medicine jars! Slash up the bandages!"
|
||
|
||
"But you had something to . . ." said Emma.
|
||
|
||
"One moment, Madame! Do you know the risk you were
|
||
running? Didn't you notice anything in the corner, on the
|
||
left, on the third shelf? Open your mouth! Say something!"
|
||
|
||
"I . . . don't . . . know . . ." stammered the boy.
|
||
|
||
"Ah! You don't know! Well, I know! You saw a bottle,
|
||
a blue glass bottle sealed with yellow wax, with white powder
|
||
in it, and that I myself marked Dangerous! Do you know what's
|
||
in that bottle? Arsenic! And you go meddling with that! You
|
||
take a pan that's standing right beside it!"
|
||
|
||
"Right beside it!" cried Madame Homais, clasping her
|
||
hands. "Arsenic! You might have poisoned us all!"
|
||
|
||
And the children began to scream, as though they were
|
||
already prey to the most frightful gastric pains.
|
||
|
||
"Or you might have poisoned a patient!" the apothecary
|
||
persisted. "Do you want me to be hauled into court as a common
|
||
criminal? Do you want to see me dragged to the scaffold?
|
||
Don't you know how very careful I am about handling anything,
|
||
no matter how many million times I may have done it before?
|
||
Sometimes I'm terrified at the thought of my responsibilities!
|
||
The government positively hounds us! The legal restrictions
|
||
are absurd, a veritable sword of Damocles hanging over our
|
||
heads!"
|
||
|
||
Emma had given up any attempt to ask what was wanted of
|
||
her, and the pharmacist breathlessly continued.
|
||
|
||
"That's your way of being grateful for all the kindness
|
||
you've been shown! That's how you repay me for the father's
|
||
care I've showered on you! Where would you be if it weren't
|
||
for me? What would you be doing? Who gives you your food and
|
||
your lodging, and training, and clothing . . . everything you
|
||
need to become a respectable member of society some day? But
|
||
to achieve that you've got to bend your back to the oar . . .
|
||
get some callouses on your hands, as the saying goes. Fabri-
|
||
cando fit faber, age quod agis."
|
||
|
||
His rage had sent him into Latin. He would have spouted
|
||
Chinese or Greenlandic had he been able to, for he was in the
|
||
throes of one of those crises in which the soul lays bare its
|
||
every last corner, just as the ocean, in the travail of storm,
|
||
splits open to display everything from the seaweed on it shores
|
||
to the sand of its deepest bottom.
|
||
|
||
And he went on, "I'm beginning to repent bitterly that I
|
||
ever took you into my charge! I'd have done far better to
|
||
leave you as I found you . . . let you wallow in the misery and
|
||
filth you were born in! You'll never be fit to do anything
|
||
except look after the cows! You haven't the makings of a
|
||
scientist! You're scarcely capable of sticking on a label!
|
||
And you live here at my expense, gorging yourself like a priest,
|
||
like a pig in clover!"
|
||
|
||
Emma turned to Madame Homais.
|
||
|
||
"I was told to come . . ."
|
||
|
||
"I know," the lady said, wringing her hands, "but how can
|
||
I possibly tell you . . .? It's a calamity . . ."
|
||
|
||
She left her words unfinished. The apothecary was thun-
|
||
dering on, "Empty it out! Scour it! Take it back! Be quick
|
||
about it!"
|
||
|
||
And as he shook Justin by the collar of his overall a
|
||
book fell out of one of the pockets.
|
||
|
||
The boy bent down for it, but Homais was quicker, and he
|
||
picked up the book and stared at it open-mouthed.
|
||
|
||
"Conjugal . . . Love!" he cried, placing a deliberate
|
||
pause between the two words. "Ah! Very good! Very good!
|
||
Charming, in fact! And with illustrations . . . Really!
|
||
This goes beyond everything!"
|
||
|
||
Madame Homais stepped forward as though to look.
|
||
|
||
"No! Don't touch it!"
|
||
|
||
The children clamored to see the pictures.
|
||
|
||
"Leave the room!" he said imperiously.
|
||
|
||
They left.
|
||
|
||
First he strode up and down, holding the volume open,
|
||
rolling his eyes, choking, puffing, apoplectic. Then he
|
||
walked straight up to his apprentice and stood in front of
|
||
him, arms folded.
|
||
|
||
"So you're going in for all the vices, are you, you
|
||
little wretch? Watch out, you're on the downward path! Did
|
||
it ever occur to you that this wicked book might fall into my
|
||
children's hands? It might be just the spark that . . . It
|
||
might sully the purity of Athalie! It might corrupt Napoleon!
|
||
Physically, he's a man already! Are you sure, at least, that
|
||
they haven't read it? Can you swear to me . . ."
|
||
|
||
"Really, Monsieur," said Emma. "Did you have something
|
||
to tell me?"
|
||
|
||
"So I did, Madame . . . Your father-in-law is dead!"
|
||
|
||
It was true. The elder Bovary had died two days before,
|
||
very suddenly, from an apoplectic stroke, as he was leaving
|
||
the table. And Charles, overanxious to spare Emma's sensi-
|
||
bilities, had asked Monsieur Homais to acquaint her tactfully
|
||
with the horrible news.
|
||
|
||
The pharmacist had devoted much thought to the wording
|
||
of his announcement. He had rounded it and polished it and
|
||
given it cadence. It was a masterpiece of discretion and
|
||
transition, of subtlety and shading. But anger had swept away
|
||
rhetoric.
|
||
|
||
Emma, seeing that it was useless to ask for details, left
|
||
the pharmacy, for Monsieur Homais had resumed his vituperations.
|
||
He was quieting down, however, and now was grumbling in a
|
||
fatherly way as he fanned himself with his cap.
|
||
|
||
"It's not that I disapprove entirely of the book. The
|
||
author was a doctor. It deals with certain scientific aspects
|
||
that it does a man no harm to know about . . . aspects, if I
|
||
may say so, that a man has to know about. But later, later!
|
||
Wait till you're a man yourself, at least, wait till your
|
||
character's formed."
|
||
|
||
The sound of the knocker told the expectant Charles that
|
||
Emma had arrived, and he came toward her with open arms. There
|
||
were tears in his voice, "Ah! Ma chere amie . . ."
|
||
|
||
And he bent down gently to kiss her. But at the touch of
|
||
his lips the memory of Leon gripped her, and she passed her
|
||
hand over her face and shuddered.
|
||
|
||
Nevertheless she answered him. "Yes," she said. "I know
|
||
. . . I know . . ."
|
||
|
||
He showed her the letter in which his mother told what
|
||
had happened, without any sentimental hypocrisy. Her only
|
||
regret was that her husband had not received the succor of the
|
||
church. He had died not at home, but at Doudeville, in the
|
||
street, just outside a cafe, after a patriotic banquet with
|
||
some ex-army officers.
|
||
|
||
Emma handed back the letter. At dinner she pretended a
|
||
little for the sake of good manners to have no appetite, but
|
||
when Charles urged her, she proceeded to eat heartily, while
|
||
he sat opposite her motionless, weighed down by grief.
|
||
|
||
Now and again he lifted his head and gave her a long,
|
||
stricken look.
|
||
|
||
"I wish I could have seen him again!" he sighed.
|
||
|
||
She made no answer. And finally, when she knew that
|
||
she must say something, "How old was your father?"
|
||
|
||
"Fifty-eight."
|
||
|
||
"Ah!"
|
||
|
||
And that was all.
|
||
|
||
A little later, "My poor mother!" he said. "What's to
|
||
become of her now?"
|
||
|
||
She conveyed with a gesture that she had no idea.
|
||
|
||
Seeing her so silent, Charles supposed that she, too,
|
||
was affected, and he forced himself to say no more lest he
|
||
exacerbate her sorrow, which he found touching. But for a
|
||
moment he roused himself from his own.
|
||
|
||
"Did you have a good time yesterday?' he asked.
|
||
|
||
"Yes."
|
||
|
||
When the tablecloth was removed, Bovary did not get
|
||
up, nor did Emma. And as she continued to look at him the
|
||
monotony of the sight gradually banished all compassion
|
||
from her heart. He seemed to her insignificant, weak, a
|
||
nonentity, contemptible in every way. How could she rid
|
||
herself of him? What an endless evening! She felt torpid,
|
||
drugged, as though from opium fumes.
|
||
|
||
From the entry came the sharp tap of a stick on the
|
||
wooden floor. It was Hippolyte, bringing Madame's bags.
|
||
To set them down, he swung his wooden leg around in an
|
||
awkward quarter-circle.
|
||
|
||
"Charles doesn't even think about him any more," she
|
||
remarked to herself as she watched the poor devil, his mop
|
||
or red hair dripping sweat.
|
||
|
||
Bovary fumbled in his purse for a coin, and, apparently
|
||
unaware of the humiliation implicit in the very presence of
|
||
the man who was standing there, like a living reproach for
|
||
his incurable ineptitude.
|
||
|
||
"Oh, you have a pretty bouquet!" he said, noticing Leon's
|
||
violets on the mantelpiece.
|
||
|
||
"Yes," she said carelessly. "I bought it just before I
|
||
left, from a beggar-woman."
|
||
|
||
|
||
Charles took up the violets, held their coolness against
|
||
his tear-reddened eyes, and gently sniffed them. She quickly
|
||
took them from his hand, and went to put them in a glass of
|
||
water.
|
||
|
||
The following day the older Madame Bovary arrived. She
|
||
and her son did a good deal of weeping. Emma, pleading house-
|
||
hold duties, kept out of the way. The day after that, they
|
||
had to consult about mourning, and the three of them sat down
|
||
together, the ladies with their workboxes, under the arbor on
|
||
the river bank.
|
||
|
||
Charles thought about his father, and was surprised to
|
||
feel so much affection for one whom up till then he had
|
||
thought he loved but little. The older Madame Bovary thought
|
||
of her husband. The worst of her times with him seemed desir-
|
||
able now. Everything was submerged in grief, so intensely did
|
||
she miss the life she was used to. And from time to time as
|
||
she plied her needle a great tear rolled down her nose and
|
||
hung there for a moment before dropping. Emma was thinking
|
||
that scarcely forty-eight hours before they had been together,
|
||
shut away from the world, in ecstasy, devouring each other
|
||
with their eyes. She tried to recapture the tiniest details
|
||
of that vanished day. But the presence of her mother-in-law
|
||
and her husband interfered. She wished she could hear nothing,
|
||
see nothing. She wanted merely to be left alone to evoke her
|
||
love, which despite her best efforts was becoming blurred under
|
||
the impact of external impressions.
|
||
|
||
She was ripping the lining of a dress, and scraps of the
|
||
material lay scattered around her. The older Madame Bovary,
|
||
never raising her eyes, kept squeaking away with her scissors.
|
||
And Charles, in his cloth slippers and the old brown frock
|
||
coat that he used as a dressing gown, kept his hand in his
|
||
pockets and said no more than the others. Near them, Berthe,
|
||
in a little white apron, was scraping the gravel of the path
|
||
with her shovel.
|
||
|
||
Suddenly they saw Monsieur Lheureux, the dry-goods dealer,
|
||
push open the gate.
|
||
|
||
He had come to offer his services "on this very sad occa-
|
||
sion." Emma answered that she thought she could do without
|
||
them. But the shopkeeper did not concede defeat.
|
||
|
||
"If you'll excuse me," he said, "I'd like to speak to you
|
||
privately."
|
||
|
||
And in a low voice, "It's about that little matter . . .
|
||
you know what I'm referring to?"
|
||
|
||
Charles blushed to the roots of his hair. "Oh, yes . . .
|
||
of course."
|
||
|
||
And in his embarrassment he turned to his wife, "Darling,
|
||
would you take care of . . .?"
|
||
|
||
She seemed to understand, for she rose, and Charles said
|
||
to his mother, "It's nothing. Just some household detail, I
|
||
imagine." He didn't want her to learn about the promissory
|
||
note, he dreaded her comments.
|
||
|
||
As soon as Emma was alone with Monsieur Lheureux he began
|
||
to congratulate her rather bluntly on coming into money, and
|
||
then spoke of indifferent matters. Fruit trees, the harvest,
|
||
and his own health, which was always the same, "so-so, could
|
||
be worse." He worked like a galley slave, he informed her,
|
||
and even so, despite what people said about him, he didn't
|
||
make enough to buy butter for his bread.
|
||
|
||
Emma let him talk. She had been so prodigiously bored
|
||
these last two days!
|
||
|
||
"And you're entirely well again?" he went on. "Your
|
||
husband was in quite a state, I can tell you! He's a fine
|
||
fellow, even if we did have a little trouble."
|
||
|
||
"What trouble?" she asked, for Charles had told her
|
||
nothing about the dispute over the various items.
|
||
|
||
"But you know perfectly well!" said Lheureux. "About
|
||
the little things you wanted . . . the trunks."
|
||
|
||
He had pushed his hat forward over his eyes, and with
|
||
his hands behind his back, smiling, and whistling to himself
|
||
under his breath, he was staring straight at her in a way
|
||
she found intolerable. Did he suspect something? She waited
|
||
in a panic of apprehension. But finally he said, "We made it
|
||
up, and I came today to propose another arrangement."
|
||
|
||
What he proposed was the renewal of the note signed by
|
||
Bovary. Monsieur should of course do as he pleased. He
|
||
shouldn't worry, especially now that he was going to have so
|
||
many other things on his mind.
|
||
|
||
"He'd really do best to turn it over to somebody else,
|
||
you, for example. With a power of attorney everything would
|
||
be very simple, and then you and I could attend to our little
|
||
affairs together."
|
||
|
||
She didn't understand. He let the matter drop, and
|
||
turned the conversation back to dry goods. Madame really
|
||
couldn't not order something from him. He'd send her a piece
|
||
of black barege, twelve meters, enough to make a dress.
|
||
|
||
"The one you have there is all right for the house, but
|
||
you need another for going out. I saw that the minute I came
|
||
in. I've got an eye like a Yankee!"
|
||
|
||
He didn't send the material, he brought it. Then he came
|
||
again to do the measuring, and again and again on other pre-
|
||
texts, each time putting himself out to be agreeable and help-
|
||
ful. Making himself her liegeman, as Homais might have put
|
||
it, and always slipping in a few words of advice about the
|
||
power of attorney. He didn't mention the promissory note. It
|
||
didn't occur to her to think of it. Early in her convalescence
|
||
Charles had, in fact, said something to her about it, but her
|
||
mind had been so agitated that she had forgotten. Moreover she
|
||
was careful never to bring up anything about money matters.
|
||
This surprised her mother-in-law, who attributed her new atti-
|
||
tude to the religious sentiments she had acquired during her
|
||
illness.
|
||
|
||
But as soon as the older woman left, Emma lost no time in
|
||
impressing Bovary with her practical good sense. It was up to
|
||
them, she said, to make inquiries, check on mortgages, see if
|
||
there were grounds for liquidating the property by auction or
|
||
otherwise. She used technical terms at random, and impressive
|
||
words like "order," "the future" and "foresight," and she con-
|
||
tinually exaggerated the complications attendant on inheritance.
|
||
Then one day she showed him the draft of a general authorization
|
||
to "manage and administer his affairs, negotiate all loans, sign
|
||
and endorse all promissory notes, pay all sums," etc. She had
|
||
profited from Lheureux's lessons.
|
||
|
||
Charles naively asked her where the document came from.
|
||
|
||
"From Maitre Guillaumin." And with the greatest coolness
|
||
imaginable she added, "I haven't too much confidence in him.
|
||
You hear such dreadful things about notaries! Perhaps we ought
|
||
to consult . . . We don't know anyone except . . . We don't
|
||
know anyone, really."
|
||
|
||
"Unless Leon . . ." said Charles, who was thinking hard.
|
||
|
||
But it was difficult to make things clear by letter. So
|
||
she offered to make the trip. He thanked her but said she
|
||
mustn't. She insisted. Each outdid the other in consideration.
|
||
Finally, imitating the pert disobedience of a child, she cried,
|
||
"I will, too, go! I will!"
|
||
|
||
"How good you are!" he said, kissing her on the forehead.
|
||
|
||
The next morning she set out in the Hirondelle for Rouen
|
||
to consult Monsieur Leon, and she stayed there three days.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 2
|
||
|
||
CHAPTER THREE
|
||
|
||
They were three full, exquisite, glorious days, a real
|
||
honeymoon.
|
||
|
||
They stayed at the Hotel de Boulogne on the river front,
|
||
living there behind drawn shutters and locked doors. Their
|
||
room was strewn with flowers, and iced fruit drinks were
|
||
brought up to them all day long.
|
||
|
||
At dusk they hired a covered boat and went to dine on one
|
||
of the islands.
|
||
|
||
From the shipyards came the thumping of caulking irons
|
||
against hulls. Wisps of tar smoke curled up from among the
|
||
trees, and on the river floated great oily patches, the color
|
||
of Florentine bronze, undulating unevenly in the purple glow
|
||
of the sun.
|
||
|
||
They drifted downstream amidst anchored craft whose long
|
||
slanting cables grazed the top of their boat.
|
||
|
||
The sounds of the city gradually receded, the rattle of
|
||
wagons, the tumult of voices, the barking of dogs on the decks
|
||
of ships. As they touched the shore of their island she
|
||
loosened the silk ribbon of her hat.
|
||
|
||
They sat in the low-ceilinged room of a restaurant with
|
||
black fishnets hanging at its door, and ate fried smelts,
|
||
cream and cherries. Then they stretched out on the grass in
|
||
an out-of-the-way corner and lay in each other's arms under
|
||
the poplars. They wished they might live forever, like two
|
||
Robinson Crusoes, in this little spot that seemed to them in
|
||
their bliss the most magnificent on earth. It wasn't the
|
||
first time in their lives that they had seen trees, blue sky
|
||
and lawn, or heard the flowing of water or the rustle of the
|
||
breeze in the branches, but never before, certainly, had they
|
||
looked on it all with such wonder. It was as though nature
|
||
had not existed before, or had only begun to be beautiful
|
||
with the slaking of their desires.
|
||
|
||
At nightfall they returned to the city. The boat fol-
|
||
lowed the shoreline of the islands, and they crouched deep
|
||
in its shadow, not saying a word. The square-tipped oars
|
||
clicked in the iron oar-locks. It sounded, in the silence,
|
||
like the beat of a metronome, and the rope trailing behind
|
||
kept up its gentle splashing in the water.
|
||
|
||
One night the moon shone out, and of course they rhap-
|
||
sodized about how melancholy and poetical it was. She even
|
||
sang a little.
|
||
|
||
One night, dost thou remember?
|
||
We were sailing . . .
|
||
|
||
Her sweet, small voice died away over the river. Borne
|
||
off on the breeze were the trills that Leon heard flit past
|
||
him like the fluttering of wings.
|
||
|
||
She was sitting opposite him, leaning against the wall of
|
||
the little cabin, the moonlight streaming in on her through an
|
||
open shutter. In her black dress, its folds spreading out
|
||
around her like a fan, she looked taller, slimmer. Her head
|
||
was raised, her hands were clasped, her eyes turned heavenward.
|
||
One moment she would be hidden by the shadow of some willows,
|
||
the next, she would suddenly re-emerge in the light of the moon
|
||
like an apparition.
|
||
|
||
Leon, sitting on the bottom beside her, picked up a bright
|
||
red ribbon.
|
||
|
||
The boatman looked at it. "Oh," he said, "that's probably
|
||
from a party I took out the other day. They were a jolly lot,
|
||
all right, the men and the girls. They brought along food and
|
||
champagne and music, the whole works. There was one of them,
|
||
especially, a big, good-looking fellow with a little mustache,
|
||
he was a riot. They all kept after him. `Come on, tell us a
|
||
story, Adolphe' . . . or Dodolphe, or some name like that."
|
||
|
||
She shuddered.
|
||
|
||
"Don't you feel well?" asked Leon, moving closer to her.
|
||
|
||
|
||
"Oh, it's nothing. Just a chill."
|
||
|
||
"He was another one who never had to worry about where
|
||
his women would come from," the old boatman added softly, as
|
||
a compliment to his present passenger. Then he spit on his
|
||
hands and took up his oars.
|
||
|
||
But finally they had to part. Their farewells were sad.
|
||
He was to write her in care of Madame Rollet, and she gave
|
||
him such detailed instructions about using a double envelope
|
||
that he marveled greatly at her shrewdness in love matters.
|
||
|
||
"So I have your word for it that everything's in order?"
|
||
she said, as they kissed for the last time.
|
||
|
||
"Absolutely . . . But why the devil," he wondered, as he
|
||
walked home alone through the streets, "is she so set on
|
||
having that power of attorney?"
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 3
|
||
|
||
CHAPTER FOUR
|
||
|
||
Before long, Leon began to give himself superior airs
|
||
around the office. He kept aloof from his colleagues and
|
||
totally neglected his work. He waited for Emma's letters,
|
||
and read them over and over. He wrote to her. He evoked her
|
||
image with all the strength of his passion and his memories.
|
||
Far from being lessened by absence, his longing to see her
|
||
again increased, until finally one Saturday morning he took
|
||
the road to Yonville.
|
||
|
||
When he looked down on the valley from the top of the
|
||
hill and saw the church steeple with its tin flag turning in
|
||
the wind, he was filled with an exquisite pleasure. Smug
|
||
satisfaction and selfish sentimentality were mingled in it.
|
||
It was the feeling that a millionaire must experience on
|
||
revisiting his boyhood village.
|
||
|
||
He prowled around her house. A light was burning in the
|
||
kitchen. He watched for her shadow behind the curtains. Not
|
||
a soul was to be seen.
|
||
|
||
Madame Lefrancois uttered loud cries at the sight of him,
|
||
and said that he was "taller and thinner." Artemise, on the
|
||
other hand, found that he had grown "heavier and darker."
|
||
|
||
He took his dinner in the small dining room, just as in
|
||
the old days, but alone, without the tax collector, for Binet,
|
||
sick of waiting for the Hirondelle, had permanently changed
|
||
his mealtime to an hour earlier, and now dined on the stroke
|
||
of five. Even so he never missed a chance to grumble that
|
||
"the rusty old clock was slow."
|
||
|
||
Finally Leon got up his courage and knocked on the
|
||
doctor's door. Madame was in her room. It was a quarter of
|
||
an hour before she came down. Monsieur seemed delighted to
|
||
see him again, but didn't stir from the house all evening or
|
||
all the next day.
|
||
|
||
Only late Saturday evening did he see her alone, in the
|
||
lane behind the garden . . . in the lane, just like Rodolphe.
|
||
It was during a thunderstorm, and they talked under an um-
|
||
brella, with lightning flashing around them.
|
||
|
||
The thought of parting was unbearable.
|
||
|
||
"I'd rather die!" said Emma. She clung convulsively to
|
||
his arm and wept. "Adieu! Adieu! When will I see you again?"
|
||
|
||
They separated, then turned back for a last embrace, and
|
||
it was at that moment that she promised him to find, soon, no
|
||
matter how, some way in which they would be able to see each
|
||
other alone and regularly, at least once a week. Emma had no
|
||
doubt about succeeding. She looked forward to the future with
|
||
confidence. The inheritance money would shortly be coming in.
|
||
|
||
On the strength of it she bought, for her bedroom, a pair
|
||
of wide-striped yellow curtains that Monsieur Lheureux extolled
|
||
as a bargain. She said she wished she could have a carpet, and
|
||
Lheureux, assuring her that she wasn't "reaching for the moon,"
|
||
promised very obligingly to find her one. By now she didn't
|
||
know how she could get along without him. She sent for him
|
||
twenty times a day, and he always promptly left whatever he was
|
||
doing and came, without a word of protest. Nor was it clear to
|
||
anyone why Madame Rollet lunched at her house every day, and
|
||
even visited with her privately.
|
||
|
||
It was about this time, the beginning of winter, that she
|
||
became intensely musical.
|
||
|
||
One evening while Charles was listening she started the
|
||
same piece over again four times, each time expressing annoy-
|
||
ance with herself. Charles was unaware of anything wrong.
|
||
"Bravo!" he cried. "Very good! Why stop? Keep going."
|
||
|
||
"No, I'm playing abominably. My fingers are rusty."
|
||
|
||
The next day he asked her to "play him something else."
|
||
|
||
"Very well, if you like."
|
||
|
||
Charles had to admit that she seemed a little out of
|
||
practice. She fumbled, struck wrong notes, and finally broke
|
||
off abruptly. "That's enough of that! I should take some
|
||
lessons, but . . ." She bit her lips and added, "Twenty
|
||
francs an hour . . . it's too expensive."
|
||
|
||
"Yes, it certainly is . . . a little . . ." said Charles,
|
||
with a silly giggle. "But it seems to me you ought to be able
|
||
to find somebody for less. There are plenty of musicians with-
|
||
out big names who are better than the celebrities."
|
||
|
||
"Try and find some," said Emma.
|
||
|
||
When he came in the next day he gave her a sly look, and
|
||
finally come out with, "You certainly have a way sometimes of
|
||
thinking you know better than anybody else. I was at Barfeu-
|
||
cheres today and Madame Liegeard told me that her three girls,
|
||
the three at school at the Misericorde, take lessons at two
|
||
and a half francs an hour, and from a marvelous teacher!"
|
||
|
||
She shrugged, and from then on left her instrument un-
|
||
opened.
|
||
|
||
But whenever she walked by it she would sigh, if Bovary
|
||
happened to be there, "Ah, my poor piano!"
|
||
|
||
And she always made a point of telling visitors that she
|
||
had given up her music and now couldn't possibly go on with
|
||
it again, for imperative reasons. Everybody pitied her.
|
||
What a shame! She had so much talent! People even spoke to
|
||
Bovary about it. They made him feel ashamed, especially the
|
||
pharmacist.
|
||
|
||
"You're making a mistake! Natural faculties must never
|
||
be let lie fallow! Besides, my friend, look at it this way.
|
||
By encouraging Madame to take lessons now, you'll save money
|
||
later on your daughter's lessons. In my opinion, mothers
|
||
should teach their children themselves. It's an idea of
|
||
Rousseau's. Maybe a little new, still, but bound to prevail
|
||
eventually, I'm sure, like mother's breast feeding and vacci-
|
||
nation."
|
||
|
||
So Charles brought up the question of the piano again.
|
||
Emma answered tartly that they'd better sell it. Poor old
|
||
piano! It had so often been a source of pride for him, that
|
||
to see it go would be like watching Emma commit partial sui-
|
||
cide.
|
||
|
||
"If you really want to go ahead with it," he said, "I
|
||
suppose a lesson now and then wouldn't ruin us."
|
||
|
||
"But lessons aren't worth taking," she said, "unless
|
||
they're taken regularly."
|
||
|
||
That was how she obtained her husband's permission to
|
||
go to the city once a week to meet her lover. By the end of
|
||
the first month everyone found that her playing had improved
|
||
considerably.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 3
|
||
|
||
CHAPTER FIVE
|
||
|
||
And so, every Thursday, she rose and dressed without a
|
||
sound, lest she wake Charles, who would have remarked on her
|
||
getting ready too early. Then she paced up and down, stood
|
||
at the windows, looked out at the square. The first light of
|
||
morning was stealing into the pillared market place, and on
|
||
the pharmacist's house, its shutters still drawn, the pale
|
||
tints of dawn were picking out the capital letters of the
|
||
shop sign.
|
||
|
||
When the clock said quarter past seven she made her way
|
||
to the Lion d'Or and was let in by the yawning Artemise. The
|
||
servant paid her the attention of digging out the smoldering
|
||
coals from under the ashes, and then left her to herself in
|
||
the kitchen. From time to time she walked out into the yard.
|
||
Hivert would be harnessing the horses. He went about it very
|
||
deliberately, listening as he did so to Madame Lefrancois,
|
||
who had stuck her head, nightcap and all, out of a window and
|
||
was briefing him on his errands in a way that anyone else
|
||
would have found bewildering. Emma tapped her foot on the
|
||
cobbles.
|
||
|
||
Finally, when he had downed his bowl of soup, put on his
|
||
overcoat, lighted his pipe and picked up his whip, he unhur-
|
||
riedly climbed onto the seat.
|
||
|
||
The Hirondelle set off at a gentle trot, and for the first
|
||
mile or two kept stopping here and there to take on passengers
|
||
who stood watching for it along the road, outside their gates.
|
||
Those who had booked seats the day before kept the coach wait-
|
||
ing. Some, even, were still in their beds, and Hivert would
|
||
call, shout, curse, and finally get down from his seat and
|
||
pound on the doors. The wind whistled in through the cracked
|
||
blinds.
|
||
|
||
Gradually the four benches filled up, the coach rattled
|
||
along, row upon row of apple trees flashed by. And the road,
|
||
lined on each side by a ditch of yellow water, stretched on
|
||
and on, narrowing toward the horizon.
|
||
|
||
Emma knew every inch of it. She knew that after a
|
||
certain meadow came a road sign, then an elm, a barn, or a
|
||
road-mender's cabin. Sometimes she even shut her eyes, trying
|
||
to give herself a surprise. But she always knew just how much
|
||
farther there was to go.
|
||
|
||
Finally the brick houses crowded closer together, the
|
||
road rang under the wheels, and now the Hirondelle moved
|
||
smoothly between gardens. Through iron fences were glimpses
|
||
of statues, artificial mounds crowned by arbors, clipped yews,
|
||
a swing. Then, all at once, the city came into view.
|
||
|
||
Sloping downward like an amphitheatre, drowned in mist,
|
||
it sprawled out shapelessly beyond its bridges. Then open
|
||
fields swept upward again in a monotonous curve, merging at
|
||
the top with the uncertain line of the pale sky. Thus seen
|
||
from above, the whole landscape had the static quality of a
|
||
painting. Ships at anchor were crowded into one corner, the
|
||
river traced its curve along the foot of the green hills,
|
||
and on the water the oblong-shaped islands looked like great
|
||
black fish stopped in their course. From the factory chimneys
|
||
poured endless trails of brown smoke, their tips continually
|
||
dissolving in the wind. The roar of foundries mingled with
|
||
the clear peal of chimes that came from the churches looming
|
||
in the fog. The leafless trees along the boulevards were like
|
||
purple thickets in amongst the houses. And the roofs, all of
|
||
them shiny with rain, gleamed with particular brilliance in
|
||
the upper reaches of the town. Now and again a gust of wind
|
||
blew the clouds toward the hill of Sainte-Catherine, like
|
||
aerial waves breaking soundlessly against a cliff.
|
||
|
||
A kind of intoxication was wafted up to her from those
|
||
closely packed lives, and her heart swelled as though the
|
||
120,000 souls palpitating below had sent up to her as a
|
||
collective offering the breath of all the passions she supposed
|
||
them to be feeling. In the face of the vastness her love grew
|
||
larger, and was filled with a turmoil that echoed the vague
|
||
ascending hum. All this love she, in turn, poured out, onto
|
||
the squares, onto the tree-lined avenues, onto the streets.
|
||
And to her the old Norman city was like some fabulous capital,
|
||
a Babylon into which she was making her entry. She leaned far
|
||
out the window and filled her lungs with air. The three
|
||
horses galloped on, there was a grinding of stones in the mud
|
||
beneath the wheels, the coach swayed. Hivert shouted warningly
|
||
ahead to the wagons he was about to overtake, and businessmen
|
||
leaving their suburban villas in Bois-Guillaume descended the
|
||
hill at a respectable pace in their little family carriages.
|
||
|
||
There was a stop at the city gate. Emma took off her
|
||
overshoes, changed her gloves, arranged her shawl, and twenty
|
||
paces further on she left the Hirondelle.
|
||
|
||
The city was coming to life. Clerks in caps were polish-
|
||
ing shop windows, and women with baskets on their hips stood
|
||
on street corners uttering loud, regular cries. She walked
|
||
on, her eyes lowered, keeping close to the house walls, and
|
||
smiling happily under her lowered black veil.
|
||
|
||
For fear of being seen, she usually didn't take the
|
||
shortest way. She would plunge into a maze of dark alleys,
|
||
and emerge, hot and perspiring, close to the fountain at the
|
||
lower end of the Rue Nationale. This is the part of town
|
||
near the theatre, full of bars and prostitutes. Often a van
|
||
rumbled by, laden with shaky stage-sets. Aproned waiters
|
||
were sanding the pavement between the tubs of green bushes.
|
||
There was a smell of absinthe, cigars and oysters.
|
||
|
||
Then she turned a corner. She recognized him from afar
|
||
by the way his curly hair hung down below his hat.
|
||
|
||
He walked ahead on the sidewalk. She followed him to
|
||
the hotel. He went upstairs, opened the door of the room,
|
||
went in . . . What an embrace!
|
||
|
||
Then, after kisses, came a flood of words. They spoke
|
||
of the troubles of the week, of their forebodings, their
|
||
worries about letters. But now they could forget everything,
|
||
and they looked into each other's eyes, laughing with delight
|
||
and exchanging loving names.
|
||
|
||
The bed was a large mahogany one in the form of a boat.
|
||
Red silk curtains hung from the ceiling and were looped back
|
||
very low beside the flaring headboard, and there was nothing
|
||
so lovely in the world as her dark hair and white skin against
|
||
the deep crimson when she brought her bare arms together in a
|
||
gesture of modesty, hiding her face in her hands.
|
||
|
||
The warm room, with its discreet carpet, its pretty
|
||
knickknacks and its tranquil light, seemed designed for the
|
||
intimacies of passion. The arrow-tipped curtain rods, the
|
||
brass ornaments on the furniture and the big knobs on the
|
||
andirons, all gleamed at once if the sun shone in. Between
|
||
the candlesticks on the mantelpiece was a pair of those great
|
||
pink shells that sound like the ocean when you hold them to
|
||
your ear.
|
||
|
||
How they loved that sweet, cheerful room, for all its
|
||
slightly faded splendor! Each piece of furniture was always
|
||
waiting for them in its place, and sometimes the hairpins
|
||
she had forgotten the Thursday before were still there, under
|
||
the pedestal of the clock. They lunched beside the fire, on
|
||
a little table inlaid with rosewood. Emma carved, murmuring
|
||
all kinds of endearments as she put the pieces on his plate.
|
||
And she gave a loud, wanton laugh when the champagne foamed
|
||
over the fine edge of the glass onto the rings on her fingers.
|
||
They were so completely lost in their possession of each other
|
||
that they thought of themselves as being in their own home,
|
||
destined to live there for the rest of their days, eternal
|
||
young husband and eternal young wife. They said "our room,"
|
||
"our carpet," "our chairs." She even said "our slippers,"
|
||
meaning a pair that Leon had given her to gratify a whim.
|
||
They were of pink satin, trimmed with swansdown. When she sat
|
||
in his lap her legs swung in the air, not reaching the floor,
|
||
and the dainty slippers, open all around except at the tip,
|
||
hung precariously from her bare toes.
|
||
|
||
He was savoring for the first time the ineffable subtle-
|
||
ties of feminine refinement. Never had he encountered this
|
||
grace of language, this quiet taste in dress, these relaxed,
|
||
dovelike postures. He marveled at the sublimity of her soul
|
||
and at the lace on her petticoat. Besides, wasn't she a
|
||
"lady," and married besides? Everything, in short, that a
|
||
mistress should be?
|
||
|
||
With her ever-changing moods, by turns brooding and gay,
|
||
chattering and silent, fiery and casual, she aroused in him a
|
||
thousand desires, awakening instincts or memories. She was
|
||
the amoureuse of all the novels, the heroine of all the plays,
|
||
the vague "she" of all the poetry books. Her shoulders were
|
||
amber-toned, like the bathing odalisques he had seen in pic-
|
||
tures. She was long-waisted like the feudal chatelaines. She
|
||
resembled Musset's "pale femme de Barcelone," too. But at all
|
||
times she was less woman than angel!
|
||
|
||
Often, as he looked at her, it seemed to him that his
|
||
soul, leaving him in quest of her, flowed like a wave around
|
||
the outline of her head, and then was drawn down into the
|
||
whiteness of her breast.
|
||
|
||
He would kneel on the floor before her, and with his
|
||
elbows on her knees gaze at her smilingly, his face lifted.
|
||
|
||
She would bend toward him and murmur, as though choking
|
||
with rapture. "Don't move! Don't say a word! Just look at
|
||
me! There's something so sweet in your eyes, something that
|
||
does me so much good!"
|
||
|
||
She called him "child." "Do you love me, child?"
|
||
|
||
She never heard his answer, so fast did his lips always
|
||
rise to meet her mouth.
|
||
|
||
On the clock there was a little bronze cupid, simpering
|
||
and curving its arms under a gilded wreath. They often laughed
|
||
at it, but when it came time to part, everything grew serious.
|
||
|
||
Motionless, face to face, they would say, over and over.
|
||
|
||
"Till Thursday! Till Thursday!"
|
||
|
||
Then she would abruptly take his face between her hands,
|
||
quickly kiss him on the forehead, cry, "Adieu!" and run out
|
||
into the hall.
|
||
|
||
She always went to a hairdresser in the Rue de la Comedie
|
||
and had her hair brushed and put in order. Darkness would be
|
||
falling, in the shops they would be lighting the gas.
|
||
|
||
She could hear the bell in the theatre summoning the
|
||
actors to the performance, and across the street she would see
|
||
white-faced men and shabbily dressed women going in through
|
||
the stage door.
|
||
|
||
It was hot in this little place with its too-low ceiling
|
||
and its stove humming in the midst of wigs and pomades. The
|
||
smell of the curling irons and the touch of the soft hands at
|
||
work on her head soon made her drowsy, and she dozed off a
|
||
little in her dressing gown. Often, as he arranged her hair,
|
||
the coiffeur would ask her to buy tickets for a masked ball.
|
||
|
||
Then she was off. She retraced her way through the
|
||
streets, reached the Croix-Rouge, retrieved the overshoes that
|
||
she had hidden there that morning under a bench, and squeezed
|
||
herself in among the impatient passengers. To spare the
|
||
horses, the men got out at the foot of the hill, leaving Emma
|
||
alone in the coach.
|
||
|
||
At each bend of the road more and more of the city lights
|
||
came into view, making a layer of luminous mist that hung over
|
||
the mass of the houses. Emma would kneel on the cushions and
|
||
look back, letting her eyes wander over the brilliance. Sobs
|
||
would burst from her, she would call Leon's name, and send him
|
||
sweet words, and kisses that were lost in the wind.
|
||
|
||
On this hill-road was a wretched beggar, who wandered
|
||
with his stick in the midst of the traffic. His clothes were
|
||
a mass of rags, and his face was hidden under a battered old
|
||
felt hat that was turned down all around like a basin. When
|
||
he took this off, it was to reveal two gaping, bloody sockets
|
||
in place of eyelids. The flesh continually shredded off in
|
||
red gobbets, and from it oozed a liquid matter, hardening into
|
||
greenish scabs that reached down to his nose. His black nos-
|
||
trils sniffled convulsively. Whenever he began to talk, he
|
||
leaned his head far back and gave an idiot laugh. And at such
|
||
times his bluish eyeballs, rolling round and round, pushed up
|
||
against the edges of the live wound.
|
||
|
||
As he walked beside the coaches he sang a little song.
|
||
|
||
A clear day's warmth will often move
|
||
A lass to stray in dreams of love . . .
|
||
|
||
And the rest of it was all about the birds, the sun, and
|
||
the leaves on the trees.
|
||
|
||
Sometimes he would loom up all at once from behind Emma,
|
||
bareheaded. She would draw back with a cry. Hivert always
|
||
joked with him, urging him to hire a booth at the Saint-Romain
|
||
fair, or laughingly asking after the health of his sweetheart.
|
||
|
||
Often while the coach was moving slowly up the hill his
|
||
hat would suddenly come through the window, and he would be
|
||
there, clinging with his other hand to the footboard, between
|
||
the spattering wheels. His voice, at the outset a mere wail,
|
||
would grow shrill. It would linger in the darkness like a
|
||
plaintive cry of distress. And through the jingle of the
|
||
horse bells, the rustle of the trees and the rumble of the
|
||
empty coach, there was something eerie about it that gave
|
||
Emma a shudder of horror. The sound spiraled down into the
|
||
very depths of her soul, like a whirlwind in an abyss, and
|
||
swept her off into the reaches of a boundless melancholy. But
|
||
Hivert would become aware that his vehicle was weighed down on
|
||
one side, and would strike out savagely at the blind man with
|
||
his whip. the stinging lash would cut into his wounds, and he
|
||
would drop off into the mud with a shriek.
|
||
|
||
One by one the Hirondelle's passengers would fall asleep,
|
||
some with their mouths open, others with their chins on their
|
||
chests, leaning on their neighbor's shoulder or with an arm
|
||
in the strap, all the while rocking steadily with the motion
|
||
of the coach. And the gleam of the lamp, swaying outside
|
||
above the rumps of the shaft-horses and shining in through
|
||
the chocolate-colored calico curtains, cast blood-red shadows
|
||
on all those motionless travelers. Emma, numb with sadness,
|
||
would shiver under her coat. Her feet would grow colder and
|
||
colder, and she felt like death.
|
||
|
||
Charles would be at the house, waiting. The Hirondelle
|
||
was always late on Thursdays. Then at last Madame would
|
||
arrive! She would scarcely take time to kiss her little girl.
|
||
Dinner wasn't ready . . . no matter! She forgave the cook.
|
||
Felicite seemed to have everything her own way, these days.
|
||
|
||
Often her husband would notice her pallor, and ask whether
|
||
she were ill.
|
||
|
||
"No," Emma would say.
|
||
|
||
"But you're acting so strangely tonight!"
|
||
|
||
"Oh, it's nothing! It's nothing!"
|
||
|
||
Some Thursdays she went up to her room almost the minute
|
||
she came in. Justin would be there and would busy himself
|
||
silently, cleverer at helping her than an experienced ladies'
|
||
maid. He would arrange matches, candlesticks, a book, lay
|
||
out her dressing jacket, open her bed.
|
||
|
||
"Very good," she would tell him. "Now run along."
|
||
|
||
For he would be standing there, his hands at his sides
|
||
and his eyes staring, as though a sudden revery had tied him
|
||
to the spot with a thousand strands.
|
||
|
||
The next day was always an ordeal, and the days that
|
||
followed were even more unbearable, so impatient was she to
|
||
recover her happiness. It was a fierce desire that was kept
|
||
aflame by the vividness of her memories, and on the seventh
|
||
day burst forth freely under Leon's caresses. His transports
|
||
took the form of overflowing wonderment and gratitude. Emma
|
||
enjoyed this passion in a way that was both deliberate and
|
||
intense, keeping it alive by every amorous device at her com-
|
||
mand, and fearing all the while that some day it would come to
|
||
an end.
|
||
|
||
Often she would say to him, sweetly and sadly. "Ah!
|
||
Sooner or later you'll leave me! You'll marry! You'll be
|
||
like all the others."
|
||
|
||
"What others?"
|
||
|
||
"Why, men . . . all men."
|
||
|
||
And, languidly pushing him away, she would add, "You're
|
||
faithless, every one of you!"
|
||
|
||
One day when they were having a philosophical discussion
|
||
about earthly disillusionments, she went so far as to say,
|
||
whether testing his jealousy, or yielding to an irresistible
|
||
need to confide, that in the past, before him, she had loved
|
||
someone else. "Not like you!" she quickly added, and she swore
|
||
by her daughter that "nothing had happened."
|
||
|
||
The young man believed her, but nevertheless asked her
|
||
what kind of man "he" had been.
|
||
|
||
"He was a sea captain," she told him.
|
||
|
||
Did she say that, perhaps, to forestall his making any
|
||
inquiries, and at the same time to exalt herself by making the
|
||
supposed victim of her charms sound like an imperious kind of
|
||
man accustomed to having his way?
|
||
|
||
This impressed upon the clerk the mediocrity of his own
|
||
status. He longed to have epaulettes, decorations and titles.
|
||
Such things must be to her liking, he suspected, judging by
|
||
her spendthrift ways.
|
||
|
||
There were a number of her wildest ideas, however, that
|
||
Emma never said a word about, such as her craving to be driven
|
||
to Rouen in a blue tilbury drawn by an English horse, with a
|
||
groom in turned-down boots on the seat. It was Justin who had
|
||
inspired her with this particular fancy, by begging her to take
|
||
him into her service as footman. And though being deprived of
|
||
it didn't prevent her from enjoying each weekly arrival in the
|
||
city, it certainly added to the bitterness of each return to
|
||
Yonville.
|
||
|
||
Often, when they spoke of Paris, she would murmur, "Ah!
|
||
How happy we'd be, living there!"
|
||
|
||
"Aren't we happy here?" the young man would softly ask,
|
||
passing his hand over her hair.
|
||
|
||
"Of course we are! I'm being foolish. Kiss me!"
|
||
|
||
|
||
With her husband she was more charming than ever. She
|
||
made him pistachio creams and played waltzes for him after
|
||
dinner. He considered himself the luckiest of mortals, and
|
||
Emma had no fear of discovery . . . until suddenly, one
|
||
evening.
|
||
|
||
"It is Mademoiselle Lempereur you take lessons from,
|
||
isn't it?"
|
||
|
||
"Yes."
|
||
|
||
"Well, I just saw her," said Charles, "at Madame Liege-
|
||
ard's. I talked to her about you. She doesn't know you."
|
||
|
||
It was like a thunderbolt. But she answered in a natural
|
||
tone. "Oh, she must have forgotten my name."
|
||
|
||
"Or else maybe there's more than one Mademoiselle
|
||
Lempereur in Rouen who teaches piano."
|
||
|
||
"Maybe so." Then, quickly, "Besides, it just occurs to
|
||
me, I have her receipts. Look!"
|
||
|
||
And she went to the secretary, rummaged in all the
|
||
drawers, mixed up all the papers, and finally grew so rattled
|
||
that Charles begged her not to go to so much trouble for a
|
||
few wretched receipts.
|
||
|
||
"Oh, I'll find them," she said.
|
||
|
||
And indeed, the following Friday, while Charles was
|
||
putting on one of his shoes in the dark dressing room where
|
||
his clothes were kept, he felt a piece of paper between the
|
||
sole and his sock, and pulled it out and read.
|
||
|
||
"Three months' lessons, plus supplies. Sixty-five
|
||
francs. Paid. Felicite Lempereur, Professeur de musique."
|
||
|
||
"How the devil did this get in my shoe?"
|
||
|
||
"It probably fell down from the old bill file on the
|
||
shelf."
|
||
|
||
From that moment on, she piled lie upon lie, using them
|
||
as veils to conceal her love.
|
||
|
||
Lying became a need, a mania, a positive joy. To such
|
||
a point that if she said that she had walked down the right-
|
||
hand side of a street the day before, it meant that she had
|
||
gone down the left.
|
||
|
||
One morning just after she had gone, rather lightly clad
|
||
as usual, there was a sudden snowfall. And Charles, looking
|
||
out the window at the weather, saw Monsieur Bournisien setting
|
||
out for Rouen in Monsieur Tuvache's buggy. So he ran down
|
||
with a heavy shawl and asked the priest to give it to Madame
|
||
as soon as he got to the Croix-Rouge. The moment he reached
|
||
the inn, Bournisien asked where the wife of the Yonville doctor
|
||
was. The hotel-keeper replied that she spent very little time
|
||
there. That evening, therefore, finding Madame Bovary in the
|
||
Hirondelle, the cure told her of the contretemps. He seemed
|
||
to attach little importance to it, however, for he launched
|
||
into praise of a preacher, the sensation at the cathedral,
|
||
adored by all the ladies.
|
||
|
||
Still, though he hadn't asked for explanations, others,
|
||
in the future, might be less discreet. So she thought it
|
||
practical to take a room each time at the Croix-Rouge, in
|
||
order that her fellow villagers might see her there and have
|
||
no suspicion.
|
||
|
||
One day, however, Monsieur Lheureux ran into her as she
|
||
was leaving the Hotel de Boulogne on Leon's arm. She was
|
||
frightened, thinking that he might talk. He was too smart for
|
||
that.
|
||
|
||
But three days later he came into her room, closed the
|
||
door, and said. "I'd like some money."
|
||
|
||
She declared that she had none to give him. Lheureux
|
||
began to moan, and reminded her of how many times he'd gone
|
||
out of his way to oblige her.
|
||
|
||
And indeed, of the two notes signed by Charles, Emma had
|
||
so far paid off only one. As for the second, the shopkeeper
|
||
had agreed at her request to replace it with two others, which
|
||
themselves had been renewed for a very long term. Then he
|
||
drew out of his pocket a list of goods still unpaid for. The
|
||
curtains, the carpet, upholstery material for armchairs,
|
||
several dresses and various toilet articles, totaling about
|
||
two thousand francs.
|
||
|
||
She hung her head.
|
||
|
||
"You may not have any cash," he said, "but you do have
|
||
some property."
|
||
|
||
And he mentioned a wretched, tumbledown cottage situated
|
||
at Barneville, near Aumale, which didn't bring in very much.
|
||
It had once been part of a small farm that the elder Bovary
|
||
had sold. Lheureux knew everything, down to the acreage and
|
||
the neighbors' names.
|
||
|
||
"If I were you I'd get rid of it," he said. "You'd still
|
||
have a balance after paying me."
|
||
|
||
She brought up the difficulty of finding a buyer. He was
|
||
encouraging about the possibility of locating one. But, "What
|
||
would I have to do to be able to sell?" she asked.
|
||
|
||
"Haven't you power of attorney?" he countered.
|
||
|
||
The words came to her like a breath of fresh air.
|
||
|
||
"Leave your bill with me," said Emma.
|
||
|
||
"Oh, it's not worth bothering about," replied Lheureux.
|
||
|
||
He came again the following week, very proud of having
|
||
unearthed, after a lot of trouble, a certain Monsieur Langlois,
|
||
who had been eying the property for a long time without ever
|
||
mentioning the price he was willing to pay.
|
||
|
||
"The price doesn't matter!" she cried.
|
||
|
||
"On the contrary," he said. They should take their time,
|
||
sound Langlois out. The affair was worth the bother of a trip,
|
||
and since she couldn't make it he offered to go himself and
|
||
talk things over with Langlois on the spot. On his return he
|
||
announced that the buyer offered 4,000 francs.
|
||
|
||
Emma beamed at the news.
|
||
|
||
"Frankly," he said, "it's a good price."
|
||
|
||
Half the amount was paid her at once, and when she said
|
||
that now she'd settle his bill, he told her, "Honestly, it
|
||
hurts me to see you hand over every bit of all that money right
|
||
away."
|
||
|
||
She stared at the banknotes and had a vision of the count-
|
||
less love-meetings those 2,000 francs represented. "What?" she
|
||
stammered. "What do you mean?"
|
||
|
||
"Oh," he said, with a jovial laugh, "there's more than one
|
||
way of making out a bill. Don't you think I know how it is
|
||
with married couples?"
|
||
|
||
And he stared at her, running his fingernails up and down
|
||
two long sheets of paper he had in his hand. After a long
|
||
moment he opened his billfold and spread out on the table four
|
||
more promissory notes, each for a thousand francs.
|
||
|
||
"Sign these," he said, "and keep all the money."
|
||
|
||
She gave a shocked cry.
|
||
|
||
"But if I give you the balance," Monsieur Lheureux
|
||
answered, "don't you see that I'm doing you a service?'
|
||
|
||
And taking up a pen he wrote at the bottom of the bill,
|
||
"Received from Madame Bovary the sum of 4,000 francs."
|
||
|
||
"What's there to worry you? In six months you'll have
|
||
the rest of the money due on your cottage, and I'll make the
|
||
last note payable after that date."
|
||
|
||
She was getting a little mixed up in her arithmetic, and
|
||
she felt a ringing in her ears as though gold pieces were
|
||
|
||
bursting out of their bags and dropping to the floor all about
|
||
her. Finally Lheureux explained that he had a friend named
|
||
Vincart, a Rouen banker, who would discount these four new
|
||
notes, following which he himself would pay Madame the balance
|
||
of what was really owed.
|
||
|
||
But instead of 2,000 francs, he brought her only 1,800,
|
||
for his friend Vincart, as was "only right," had deducted 200,
|
||
representing commission and discount.
|
||
|
||
Then he casually asked for a receipt.
|
||
|
||
"You know . . . in business . . . sometimes . . . And
|
||
put down the date, please, the date."
|
||
|
||
A host of things that she could do with the money
|
||
stretched out before Emma in perspective. She had enough
|
||
sense to put 3,000 francs aside, and with them she paid, as
|
||
they came due, the first three notes. But the fourth, as
|
||
luck would have it, arrived at the house on a Thursday, and
|
||
Charles, stunned, patiently awaited his wife's return to have
|
||
it explained to him.
|
||
|
||
Ah! If she hadn't told him anything about that note it
|
||
was because she hadn't wanted to bother him with household
|
||
worries. She sat in his lap, caressed him, cooed at him, and
|
||
gave a long list of all the indispensables she had bought on
|
||
credit.
|
||
|
||
"You'll have to admit," she said, "that considering how
|
||
many things there were, the bill's not too high."
|
||
|
||
Charles, at his wit's end, soon had recourse to the in-
|
||
evitable Lheureux, who promised to straighten everything out
|
||
if Monsieur would sign two more notes, one of them for 700
|
||
francs, payable in three months. Charles wrote a pathetic
|
||
letter to his mother, asking for help. Instead of sending
|
||
an answer, she came herself, and when Emma asked him if he'd
|
||
got anything out of her, "Yes,: he answered. "But she
|
||
insists on seeing the bill."
|
||
|
||
So early the next morning Emma rushed to Monsieur
|
||
Lheureux and begged him to make out a different note, for
|
||
not more than 1,000 francs, for if she were to show the one
|
||
for 4,000 she would have to say that she had paid off two-
|
||
thirds of it, and consequently reveal the sale of the cottage.
|
||
That transaction had been handled very cleverly by the shop-
|
||
keeper, and never did leak out until later.
|
||
|
||
Despite the low price of each article, the elder Madame
|
||
Bovary naturally found such expenditure excessive.
|
||
|
||
"Couldn't you get along without a carpet? Why re-cover
|
||
the armchairs? In my day every house had exactly one armchair,
|
||
for elderly persons . . . at least, that's the way it was at
|
||
my mother's, and she was a respectable woman, I assure you.
|
||
Everybody can't be rich! No amount of money will last if you
|
||
throw it out the window. It would make me blush to pamper
|
||
myself the way you do . . . and I'm an old woman and need
|
||
looking after . . . Who's ever seen so much finery? What,
|
||
silk for linings at two francs when you can find jaconet for
|
||
half a franc and even less that does perfectly well?"
|
||
|
||
Emma, stretched out on the settee, answered with the
|
||
greatest calm, "That's enough, Madame, that's enough."
|
||
|
||
Her mother-in-law continued to sermonize, prophesying
|
||
that they'd end in the poorhouse. Besides, it was all Bovary's
|
||
fault, she said. At least, though, he'd promised her he'd
|
||
cancel the power of attorney.
|
||
|
||
"What!"
|
||
|
||
"Yes, he's given me his word," said the lady.
|
||
|
||
Emma disappeared, then quickly returned, majestically
|
||
holding out to her a large sheet of paper.
|
||
|
||
"I thank you," said the woman. And she threw the power
|
||
of attorney into the fire.
|
||
|
||
Emma burst out laughing and didn't stop. Her laughter
|
||
was loud and strident, it was an attack of hysterics.
|
||
|
||
"Ah, my God!" cried Charles. "You're overdoing things,
|
||
too! You've no right to come here and make scenes."
|
||
|
||
His mother shrugged her shoulders and said that "it was
|
||
all put on."
|
||
|
||
But Charles, rebellious for the first time in his life,
|
||
took his wife's part, and the older Madame Bovary said she
|
||
wanted to go. She departed the next day, and on the doorstep,
|
||
as he was trying to make her change her mind, she answered,
|
||
"No! No! You love her more than you do me, and you're right,
|
||
that's as it should be. There's nothing I can do about it.
|
||
You'll see, though . . . Take care of yourself . . . I can
|
||
promise you it will be a long time before I come back here to
|
||
`make scenes,' as you put it."
|
||
|
||
Nevertheless Charles was very hangdog with Emma, and she
|
||
didn't hide her resentment at having been distrusted. He had
|
||
to entreat her many times before she would consent to accept
|
||
power of attorney again, and he even went with her to Maitre
|
||
Guillaumin to have a new one drawn up, identical with the
|
||
first.
|
||
|
||
"I well understand your doing this," said the notary.
|
||
"A man of science can't be expected to burden himself with
|
||
the practical details of existence."
|
||
|
||
Charles felt soothed by those oily words. They flattered
|
||
his weakness, making it look like preoccupation with lofty
|
||
things.
|
||
|
||
What exultation there was the next Thursday in their
|
||
room at the hotel, with Leon! She laughed, cried, sang,
|
||
danced, sent for water ices, insisted on smoking cigarettes.
|
||
He found her wild, but adorable, superb.
|
||
|
||
He had no idea what it was that was driving her more
|
||
and more to fling herself into a reckless pursuit of pleasure.
|
||
She grew irritable, greedy, voluptuous, and she walked boldly
|
||
with him in the street. Unafraid, she said, of compromising
|
||
herself. There were times, though, when Emma trembled at the
|
||
sudden thought of meeting Rodolphe, for she suspected that
|
||
even though they had parted, forever, he still retained some
|
||
of his power over her.
|
||
|
||
One night she didn't return to Yonville at all. Charles
|
||
lost his head, and little Berthe, unwilling to go to bed with-
|
||
out maman, sobbed as though her heart would break. Justin had
|
||
gone off down the road to look for her. Monsieur Homais actu-
|
||
ally stepped out of his pharmacy.
|
||
|
||
Finally, at eleven o'clock, unable to stand it any longer,
|
||
Charles harnessed his buggy, jumped in, whipped the horse on,
|
||
and reached the Croix-Rouge at two in the morning. No sign of
|
||
her. It occurred to him that Leon might have seen her. But
|
||
where did he live? Luckily, Charles remembered the address of
|
||
his employer, and he hastened there.
|
||
|
||
The sky was beginning to lighten. He made out some
|
||
escutcheons over a door, and knocked. Without opening, someone
|
||
shouted the information he wanted, together with a good deal
|
||
of abuse about people who disturb other people at night.
|
||
|
||
The house the clerk lived in boasted neither bell nor
|
||
knocker no doorman. Charles pounded with his fists on the
|
||
shutters, but just then a policeman came along. This fright-
|
||
ened him, and he slunk away.
|
||
|
||
"I'm crazy," he told himself. "The Lormeaux' probably
|
||
kept her to dinner."
|
||
|
||
But the Lormeaux' no longer lived in Rouen.
|
||
|
||
"She must have stayed to look after Madame Dubreuil. Oh,
|
||
no . . . Madame Dubreuil died ten months ago. So where can
|
||
she be?'
|
||
|
||
He had an idea. In a cafe he asked for the directory and
|
||
looked up Mademoiselle Lempereur. 74 Rue de la Renelle-des-
|
||
Maroquiniers was her address.
|
||
|
||
Just as he turned into that street, Emma herself appeared
|
||
at the other end. It would be wrong to say that he embraced
|
||
her, he flung himself on her, crying, "What kept you yesterday?"
|
||
|
||
"I was ill."
|
||
|
||
"Ill? How? Where?"
|
||
|
||
She passed her hand over her forehead, "At Mademoiselle
|
||
Lempereur's."
|
||
|
||
"I knew it! I was on my way there."
|
||
|
||
"Well, there's no use going there now. She's just gone
|
||
out. But after this don't get so excited. I won't feel free
|
||
to do a thing if I know that the slightest delay upsets you
|
||
like this."
|
||
|
||
It was a kind of permit that she was giving herself. A
|
||
permit to feel completely unhampered in her escapades. And
|
||
she proceeded to make free and frequent use of it. Whenever
|
||
she felt like seeing Leon, she would go off, using any excuse
|
||
that came to mind. And since he wouldn't be expecting her
|
||
that day, she would call for him at his office.
|
||
|
||
It was all very joyous, the first few times. But before
|
||
long he stopped hiding the truth from her, his employer was
|
||
complaining loudly of these incursions.
|
||
|
||
"Bah!" she said. "Come along."
|
||
|
||
And he slipped out.
|
||
|
||
She demanded that he dress entirely in black and grow a
|
||
little pointed beard, to make himself look like the portraits
|
||
of Louis XIII. She asked to see his rooms, and found them
|
||
very so-so. He reddened at that, but she didn't notice, and
|
||
advised him to buy curtains like hers. When he objected to
|
||
the expense.
|
||
|
||
"Ah! So you pinch your pennies!" she said laughing.
|
||
|
||
Each time, Leon had to tell her everything he had done
|
||
since their last rendezvous. She asked for a poem, a poem
|
||
for herself, a love piece written in her honor. He could
|
||
never find a rhyme for the second line, and ended up copying
|
||
a sonnet from a keepsake.
|
||
|
||
He did that less out of vanity than out of a desire to
|
||
please her. He never disputed any of her ideas. He fell in
|
||
with all her tastes. He was becoming her mistress, far more
|
||
than she was his. Her sweet words and her kisses swept away
|
||
his soul. Her depravity was so deep and so dissembled as to
|
||
be almost intangible. Where could she have learned it?
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 3
|
||
|
||
CHAPTER SIX
|
||
|
||
On his trips to see her he had often taken dinner at the
|
||
pharmacist's, and he felt obliged out of politeness to invite
|
||
him in return.
|
||
|
||
"With pleasure!" Homais answered. "A change will do me
|
||
good. My life here is such a rut. We'll see a show and eat
|
||
in a restaurant and really go out on the town."
|
||
|
||
"Out on the town!" Madame Homais' exclamation was affec-
|
||
tionate. She was alarmed by the vague perils he was girding
|
||
himself to meet.
|
||
|
||
"Why shouldn't I? Don't you think I ruin my health
|
||
enough, exposing myself to all those drug fumes? That's women
|
||
for you! They're jealous of Science, and yet they're up in
|
||
arms at the mention of even the most legitimate distraction.
|
||
Never mind, I'll be there. One of these days I'll turn up in
|
||
Rouen, and we'll turn the town upside down."
|
||
|
||
In the past, the apothecary would have been careful to
|
||
avoid such an expression. But now he was going in for a dare-
|
||
devil, Parisian kind of language that he considered very a la
|
||
mode, and like his neighbor Madame Bovary he asked the clerk
|
||
many searching questions about life in the big city. He even
|
||
talked slang in order to show off in front of the "bourgeois,"
|
||
using such terms as turne, bazar, chicard, chicandard, the
|
||
English "Breda Street" for Rue de Breda and je me la casse for
|
||
je m'en vais.
|
||
|
||
So one Thursday Emma was surprised to find, in the kitchen
|
||
of the Lion d'Or, none other than Monsieur Homais in traveling
|
||
garb. That is, wrapped in an old cape that no one had ever
|
||
seen on him before, with a suitcase in one hand and in the
|
||
other the foot-warmer from his shop. He hadn't breathed a word
|
||
about his trip to anyone, fearing lest the public be made ner-
|
||
vous by his absence.
|
||
|
||
The idea of revisiting the scenes of his youth apparently
|
||
excited him, for he didn't stop talking all the way. The
|
||
wheels had barely stopped turning when he leapt from the coach
|
||
in search of Leon, and despite the clerk's struggles he dragged
|
||
him off to lunch at the Cafe de Normandie. Here Monsieur Homais
|
||
made a majestic entrance. He kept his hat on, considering it
|
||
highly provincial to uncover in a public place.
|
||
|
||
Emma waited for Leon three-quarters of an hour, then rushed
|
||
to his office. She was at a loss as to what could have happened.
|
||
In her mind she heaped him with reproaches for his indifference
|
||
and herself for her weakness. All afternoon she stood with her
|
||
forehead glued to the windowpanes of their room.
|
||
|
||
At two o'clock Leon and Homais were still facing each other
|
||
across their table. The big dining room was emptying. The
|
||
stovepipe, designed to resemble a palm tree, spread out in a
|
||
circle of gilded fronds on the white ceiling. And near them,
|
||
just inside the window, in full sun, a little fountain gurgled
|
||
into a marble basin, where among watercress and asparagus three
|
||
sluggish lobsters stretched their claws toward a heap of quail.
|
||
|
||
Homais was in heaven. He found the luxe even more intoxi-
|
||
cating than the fine food and drink. Still, the Pomard went to
|
||
his head a little, and when the rum omelet made its appearance
|
||
he advanced certain immoral theories concerning women. What
|
||
particularly captivated him was the quality of chic. He adored
|
||
an elegant toilette in a handsome decor, and as for physical
|
||
qualities, he wasn't averse to a "plump little morsel."
|
||
|
||
Leon desperately watched the clock. The apothecary kept
|
||
drinking, eating, talking.
|
||
|
||
"You must feel quite deprived, here in Rouen," he suddenly
|
||
remarked. "But then, your lady-love doesn't live too far away."
|
||
|
||
And as Leon blushed, "Come, be frank! You won't deny, will
|
||
you, that in Yonville . . ."
|
||
|
||
The young man began to stammer.
|
||
|
||
" . . . at the Bovarys', you did quite some courting of
|
||
. . ."
|
||
|
||
"Of whom?"
|
||
|
||
"Of the maid!"
|
||
|
||
Homais wasn't joking. But Leon vanity got the better of
|
||
his discretion, and despite himself he protested indignantly.
|
||
Besides, he said, he liked only brunettes.
|
||
|
||
"I approve your preference," said the pharmacist. "They
|
||
have more temperament."
|
||
|
||
And putting his mouth close to his friend's ear, he
|
||
enumerated the sure signs of temperament in a woman. He even
|
||
launched into an ethnographical digression. German women were
|
||
moody, French women licentious, Italian women passionate.
|
||
|
||
"What about Negro women?" demanded the clerk.
|
||
|
||
"Much favored by artists," said Homais. "Waiter, two
|
||
demitasses!"
|
||
|
||
"Shall we go?" said Leon finally, his patience at an end.
|
||
|
||
"Yes," said Homais in English.
|
||
|
||
But before leaving he insisted on seeing the manager, and
|
||
offered him his congratulations.
|
||
|
||
Leon, in the hope of being left alone, now pleaded a
|
||
business appointment.
|
||
|
||
"Ah! I'll go with you!" said Homais.
|
||
|
||
And as he accompanied him through the streets he talked
|
||
about his wife, about his children, about their future, about
|
||
his pharmacy, told him in what a rundown state he had found
|
||
it and to what a peak of perfection he had brought it.
|
||
|
||
When they reached the Hotel de Boulogne, Leon brusquely
|
||
took leave of him, ran upstairs and found his mistress close
|
||
to hysterics.
|
||
|
||
The mention of the pharmacist's name put her into a rage.
|
||
He pleaded his case persuasively. It wasn't his fault . . .
|
||
surely she knew Monsieur Homais. Could she think for a moment
|
||
that he preferred his company? But she turned away. He caught
|
||
hold of her, and winding his arms around her waist he sank to
|
||
his knees, languorous, passionate, imploring.
|
||
|
||
She stood there, solemn, almost terrible, transfixing him
|
||
with her great blazing eyes. Then tears came to cloud them,
|
||
she lowered her reddened eyelids, held out her hands, and Leon
|
||
was just pressing them to his lips when a servant knocked and
|
||
said that someone was asking for Monsieur.
|
||
|
||
"You'll come back?' she said.
|
||
|
||
"Yes."
|
||
|
||
"When?"
|
||
|
||
"Right away."
|
||
|
||
"How do you like my little trick?' said the pharmacist,
|
||
when Leon appeared. "I wanted to help you get away from your
|
||
company. You gave me the impression you didn't expect to enjoy
|
||
it. Let's go to Bridoux's and have a glass of cordial.
|
||
|
||
Leon insisted that he had to return to his office. The
|
||
apothecary made facetious remarks about legal papers and legal
|
||
flummery.
|
||
|
||
"Forget about Cujas and Barthole for a bit, for heaven's
|
||
sake. Who's to stop you? Be a sport. Let's go to Bridoux's.
|
||
You'll see his dog. It's very interesting."
|
||
|
||
And when the clerk stubbornly held out, "I'll come, too.
|
||
I'll read a newspaper while I wait, or look through a law
|
||
book.
|
||
|
||
Overcome by Emma's anger, Monsieur Homais' chatter, and
|
||
perhaps by the heavy lunch, Leon stood undecided, as though
|
||
under the pharmacist's spell.
|
||
|
||
"Let's go to Bridoux's!" the latter kept repeating.
|
||
"It's only a step from here . . . Rue Malpalu."
|
||
|
||
Out of cowardice or stupidity, or perhaps yielding to
|
||
that indefinable impulse that leads us to do the things we
|
||
most deplore, he let himself be carried off to Bridoux's.
|
||
They found him in his little yard, superintending three
|
||
workmen who were pantingly turning the great wheel of a
|
||
Seltzer-water machine. Homais offered them several bits of
|
||
advice and embraced Bridoux. They had their cordial. Twenty
|
||
times Leon started to leave, but the pharmacist caught him by
|
||
the arm, saying, "Just a minute! I'm coming. We'll go to
|
||
the Fanal de Rouen and say hello to everybody. I'll introduce
|
||
you to Thomassin."
|
||
|
||
He got rid of him, however, and flew to the hotel. Emma
|
||
was gone.
|
||
|
||
She had just left in a fury. She hated him. His failure
|
||
to keep their appointment seemed to her an insult, and she
|
||
sought additional reasons for seeing no more of him. He was
|
||
unheroic, weak, commonplace, spineless as a woman, and stingy
|
||
and timorous to boot.
|
||
|
||
Gradually, growing calmer, she came to see that she had
|
||
been unjust to him. But casting aspersions on those we love
|
||
always does something to loosen our ties. We shouldn't mal-
|
||
treat our idols. The gilt comes off on our hands.
|
||
|
||
From then on, matters extraneous to their love occupied
|
||
a greater place in their talk. The letters that Emma sent
|
||
him were all about flowers, poetry, the moon and the stars.
|
||
She resorted to these naive expedients as her passion weakened,
|
||
trying to keep it alive by artificial means. She continually
|
||
promised herself that the next rendezvous would carry her to
|
||
the peak of bliss. But when it was over she had to admit that
|
||
she had felt nothing extraordinary. Each disappointment quickly
|
||
gave way to new hope. Each time, Emma returned to him more
|
||
feverish, more avid. She could hardly wait to undress. She
|
||
pulled so savagely at her corset string that it hissed around
|
||
her hips like a gliding snake. Then she would tiptoe barefoot
|
||
to see once again that the door was locked, and in a single
|
||
movement let fall all her clothes. And, pale, silent, solemn,
|
||
she would fling herself against his body with a long shudder.
|
||
|
||
There was something mad, though, something strange and
|
||
sinister, about that cold, sweating forehead, about those
|
||
stammering lips, those wildly staring eyes, the clasp of those
|
||
arms. Something that seemed to Leon to be creeping between
|
||
them, subtly, as though to tear them apart.
|
||
|
||
He didn't dare question her, but realizing how experi-
|
||
enced she was, he told himself that she must have known the
|
||
utmost extremes of suffering and pleasure. What had once
|
||
charmed him he now found a little frightening. Then, too,
|
||
he rebelled against the way his personality was increasingly
|
||
being submerged. He resented her perpetual triumph over him.
|
||
He even did his best to stop loving her, then at the sound of
|
||
her footsteps he would feel his will desert him, like a
|
||
drunkard at the sight of strong liquor.
|
||
|
||
She made a point, it is true, of showering him with all
|
||
kinds of attentions. Everything from fine foods to coquetries
|
||
of dress and languorous glances. She brought roses from
|
||
Yonville in her bosom and tossed them at him. She worried
|
||
over his health, gave him advice about how to conduct himself.
|
||
And one day, to bind him the closer, hoping that heaven itself
|
||
might take a hand in things, she slipped over his head a medal
|
||
of the Blessed Virgin. Like a virtuous mother, she inquired
|
||
about his associates.
|
||
|
||
"Don't see then," she would say. "Don't go out. Just
|
||
think about us. Love me!"
|
||
|
||
She wished she could keep an eye on him continually, and
|
||
it occurred to her to have him followed on the street. There
|
||
was a kind of tramp near the hotel who always accosted tra-
|
||
velers and who would certainly be willing to . . . But her
|
||
pride rebelled.
|
||
|
||
"What if he does betray me? Do I care?'
|
||
|
||
One day when they had said farewell earlier than usual,
|
||
she caught sight of the walls of her convent as she was
|
||
walking back alone down the boulevard, and she sank onto a
|
||
bench in the shade of the elms. How peaceful those days had
|
||
been! How she had longed for that ineffable emotion of love
|
||
that she had tried to imagine from her books!
|
||
|
||
The first months of her marriage, her rides in the forest,
|
||
the vicomte she had waltzed with, Lagardy singing. All passed
|
||
before her eyes. And Leon suddenly seemed as far removed as
|
||
the others.
|
||
|
||
"I do love him, though!" she told herself.
|
||
|
||
No matter, she wasn't happy, and never had been. Why
|
||
was life so unsatisfactory? Why did everything she leaned
|
||
on crumble instantly to dust? But why, if somewhere there
|
||
existed a strong and handsome being . . . a man of valor,
|
||
sublime in passion and refinement, with a poet's heart and
|
||
an angel's shape, a man like a lyre with strings of bronze,
|
||
intoning elegiac epithalamiums to the heavens, why mightn't
|
||
she have the luck to meet him? Ah, fine chance! Besides,
|
||
nothing was worth looking for. Everything was a lie! Every
|
||
smile concealed a yawn of boredom. Every joy, a curse, every
|
||
pleasure, its own surfeit. And the sweetest kisses left on
|
||
one's lips but a vain longing for fuller delight.
|
||
|
||
Through the air came a hoarse, prolonged metallic groan,
|
||
and then the clock of the convent struck four. Only four!
|
||
And it seemed to her that she had been there on that bench
|
||
since eternity. But an infinity of passions can be com-
|
||
pressed into a minute, like a crowd into a little space.
|
||
Emma's passions were the sole concern of her life, for money
|
||
she had no more thought than an archduchess.
|
||
|
||
One day, however, she was visited by an ill-kempt
|
||
individual, red-faced and bald, who said he had been sent by
|
||
Monsieur Vincart of Rouen. He pulled out the pins fastening
|
||
the side pocket of his long green frock coat, stuck them in
|
||
his sleeve, and politely handed her a document.
|
||
|
||
It was a note for 500 francs, signed by her, which
|
||
Lheureux, despite all his promises, had endorsed over to
|
||
Vincart.
|
||
|
||
She sent her maid for Lheureux. He couldn't come.
|
||
|
||
The stranger had remained standing, dissimulating under
|
||
his thick blond eyebrows the inquisitive glances that he cast
|
||
left and right. "What answer am I to give Monsieur Vincart?'
|
||
he asked, with an innocent air.
|
||
|
||
"Well," said Emma, "tell him . . . that I haven't got
|
||
. . . I'll have it next week . . . He should wait . . . yes,
|
||
I'll have it next week."
|
||
|
||
Whereupon the fellow went off without a word.
|
||
|
||
But the next day, at noon, she received a protest of
|
||
nonpayment, and the sight of the official document, bearing
|
||
the words "Maitre Hareng, huissier at Buchy" several times
|
||
in large letters, gave her such a fright that she hurried to
|
||
the dry-goods merchant.
|
||
|
||
She found him in his shop tying up a parcel.
|
||
|
||
"At your service!" he said. "What can I do for you?'
|
||
|
||
He didn't interrupt his task. His clerk, a slightly
|
||
hunch-backed girl of thirteen or so, who also did his cooking,
|
||
was helping him.
|
||
|
||
Finally he clattered across the shop in his wooden shoes,
|
||
climbed up ahead of Madame to the second floor, and showed her
|
||
into a small office. Here on a large fir desk lay several
|
||
ledgers, fastened down by a padlocked metal bar that stretched
|
||
across them. A safe could be glimpsed against the wall, under
|
||
some lengths of calico. A safe of such size that it certainly
|
||
contained something besides cash and promissory notes. And
|
||
indeed Monsieur Lheureux did some pawnbroking. It was here
|
||
that he kept Madame Bovary's gold chain, along with some ear-
|
||
rings that had belonged to poor Tellier. The latter had
|
||
finally had to sell the Cafe Francais, and had since bought a
|
||
little grocery business in Quincampoix, where he was dying of
|
||
his catarrh, his face yellower than the tallow candles he sold.
|
||
|
||
Lheureux sat down in his broad, rush-bottomed armchair.
|
||
"What's new?' he asked her.
|
||
|
||
"Look!" And she showed him the document.
|
||
|
||
"Well, what can I do about it?'
|
||
|
||
She flew into a rage, reminding him that he had promised
|
||
not to endorse her notes.
|
||
|
||
He admitted it. "But my hand was forced. My creditors
|
||
had a knife at my throat."
|
||
|
||
"And what's going to happen now?' she asked.
|
||
|
||
"Oh, it's very simple. A court warrant, then execution.
|
||
There's no way out."
|
||
|
||
Emma had to restrain herself from hitting him. She asked
|
||
quietly whether there wasn't some way of appeasing Monsieur
|
||
Vincart.
|
||
|
||
"Ha! Appease Vincart! You didn't know him. He's fiercer
|
||
than an Arab."
|
||
|
||
But Monsieur Lheureux had to do something about it!
|
||
|
||
"Now listen!" he said. "It seems to me I've been pretty
|
||
nice to you so far."
|
||
|
||
And opening one of his ledgers, "Look!" He moved his
|
||
finger up the page. "Let's see . . . let's see . . . August
|
||
3,200 francs . . . June 17, 150 . . . March 23, 46. In April
|
||
. . ." He stopped, as though afraid of making a blunder.
|
||
|
||
"I won't even mention the notes your husband signed, one
|
||
for seven hundred francs, another for three hundred. And as
|
||
for your payments on account, and the interest, there's no
|
||
end to it. It's a mess. I won't have anything more to do
|
||
with it."
|
||
|
||
She wept, she even called him her "dear Monsieur Lheureux."
|
||
But he kept laying the blame on "That scoundrelly Vincart."
|
||
Besides, he himself didn't have a centime. No one was paying
|
||
him at the moment. His creditors were tearing the clothes from
|
||
his back. A poor shopkeeper like himself couldn't advance money.
|
||
|
||
Emma stopped speaking, and Monsieur Lheureux, nibbling the
|
||
quill of his pen, seemed disturbed by her silence.
|
||
|
||
"Of course," he said, "if I were to have something come in
|
||
one of these days I might . . ."
|
||
|
||
"After all," she said, "as soon as the balance on Barne-
|
||
ville . . ."
|
||
|
||
"What's that?"
|
||
|
||
And when he heard that Langlois hadn't yet paid he seemed
|
||
very surprised. Then, in an oily voice, "And our terms will
|
||
be . . .?"
|
||
|
||
"Oh, anything you say!"
|
||
|
||
Then he shut his eyes to help himself think, wrote down
|
||
a few figures, and assuring her that he was making things
|
||
hard for himself, taking a great risk, "bleeding himself
|
||
white," he made out four notes for 250 francs each, payable
|
||
a month apart.
|
||
|
||
"Let's hope that Vincart's willing to listen to me!
|
||
Anyway, you have my word. I don't say one thing and mean
|
||
another. I'm open and aboveboard."
|
||
|
||
Afterwards he casually showed her a few items, not one
|
||
of which, in his opinion, was worthy of Madame.
|
||
|
||
"When I think of dress goods like this selling at seven
|
||
sous a metre and guaranteed dye-fast! Everybody believes it,
|
||
too! And they don't get undeceived, I can assure you." The
|
||
admission that he swindled others was meant as clinching
|
||
proof of his frankness with herself.
|
||
|
||
Then he called her back and showed her several yards of
|
||
point lace that he had come upon recently "in a vendue."
|
||
|
||
"Isn't it splendid?" he said. "It's being used a good
|
||
deal now for antimacassars, it's the last word."
|
||
|
||
And quicker than a juggler he wrapped up the lace and
|
||
handed it to Emma.
|
||
|
||
"At least," she said, "let me know how much it . . ."
|
||
|
||
"Oh, we'll talk about that later," he answered, turning
|
||
abruptly away.
|
||
|
||
That very evening she made Bovary write his mother and
|
||
ask her to send the balance of his inheritance at once. Her
|
||
mother-in-law replied that there was nothing to send. The
|
||
estate was settled, and in addition to Barneville they could
|
||
count on a yearly income of 600 francs, which she would forward
|
||
punctually.
|
||
|
||
So Madame sent bills to two or three patients, and before
|
||
long she was sending them to many more, so successful did the
|
||
expedient prove. She was always careful to add, in a post-
|
||
script, "Don't speak of this to my husband, you know how proud
|
||
he is. With regrets. Your humble servant." There were a
|
||
few complaints, but she intercepted them.
|
||
|
||
To raise money she began to sell her old gloves, her old
|
||
hats, all kinds of household odds and ends. She drove a hard
|
||
bargain. Her peasant blood stood her in good stead. And on
|
||
her trips to the city she combed the curiosity shops for
|
||
knickknacks, telling herself that Monsieur Lheureux, if no
|
||
one else, would take them off her hands. She brought ostrich
|
||
feathers, Chinese porcelains, old chests. She borrowed from
|
||
Felicite, from Madame Lefrancois, from the landlady of the
|
||
Croix-Rouge, from anyone and everyone. With part of the
|
||
money she finally got from Barneville, she paid off two notes.
|
||
The rest, 1,500 francs, dribbled away. She signed new notes,
|
||
always new notes.
|
||
|
||
Occasionally she tried to add up some figures, but the
|
||
totals were so enormous that she couldn't believe them. Then
|
||
she'd begin all over again, quickly become confused, and push
|
||
it all aside and forget it.
|
||
|
||
The house was a gloomy place these days. Tradesmen
|
||
called, and left with angry faces. Handkerchiefs lay strewn
|
||
about on the stoves, and Madame Homais was shocked to see
|
||
little Berthe with holes in her stockings. If Charles ventured
|
||
some timid remark, Emma retorted savagely that she certainly
|
||
wasn't to blame.
|
||
|
||
Why these fits of rage? He laid it all to her old nervous
|
||
illness, and, penitent at having mistaken her infirmities for
|
||
faults, he cursed his selfishness and longed to run up to her
|
||
and take her in his arms.
|
||
|
||
"Oh, no!" he told himself. "I'd only annoy her." And he
|
||
did nothing.
|
||
|
||
After dinner he would walk alone in the garden. Then,
|
||
with little Berthe in his lap and his medical journal open, he
|
||
would try to teach the child to read. But she had never been
|
||
given the slightest schooling, and after a few moments her
|
||
eyes would grow round and sad, and the tears would come. He
|
||
would comfort her. He filled the watering can to help her
|
||
make rivulets in the paths, or broke privet branches that she
|
||
could plant as trees in the flower beds. None of this harmed
|
||
the garden, particularly, it was so choked with high grass
|
||
anyway. They owed so many days' pay to Lestiboudois! Then
|
||
the little girl would feel chilly and ask for her mother.
|
||
|
||
"Call Felicite," Charles would tell her. "You know
|
||
maman doesn't like to be disturbed."
|
||
|
||
It was the onset of autumn, and already the leaves were
|
||
falling, like two years before, when she had been so ill.
|
||
When would there be an end to all this? And he would walk up
|
||
and down, his hands behind his back.
|
||
|
||
Madame was in her room. No one else was admitted. She
|
||
stayed there all day long in a torpor, not bothering to dress,
|
||
now and again burning incense that she had bought at an
|
||
Algerian shop in Rouen. She couldn't stand having Charles
|
||
lying like a log at her side all night, and her repeated
|
||
complaints finally drove him to sleep in the attic. She would
|
||
read till morning. Lurid novels full of orgies and bloodshed.
|
||
|
||
Sometimes, in sudden terror, she screamed, but when
|
||
Charles ran in she dismissed him. "Oh, get out."
|
||
|
||
At other times, seared by that hidden fire which her
|
||
adultery kept feeding, consumed with longing, feverish with
|
||
desire, she would open her window, inhale the cold air, let
|
||
the heavy mass of her hair stream out in the wind. As she
|
||
gazed at the stars she wished she were loved by a prince.
|
||
Thoughts of Leon filled her. At such moments she would have
|
||
given anything for a single one of their trysts, the trysts
|
||
that sated her lust.
|
||
|
||
Those were her gala days. She was determined that they
|
||
be glorious. And when he couldn't pay for everything himself
|
||
she freely made up the difference. This happened almost every
|
||
time. He tried to convince her that they would be just as
|
||
well off elsewhere, in a more modest hotel, but she always
|
||
objected.
|
||
|
||
One day she opened her bag, produced six little silver-
|
||
gilt spoons, they had been her father's wedding present, and
|
||
asked him to run out and pawn them for her. Leon obeyed,
|
||
though he disliked the errand. He was afraid it might com-
|
||
promise him.
|
||
|
||
Thinking it over later, he came to the conclusion that
|
||
his mistress was certainly beginning to act strangely, maybe
|
||
the people who were urging him to break with her weren't so
|
||
mistaken after all.
|
||
|
||
For indeed someone had sent his mother a long anonymous
|
||
letter, warning her that he was "ruining himself with a married
|
||
woman," and the lady, having visions of the perennial bogey of
|
||
respectable families, that ill-defined, baleful female, that
|
||
siren, that fantastic monster forever lurking in the abysses
|
||
of love, wrote to Maitre Bocage, his employer. This gentle-
|
||
man's handling of the matter was flawless. He talked to the
|
||
young man for three-quarters of an hour, trying to unseal his
|
||
eyes and warn him of the precipice ahead. Sooner or later,
|
||
such an affair would harm his career. He begged him to break
|
||
it off, and if he couldn't make the sacrifice for his own
|
||
sake, then he should at least do it for his . . . namely, for
|
||
the sake of Maitre Bocage.
|
||
|
||
In the end Leon had promised never to see Emma again.
|
||
And he reproached himself for not having kept his word,
|
||
especially considering all the trouble and reproaches she
|
||
still probably held in store for him, not to mention the jokes
|
||
his fellow clerks cracked every morning around the stove.
|
||
Besides, he was about to be promoted to head clerk, this was
|
||
the time to turn over a new leaf. So he gave up playing the
|
||
flute and said good-bye to exalted sentiments and romantic
|
||
dreams. There isn't a bourgeois alive who in the ferment of
|
||
his youth, if only for a day or for a minute, hasn't thought
|
||
himself capable of boundless passions and noble exploits. The
|
||
sorriest little woman-chaser has dreamed of Oriental queens.
|
||
In a corner of every notary's heart lie the moldy remains of
|
||
a poet.
|
||
|
||
These days it only bored him when Emma suddenly burst out
|
||
sobbing on his breast, like people who can stand only a certain
|
||
amount of music, he was drowsy and apathetic amidst the shrill-
|
||
ness of her love. His heart had grown deaf to its subtler
|
||
overtones.
|
||
|
||
By now they knew each other too well. No longer did they
|
||
experience, in their mutual possession, that wonder that multi-
|
||
plies the joy a hundredfold. She was as surfeited with him as
|
||
he was tired of her. Adultery, Emma was discovering, could be
|
||
as banal as marriage.
|
||
|
||
But what way out was there? She felt humiliated by the
|
||
degradation of such pleasures, but to no avail. She continued
|
||
to cling to them, out of habit or out of depravity. And every
|
||
day she pursued them more desperately, destroying all possible
|
||
happiness by her excessive demands. She blamed Leon for her
|
||
disappointed hopes, as though he had betrayed her. And she
|
||
even longed for a catastrophe that would bring about their
|
||
separation, since she hadn't the courage to bring it about
|
||
herself.
|
||
|
||
Still, she continued to write him loving letters, faithful
|
||
to the idea that a woman must always write her lover.
|
||
|
||
But as her pen flew over the paper she was aware of the
|
||
presence of another man, a phantom embodying her most ardent
|
||
memories, the most beautiful things she had read and her
|
||
strongest desires. In the end he became so real and accessible
|
||
that she tingled with excitement, unable though she was to
|
||
picture him clearly, so hidden was he, godlike, under his
|
||
manifold attributes. He dwelt in that enchanted realm where
|
||
silken ladders swing from balconies moon-bright and flower-
|
||
scented. She felt him near her. He was coming . . . coming
|
||
to ravish her entirely in a kiss. And the next moment she
|
||
would drop back to earth, shattered. For these rapturous
|
||
love-dreams drained her more than the greatest orgies.
|
||
|
||
She lived these days in a state of constant and total
|
||
exhaustion. She was continually receiving writs, official
|
||
documents that she barely looked at. She wished she were
|
||
dead, or in a state of continual sleep.
|
||
|
||
The Thursday night of the mi-careme, the mid-Lenten
|
||
festivities, she didn't return to Yonville, but went to a
|
||
masked ball. She wore velvet knee breeches and red stockings
|
||
and a peruke, and a cocked hat over one ear. She danced all
|
||
night to the wild sound of trombones. She was the center of
|
||
an admiring throng, and morning found her under the portico
|
||
of the theatre with five or six maskers dressed as stevedores
|
||
and sailors, friends of Leon's, who were wondering where they
|
||
might have something to eat.
|
||
|
||
The nearby cafes were all full. On the river front they
|
||
found a nondescript restaurant whose owner showed them up to
|
||
a little room on the fifth floor.
|
||
|
||
The men whispered in a corner, doubtless consulting about
|
||
the expense. A clerk, two medical students and a shop assis-
|
||
tant. What company she was keeping! As for the women, Emma
|
||
was quickly aware from their voices that most of them must be
|
||
of the lowest class. That frightened her, and she drew back
|
||
her chair and lowered her eyes.
|
||
|
||
The others began to eat. She did not. Her forehead was
|
||
afire, her eyelids were smarting, her skin was icy cold. In
|
||
her head she still felt the quaking of the dance floor under
|
||
the rhythmic tread of a thousand feet. The smell of punch
|
||
and cigar smoke made her dizzy. She fainted, and they carried
|
||
her to the window.
|
||
|
||
Day was beginning to break, and in the pale sky toward
|
||
Sainte-Catherine a large streak of red was widening. The
|
||
leaden river shivered in the wind. The bridges were empty.
|
||
The street lamps were going out.
|
||
|
||
Gradually she revived, and somehow she thought of Berthe,
|
||
asleep out there beyond the horizon, in Felicite's room. But
|
||
a wagon laden with long strips of iron went by, and the impact
|
||
of its metallic clang shook the house walls.
|
||
|
||
Abruptly, she left the place. She took off her costume,
|
||
told Leon she had to go home, and at last was alone in the
|
||
Hotel de Boulogne. She loathed everything, including herself.
|
||
She longed to fly away like a bird, to recapture her youth
|
||
somewhere far away in the immaculate reaches of space.
|
||
|
||
She went out, followed the boulevard, crossed the Place
|
||
Cauchoise and walked through the outskirts of the city to an
|
||
open street overlooking gardens. She walked swiftly, the
|
||
fresh air calmed her, and gradually the faces of the crowd,
|
||
the maskers, the quadrilles, the blazing lights, the supper,
|
||
and those women she had found herself with all disappeared
|
||
like mist blown off by the wind. Then she returned to the
|
||
Croix-Rouge and flung herself down on her bed in the little
|
||
third-floor room with the prints of the Tour de Nesle. At
|
||
four that afternoon Hivert woke her.
|
||
|
||
When she arrived home Felicite showed her a gray sheet
|
||
of paper stuck behind the clock.
|
||
|
||
"By virtue of an instrument," she read, "duly setting
|
||
forth the terms of a judgement to be enforced . . ."
|
||
|
||
What judgement? The previous day, she found, another
|
||
paper had arrived, she hadn't seen it, and now she was dumb-
|
||
founded to read these words.
|
||
|
||
"To Madame Bovary. You are hereby commanded by order
|
||
of the king, the law and the courts . . ."
|
||
|
||
Then, skipping several lines, she saw, "Within twenty-
|
||
four hours." What was this? "Pay the total amount of 8,000
|
||
francs." And lower down, "There to be subjected to all due
|
||
processes of law, and notably to execution of distraint upon
|
||
furniture and effects."
|
||
|
||
What was to be done? In twenty-four hours. Tomorrow?
|
||
Lheureux, she thought, was probably trying to frighten her
|
||
again. Suddenly she saw through all his schemes. The reason
|
||
for his amiability burst upon her. What reassured her was
|
||
the very enormity of the amount.
|
||
|
||
Nonetheless, as a result of buying and never paying,
|
||
borrowing, signing notes and then renewing those same notes,
|
||
which grew larger and larger each time they came due, she
|
||
had gradually built up a capital for Monsieur Lheureux that
|
||
he was impatient to lay his hands on to use in his specula-
|
||
tions.
|
||
|
||
She called on him, assuming a nonchalant air.
|
||
|
||
"You know what's happened? It's a joke, I suppose?"
|
||
|
||
"No."
|
||
|
||
"What do you mean?"
|
||
|
||
He slowly turned his head away and folded his arms.
|
||
|
||
"Did you think, my dear lady," he said, "that I was
|
||
going to go on to the end of time being your supplier and
|
||
banker just for the love of God? I have to get back what I
|
||
laid out. Let's be fair!"
|
||
|
||
She was indignant about the size of the amount claimed.
|
||
|
||
"What can I do about it? The court upheld it. There's
|
||
a judgement. You were notified. Besides, I have nothing to
|
||
do with it . . . it's Vincart."
|
||
|
||
"Couldn't you . . .?"
|
||
|
||
"Absolutely nothing."
|
||
|
||
"But . . . still . . . let's talk it over."
|
||
|
||
And she stammered incoherently that she had known nothing
|
||
about it, that the whole thing had come as a surprise . . .
|
||
|
||
"Whose fault is that?" said Lheureux, with an ironic bow.
|
||
"I work like a slave, and you go out enjoying yourself."
|
||
|
||
"Ah! No preaching!"
|
||
|
||
"It never did anybody any harm," he retorted.
|
||
|
||
She was craven. She pled with him, she even put her
|
||
pretty slender white hand on his knee.
|
||
|
||
"None of that! Are you trying to seduce me, or what?"
|
||
|
||
"You're contemptible!" she cried.
|
||
|
||
"Oh! Oh! How you go on!" he said, laughing.
|
||
|
||
"I'll let everybody know what you're like. I'll tell my
|
||
husband . . ."
|
||
|
||
"Will you? I have something to show your husband!"
|
||
|
||
And out of his safe Lheureux took the receipt for 1,800
|
||
francs that she had given him for the note discounted by
|
||
Vincart. "Do you think," he said, "that he won't see through
|
||
your little swindle, the poor dear man?"
|
||
|
||
She crumpled, as though hit over the head with a club.
|
||
He paced back and forth between the window and the desk,
|
||
saying over and over, "I'll show it to him! I'll show it to
|
||
him!"
|
||
|
||
Then he came close to her and said softly, "It's no fun,
|
||
I know. But nobody's ever died of it, after all, and since
|
||
it's the only way you have left of paying me back my money."
|
||
|
||
"But where can I find some?" cried Emma, wringing her
|
||
hands.
|
||
|
||
"Ah! Bah!" A woman like you, with plenty of friends!"
|
||
And he transfixed her with a stare so knowing and so terrible
|
||
that she shuddered to the depths of her being.
|
||
|
||
"I promise you!" she said, "I'll sign . . ."
|
||
|
||
"I have enough of your signatures!"
|
||
|
||
"I'll sell more . . ."
|
||
|
||
"Face it!" he said, shrugging his shoulders. "You've got
|
||
nothing left."
|
||
|
||
And he called through a peephole that communicated with
|
||
the shop, "Annette! Don't forget the three cuttings of No.
|
||
14."
|
||
|
||
|
||
The servant entered. Emma took the hint, and asked how
|
||
much money would be required to stop all proceedings.
|
||
|
||
"It's too late!"
|
||
|
||
"But if I brought you a few thousand francs, a quarter
|
||
of the amount, a third, almost all?"
|
||
|
||
"No . . . there's no use!" He pushed her gently toward
|
||
the stairs.
|
||
|
||
"I implore you, Monsieur Lheureux . . . just a few days
|
||
more!"
|
||
|
||
She was sobbing.
|
||
|
||
"Ah! Tears! Very good!"
|
||
|
||
"You'll drive me to do something desperate!"
|
||
|
||
"A lot I care!" he said, closing the door behind her.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 3
|
||
|
||
CHAPTER SEVEN
|
||
|
||
She was stoical, the next day, when Maitre Hareng, the
|
||
huissier, arrived with two witnesses to take inventory of the
|
||
goods and chattels to be sold.
|
||
|
||
They began with Bovary's consulting room, and didn't
|
||
include the phrenological head, which was considered a
|
||
"professional instrument." But in the kitchen they counted
|
||
the plates and the pans, the chairs and the candlesticks, and
|
||
in the bedroom all the knickknacks on the whatnot. They
|
||
inspected her dresses, the linen, the cabinet de toilette,
|
||
and her very being, down to its most hidden and intimate
|
||
details, was laid open, like a dissected corpse, to the stares
|
||
of those three men.
|
||
|
||
Maitre Hareng, buttoned up in a close-fitting black tail
|
||
coat, with a white cravat, his shoestraps very tight, kept
|
||
repeating, "Vous permettez, Madame? Vous permettez?"
|
||
|
||
And frequently he exclaimed, "Charming! Very pretty!"
|
||
|
||
Then he would resume his writing, dipping his pen in the
|
||
inkhorn he held in his left hand.
|
||
|
||
When they had finished with the various rooms they went
|
||
up to the attic.
|
||
|
||
She kept a desk there, where Rodolphe's letters were
|
||
locked away. They made her open it.
|
||
|
||
"Ah! Personal papers!" said Maitre Hareng, with a
|
||
discreet smile. "Mais permettez! I have to make sure there's
|
||
nothing else in the box."
|
||
|
||
And he held the envelopes upside down, very gently, as
|
||
though expecting them to disgorge gold pieces. She was put
|
||
into a fury by the sight of that great red hand, with its
|
||
soft, sluglike fingers, touching those pages that had caused
|
||
her so many heartthrobs.
|
||
|
||
They left at last. Felicite came back. She had sent
|
||
her out to watch for Bovary and keep him away. They quickly
|
||
installed the watchman in the attic, and he promised to stay
|
||
there.
|
||
|
||
Charles, she thought during the evening, looked careworn.
|
||
She scrutinized him with an agonized stare, reading accusations
|
||
in the drawn lines of his face. Then, as her eyes roved over
|
||
the mantelpiece, gay with Chinese fans, over the full curtains,
|
||
the armchairs, all the things that had tempered the bitterness
|
||
of her life, she was overcome with remorse, or rather with
|
||
immense regret. And this, far from eclipsing her passion, only
|
||
exasperated it. Charles placidly stirred the fire, lounging in
|
||
his chair.
|
||
|
||
At one moment the watchman, bored, no doubt, in his hiding
|
||
place, made a slight noise.
|
||
|
||
"Is somebody walking around up there?" asked Charles.
|
||
|
||
"No!" she answered. "It's a dormer that's been left open,
|
||
blowing in the wind."
|
||
|
||
The next day, Sunday, she left for Rouen, determined to
|
||
call on every banker she had heard of. Most of them were away
|
||
in the country or traveling. She persisted, however, and those
|
||
whom she succeeded in seeing she asked for money, insisting
|
||
that she must have it, swearing to repay. Some of them laughed
|
||
in her face, they all refused.
|
||
|
||
At two o'clock she hurried to Leon's and knocked on his
|
||
door. No one came to open. Finally he appeared.
|
||
|
||
"What brings you here?"
|
||
|
||
"Are you sorry to see me?"
|
||
|
||
"No . . . but . . ."
|
||
|
||
And he confessed that his landlord didn't like the tenants
|
||
to entertain "women."
|
||
|
||
"I've got to talk to you," she said.
|
||
|
||
He reached for his key. She stopped him, "Oh, no . . .
|
||
let's go to our place."
|
||
|
||
And they went to their room in the Hotel de Boulogne.
|
||
|
||
There she drank a large glass of water. She was very pale.
|
||
"Leon," she said to him, "you have to do something for me."
|
||
|
||
And clutching both his hands tightly in hers, she shook
|
||
them and said, "Listen! I've got to have eight thousand
|
||
francs!"
|
||
|
||
"But you're out of your mind!"
|
||
|
||
"Not yet!"
|
||
|
||
And in a rush she told him all about the execution. She
|
||
was in desperate straits, Charles had been kept in total
|
||
ignorance, her mother-in-law hated her, her father could do
|
||
nothing. He, Leon, must save her. He must go out at once
|
||
and find her the money that she absolutely had to have.
|
||
|
||
"How in the world do you expect me . . .?"
|
||
|
||
"Don't just stand there, like a spineless fool!"
|
||
|
||
"You're making things out to be worse than they are,"
|
||
he said stupidly. "You could probably quiet your man with
|
||
three thousand francs."
|
||
|
||
All the more reason for trying to do something. It
|
||
wasn't conceivable that three thousand francs couldn't be
|
||
found. Besides, Leon's signature could go on the notes
|
||
instead of hers.
|
||
|
||
"Go ahead! Try! I've got to have it! Hurry! Oh,
|
||
try! Try! Then I'll show you how I love you!"
|
||
|
||
He went out. In an hour he was back.
|
||
|
||
"I've seen three people," he told her, solemn-faced.
|
||
"Nothing doing."
|
||
|
||
They sat face to face across the fire, still and silent.
|
||
Emma kept shrugging her shoulders, tapping her foot. Then
|
||
he heard her say, low-voiced, "If I were in your place I'd
|
||
know where to find the money!"
|
||
|
||
"You would? Where?"
|
||
|
||
"In your office!" She stared at him.
|
||
|
||
There was a demonic desperation burning in her eyes, and
|
||
she narrowed them in a look of lascivious provocation. The
|
||
young man felt himself giving way before the mute will of
|
||
this woman who was urging him to crime. He took fright, and
|
||
to avoid hearing anything further he clapped his hand to his
|
||
forehead.
|
||
|
||
"Morel should be back tonight!" he cried. "He won't
|
||
refuse me, I hope!" (Morel was one of his friends, the son
|
||
of a wealthy businessman.) "I'll bring it to you tomorrow,"
|
||
he promised.
|
||
|
||
Emma didn't appear to welcome this hope of relief as
|
||
joyfully as he had thought. Did she suspect his lie? He
|
||
blushed as he added, "But if I'm not back by three, don't
|
||
wait for me any longer, darling. Now I have to go out.
|
||
Forgive me! Good-bye!"
|
||
|
||
He pressed her hand, but it lay inert in his, Emma was
|
||
drained of all feeling.
|
||
|
||
Four o'clock struck, and she got up to go back to
|
||
Yonville, automatic in her obedience to the force of habit.
|
||
|
||
The day was fine. One of those clear, sharp March days
|
||
with the sun brilliant in a cloudless sky. Contented-looking
|
||
Rouennais were strolling in their Sunday best. As she came
|
||
to the Place du Parvis, vespers in the cathedral had just
|
||
ended. Crowds were pouring out through the three portals,
|
||
like a river through the three arches of a bridge. And in
|
||
their midst, immovable as a rock, stood the verger.
|
||
|
||
She remembered how tremulous she had been, how full of
|
||
hope, the day she had entered that lofty nave. How it had
|
||
stretched away before her, on and on, and yet not as infinite
|
||
as her love! And she kept walking, weeping under her veil,
|
||
dazed, tottering, almost in a faint.
|
||
|
||
"Watch out!" The cry came from within a portecochere
|
||
that was swinging open. She stopped, and out came a black
|
||
horse, prancing between the shafts of a tilbury. A gentleman
|
||
in sables was holding the reins. Who was he? She knew him.
|
||
The carriage leapt forward and was gone.
|
||
|
||
The vicomte! It was the vicomte! She turned to stare,
|
||
the street was empty. And the encounter left her so crushed,
|
||
so immeasurably sad, that she leaned against a wall to keep
|
||
from falling.
|
||
|
||
Then she thought that she might be mistaken. How could
|
||
she tell? She had no way of knowing. Everything, everything
|
||
within her, everything without, was abandoning her. She felt
|
||
lost, rolling dizzily down into some dark abyss. And she was
|
||
almost glad, when she reached the Croix-Rouge, to see good
|
||
old Monsieur Homais. He was watching a case of pharmaceutical
|
||
supplies being loaded onto the Hirondelle, and in his hand he
|
||
carried a present for his wife, six cheminots wrapped in a
|
||
foulard handkerchief.
|
||
|
||
Madame Homais was particularly fond of those heavy
|
||
turban-shaped rolls, which the Rouennais eat in Lent with
|
||
salted butter. A last relic of Gothic fare, going back
|
||
perhaps to the times of the Crusades. The lusty Normans
|
||
of those days gorged themselves on cheminots, picturing
|
||
them as the heads of Saracens, to be devoured by the light
|
||
of yellow torches along with flacons of spiced wine and
|
||
giant slabs of meat. Like those ancients, the apothecary's
|
||
wife crunched them heroically, despite her wretched teeth.
|
||
And every time Monsieur Homais made a trip to the city he
|
||
faithfully brought some back to her, buying them always at
|
||
the best baker's, in the Rue Massacre.
|
||
|
||
"Delighted to see you!" he said, offering Emma a hand
|
||
to help her into the Hirondelle.
|
||
|
||
Then he put the cheminots in the baggage net and sat
|
||
there hatless, his arms folded, in a pose that was pensive
|
||
and Napoleonic.
|
||
|
||
But when the blind beggar made his appearance as usual
|
||
at the foot of the hill, he exclaimed in indignation, "I
|
||
cannot understand why the authorities continue to tolerate
|
||
such dishonest occupations! All these unfortunates should
|
||
be put away, and put to work! Progress moves at a snail's
|
||
pace, no doubt about it! We're still wallowing in the midst
|
||
of barbarism!"
|
||
|
||
The blind man held out his hat, and it swung to and fro
|
||
at the window like a loose piece of upholstery.
|
||
|
||
"That," pronounced the pharmacist, "is a scrofulous
|
||
disease." And though he had often seen the poor devil before,
|
||
he pretended now to be looking at him for the first time, and
|
||
he murmured the words "cornea," "opaque cornea," "sclerotic,"
|
||
"facies." Then, in a paternal tone, "Have you had that
|
||
frightful affliction long, my friend? You'd do well to follow
|
||
a diet, instead of getting drunk in cafes."
|
||
|
||
He urged him to take only good wine and good beer, and
|
||
to eat good roast meat. The blind man kept singing his song.
|
||
Actually, he seemed fairly close to idiocy. Finally Monsieur
|
||
Homais took out his purse.
|
||
|
||
"Here . . . here's a sou, change it for me and keep half
|
||
of it for yourself. And don't forget my suggestions . . .
|
||
you'll find they help."
|
||
|
||
Hivert presumed to express certain doubts about their
|
||
efficacy. But the apothecary swore that he could cure the
|
||
fellow himself, with an antiphlogistic salve of his own
|
||
invention, and he gave him his address.
|
||
|
||
"Monsieur Homais, near the market . . . ask anyone."
|
||
|
||
"Come now," said Hivert. "Show the gentleman you're
|
||
grateful by doing your act."
|
||
|
||
The blind man squatted on his haunches and threw back
|
||
his head, and rolling his greenish eyes and sticking out his
|
||
tongue he rubbed his stomach with both hands, meanwhile
|
||
uttering a kind of muffled howl, like a famished dog. Emma,
|
||
shuddering with disgust, flung him a five-franc piece over
|
||
her shoulder. It was all the money she had in the world.
|
||
There was something grand, she thought, in thus throwing
|
||
it away.
|
||
|
||
The coach was again in motion, when suddenly Monsieur
|
||
Homais leaned out the window.
|
||
|
||
"Nothing farinaceous!" he shouted. "No dairy products!
|
||
Wear woolens next to your skin! Fumigate the diseased areas
|
||
with the smoke of juniper berries!"
|
||
|
||
The sight of all the familiar things they passed gradually
|
||
took Emma's mind off her misery. She was oppressed, crushed
|
||
with fatigue, and she reached home numb and spiritless, almost
|
||
asleep.
|
||
|
||
"Let come what may!" she told herself. Besides, who knew?
|
||
Something extraordinary might happen any moment. Lheureux
|
||
himself might die.
|
||
|
||
She was awakened the next morning at nine by the sound
|
||
of voices in the square. People were crowding around the
|
||
market to read a large notice posted on one of the pillars,
|
||
and she saw Justin climb on a guard post and deface the
|
||
notice. Just then the village policeman seized him by the
|
||
collar. Monsieur Homais came out of his pharmacy, and Madame
|
||
Lefrancois seemed to be holding forth in the midst of the
|
||
|
||
crowd.
|
||
|
||
"Madame! Madame!" cried Felicite, rushing in. "It's an
|
||
outrage!"
|
||
|
||
And the poor girl, much agitated, showed her a yellow
|
||
paper she had just torn off the front door. Emma read in a
|
||
glance that all the contents of her house were subject to
|
||
sale.
|
||
|
||
They looked at each other in silence. There were no
|
||
secrets between mistress and maid. Finally Felicite murmured,
|
||
"If I were you, Madame, I'd go see Maitre Guillaumin."
|
||
|
||
"Do you think so?"
|
||
|
||
"You know all about the Guillaumins from their man-
|
||
servant," the question meant, "does the master mention me,
|
||
sometimes?"
|
||
|
||
"Yes, go ahead, it's worth trying."
|
||
|
||
She put on her black dress and her bonnet with jade
|
||
beads. And to keep from being seen (there was still quite a
|
||
crowd in the square) she avoided the village and took the
|
||
river path.
|
||
|
||
She was breathless when she reached the notary's gate.
|
||
The sky was dark. It was snowing a little.
|
||
|
||
At the sound of her ring Theodore, in a red vest,
|
||
emerged from the front door. He opened the gate for her
|
||
with an air of familiarity, as though she were someone he
|
||
knew well, and showed her into the dining room.
|
||
|
||
A large porcelain stove was purring. The niche above it
|
||
was filled with a cactus, and against the oak-grained wall-
|
||
paper hung Steuben's "Esmeralda" and Schopin's "Potiphar,"
|
||
both in black wood frames. The table set for breakfast, the
|
||
two silver dishwarmers, the crystal doorknobs, the parquet
|
||
floor and the furniture, all gleamed with a meticulous Eng-
|
||
lish spotlessness. In the corners of each of the windows were
|
||
panes of colored glass.
|
||
|
||
"This," thought Emma, "is the kind of dining room I
|
||
should have."
|
||
|
||
The notary came in. He was wearing a dressing gown with
|
||
palm designs, which he clutched about him with his left hand,
|
||
and with his right he doffed and then quickly replaced his
|
||
brown velvet skullcap. This he wore rakishly tilted to the
|
||
right, and out from under it emerged the ends of three strands
|
||
of fair hair that were combed up from the back and drawn care-
|
||
fully over his bald cranium.
|
||
|
||
After offering her a chair he sat down to his breakfast,
|
||
apologizing profusely for his discourtesy.
|
||
|
||
"Monsieur," she said, "I want to ask you . . ."
|
||
|
||
"What, Madame? I'm listening."
|
||
|
||
She told him of her predicament.
|
||
|
||
It was no news to Maitre Guillaumin. He was secretly
|
||
associated with the dry-goods merchant, who could always be
|
||
counted on to supply him with capital for the mortgage loans
|
||
he arranged for his clients.
|
||
|
||
Thus he knew, far better than she, the long story of the
|
||
notes, small at first, carrying the names of various endorsers,
|
||
made out for long terms and continually renewed. He knew how
|
||
the shopkeeper had gradually accumulated the various protests
|
||
of nonpayment, and how he had finally had his friend Vincart
|
||
institute the necessary legal proceedings in his name, wishing
|
||
to avoid acquiring a reputation for bloodthirstiness among his
|
||
fellow villagers.
|
||
|
||
She interspersed her story with recriminations against
|
||
Lheureux, and to these the notary returned occasional, empty
|
||
answers. He ate his chop and drank his tea. His chin kept
|
||
rubbing against his sky-blue cravat, whose two diamond stick-
|
||
pins were linked by a fine gold chain, and he smiled a strange,
|
||
sugary, ambiguous smile. Then he noticed that her feet were
|
||
wet.
|
||
|
||
"Move closer to the stove! Put them up . . . higher
|
||
. . . against the porcelain."
|
||
|
||
She was afraid of dirtying it, but his retort was gallant.
|
||
"Pretty things never do any harm."
|
||
|
||
Then she tried to appeal to his emotions, growing emo-
|
||
tional herself. She told him about her cramped household
|
||
budget, her harassments, her needs. He was very sympathetic
|
||
. . . an elegant woman like herself! . . . and without inter-
|
||
rupting his meal he gradually turned so that he faced her and
|
||
his knee brushed against her shoe, whose sole was beginning to
|
||
curl a little as it steamed in the heat of the stove.
|
||
|
||
But when she asked him for 3,000 francs he tightened his
|
||
lips and said that he was very sorry not to have had charge
|
||
of her capital in the past, for there were a hundred easy ways
|
||
in which even a lady could invest her money profitably. The
|
||
Grumesnil peatery, building lots in Le Havre, such speculations
|
||
were excellent, almost risk-proof. And he let her consume
|
||
herself with rage at the thought of the fantastic sums she
|
||
could certainly have made.
|
||
|
||
"How come," he asked her, "that you never called on me?"
|
||
|
||
"I really don't know," she said.
|
||
|
||
"Why didn't you? Did I seem so very frightening to you?
|
||
But I'm the one who has cause for complaint. We barely know
|
||
each other! I feel very warmly toward you, though. You
|
||
realize that now, I hope?"
|
||
|
||
He reached out his hand, took hers, pressed it to his
|
||
lips in a greedy kiss, and then kept it on his knee, and he
|
||
gently fondled her fingers, murmuring a thousand compliments.
|
||
|
||
His monotonous voice rustled on like a running brook.
|
||
His eyes were gleaming through the glitter of his glasses,
|
||
and his hands crept up inside Emma's sleeve and stroked her
|
||
arm. She felt a panting breath on her cheek. This man was
|
||
more than she could stand.
|
||
|
||
She leapt to her feet. "Monsieur! I'm waiting!"
|
||
|
||
"What for?" cried the notary, suddenly extremely pale.
|
||
|
||
"The money."
|
||
|
||
"But . . ."
|
||
|
||
Then, yielding to an irresistible surge of desire, "Yes!
|
||
Yes!"
|
||
|
||
He dragged himself toward her on his knees, careless of
|
||
his dressing gown. "Please! Don't go! I love you!" He
|
||
seized her by the waist.
|
||
|
||
A flood of crimson rushed to Madame Bovary's face. She
|
||
shrank back, and with a terrible look she cried, "It's shame-
|
||
less of you to take advantage of my distress! I'm to be
|
||
pitied, but I'm not for sale!" And she walked out.
|
||
|
||
The notary sat there dumbfounded, his eyes fixed on his
|
||
beautiful embroidered slippers. They were a gift from a mis-
|
||
tress, and the sight of them gradually comforted him. Anyway,
|
||
he told himself, such an affair would have involved too many
|
||
risks.
|
||
|
||
"What a contemptible, lowdown cad!" she said to herself,
|
||
as she fled tremulously under the aspens lining the road.
|
||
Disappointment at having failed made her all the more indig-
|
||
nant at the insult offered her honor. It seemed to her that
|
||
Providence was hounding her relentlessly. She was filled
|
||
with pride at the way she had acted. Never before had she
|
||
esteemed herself so highly. Never had she felt such contempt
|
||
for everyone else. She was at war with the world, and the
|
||
thought transported her. She longed to lash out at all men,
|
||
to spit in their faces, grind them all to dust. And she
|
||
hurried straight on, pale, trembling, furious, scanning the
|
||
empty horizon with weeping eyes, almost gloating in the hatred
|
||
that was choking her.
|
||
|
||
When she caught sight of her house she felt suddenly
|
||
paralyzed. She couldn't go on and yet she had to. What
|
||
escape was there?
|
||
|
||
Felicite was waiting for her at the door.
|
||
|
||
"Well?"
|
||
|
||
"No," said Emma.
|
||
|
||
And for a quarter of an hour they discussed who in
|
||
Yonville might be willing to help her. But every time
|
||
Felicite mentioned someone, Emma answered, "Out of the
|
||
question! They'd refuse!"
|
||
|
||
"And Monsieur will soon be home!"
|
||
|
||
"I know . . . Go away and leave me alone."
|
||
|
||
She had tried everything. Now there was nothing more
|
||
to be done. So when Charles appeared there would be only one
|
||
thing to tell him.
|
||
|
||
"Don't stay here! The very rug you're walking on isn't
|
||
ours. Not a piece of all this furniture belongs to you . . .
|
||
not a pin, not a wisp of straw. And I'm the one who has
|
||
ruined you!"
|
||
|
||
Then he would utter a great sob, and then weep floods
|
||
of tears. And in the end, once the shock was over, he would
|
||
forgive her.
|
||
|
||
"Yes," she muttered, through clenched teeth, "he'll for-
|
||
give me . . . the man I wouldn't forgive for setting eyes on
|
||
me if he offered me a million . . . Never! Never!"
|
||
|
||
This thought of Bovary in a position to be condescending
|
||
put her beside herself. But whether she confessed or not,
|
||
he would inevitably . . . sooner or later, today or tomorrow
|
||
. . . learn of the disaster. So she could only look forward
|
||
to that horrible scene and to being subjected to the weight of
|
||
his magnanimity. Suddenly she felt an urge to try Lheureux
|
||
once more. But what was the use? Or to write to her father,
|
||
but it was too late. And perhaps she was regretting, now, not
|
||
having yielded to the notary, when she heard a horse's trot in
|
||
the lane. It was Charles. He was opening the gate, his face
|
||
more ashen than the plaster on the wall. Rushing downstairs,
|
||
she slipped quickly out into the square, and the mayor's wife,
|
||
who was chatting in front of the church with Lestiboudois, saw
|
||
her enter the house of the tax collector.
|
||
|
||
Madame Tuvache ran to tell Madame Caron. The two ladies
|
||
climbed up to the latter's attic, and there, hidden behind
|
||
some laundry that was hanging up to dry, they stood so that
|
||
they could easily see into Binet's.
|
||
|
||
He was alone in his garret, busily copying, in wood, one
|
||
of those ivory ornaments that beggar description, a conglomera-
|
||
tion of half-moons and of spheres carved one inside the other,
|
||
the whole thing standing erect like an obelisk and perfectly
|
||
useless. He was just beginning on the last section, the end
|
||
was in sight! In the chiaroscuro of his workshop the golden
|
||
sawdust flew from his lathe like a spray of sparks under the
|
||
hooves of a galloping horse. The two wheels spun and whirred,
|
||
|
||
Binet was smiling, chin down and nostrils wide. He looked
|
||
absorbed, in one of those states of utter bliss such as men
|
||
seem to find only in humble activities, which divert the mind
|
||
with easy challenges and gratify it with the most utter and
|
||
complete success.
|
||
|
||
"Ah! There she is!" said Madame Tuvache.
|
||
|
||
But the sound of the lathe made it impossible to know
|
||
what she was saying.
|
||
|
||
Finally the two ladies thought they heard the word
|
||
"francs," and Madame Tuvache whispered, "She's asking him
|
||
for a postponement of her taxes."
|
||
|
||
"Looks like it," said the other.
|
||
|
||
They saw her pacing up and down the room, looking at
|
||
the shelves along the wall laden with napkin rings, candle-
|
||
sticks and finials, while Binet contentedly stroked his
|
||
beard.
|
||
|
||
"Would she be coming to order something from him?"
|
||
suggested Madame Tuvache.
|
||
|
||
"But he never sells anything!" the other reminded her.
|
||
|
||
The tax collector seemed to be listening, staring as
|
||
though he didn't understand. She continued to talk, her
|
||
manner gentle and supplicating. She came close to him, her
|
||
breast was heaving, now they seemed not to be speaking.
|
||
|
||
"Is she making advances to him?" said Madame Tuvache.
|
||
|
||
Binet had gone red to the roots of his hair. She grasped
|
||
his hands.
|
||
|
||
"Ah! Just look at that . . .!"
|
||
|
||
And she must have been suggesting something abominable,
|
||
for the tax collector . . . and he was a man of courage, he
|
||
had fought at Bautzen and Lutzen, and taken part in the French
|
||
campaign, and even been proposed for the Legion of Honor . . .
|
||
suddenly recoiled as though he had seen a snake.
|
||
|
||
"Madame!" he cried. "You must be dreaming!"
|
||
|
||
"Women like that should be horsewhipped," said Madame
|
||
Tuvache.
|
||
|
||
"Where has she gone to?' said Madame Caron.
|
||
|
||
For even as he was speaking she had vanished. Then they
|
||
saw her darting down the Grande Rue and turning to the right,
|
||
as though to reach the cemetery, and they didn't know what to
|
||
make of it.
|
||
|
||
"Madame Rollet!" she cried, when she reached the wet-
|
||
nurse's. "I can't breathe! Unlace me!"
|
||
|
||
She fell sobbing onto the bed. Madame Rollet covered
|
||
her with a petticoat and stood beside her. Then, when she
|
||
didn't speak, the peasant woman moved away, took up her wheel
|
||
and began spinning flax.
|
||
|
||
"Don't do that!" she murmured. She thought it was Binet's
|
||
lathe.
|
||
|
||
"What's the matter with her?" wondered the nurse. "Why
|
||
did she come here?"
|
||
|
||
She had come because a kind of terror had sent her . . .
|
||
a terror that made her flee her home. Lying on her back,
|
||
motionless, her eyes vacant, she saw things only in a blur,
|
||
though she focused her attention on them with idiotic per-
|
||
sistence. She stared at the flaking plaster on the wall, at
|
||
two half-burned sticks smoking end to end in the fireplace,
|
||
at a large spider crawling overhead in a crack in the rafter.
|
||
Gradually she collected her thoughts. She remembered . . .
|
||
one day with Leon . . . Oh, how far away it was . . .! The
|
||
sun was shining on the river, and the air was full of the
|
||
scent of clematis . . . Then, swept along in her memories as
|
||
in a raging torrent, she quickly recalled the previous day.
|
||
|
||
"What time is it?" she asked.
|
||
|
||
Madame Rollet went out, held up the fingers of her right
|
||
hand against the brightest part of the sky, and came slowly
|
||
back, saying, "Almost three."
|
||
|
||
"Ah! Thank you! Thank you!"
|
||
|
||
For he would be coming. There could be no question about
|
||
it, by now he had found the money. But probably he would go
|
||
to her house, having no idea that she was here, and she ordered
|
||
the nurse to run and fetch him.
|
||
|
||
"Hurry!"
|
||
|
||
"I'm on my way, dear lady! I'm on my way!"
|
||
|
||
She marveled, now, at not having thought of him in the
|
||
first place. Yesterday he had given his word. He wouldn't
|
||
fail her, and already she saw herself at Lheureux's, laying
|
||
the three banknotes on his desk. Then she'd have to invent
|
||
some story that would satisfy Bovary. What would it be?
|
||
|
||
But the nurse was a long time returning. Still, since
|
||
there was no clock in the cottage, Emma feared that she might
|
||
be exaggerating the duration of her absence, and she walked
|
||
slowly around and around the garden, and down the path by the
|
||
hedge and quickly back, hoping that the nurse might have
|
||
returned some other way. Finally, weary of waiting, a prey
|
||
to suspicions that she resolutely put out of her mind, no
|
||
longer sure whether she had been there a hundred years or a
|
||
minute, she sat down in a corner and closed her eyes and put
|
||
her hands to her ears. The gate squeaked. She leapt up.
|
||
Before she could speak Madame Rollet said, "He's not there!"
|
||
|
||
"What?'
|
||
|
||
"No, he's not! And Monsieur's crying. He keeps calling
|
||
your name. Everybody's looking for you."
|
||
|
||
Emma made no answer. She was gasping and staring wildly
|
||
about her. The peasant woman, frightened by the expression
|
||
on her face, instinctively shrank back, thinking her crazed.
|
||
All at once she clapped her hand to her forehead and gave a
|
||
cry, for into her mind had come the memory of Rodolphe, like
|
||
a great lightning-flash in a black night. He was so kind, so
|
||
sensitive, so generous! And if he should hesitate to help
|
||
her she'd know how to persuade him. One glance from her eyes
|
||
would remind him of their lost love. So she set out for La
|
||
Huchette, unaware that now she was eager to yield to the very
|
||
thing that had made her so indignant only a short while ago,
|
||
and totally unconscious that she was prostituting herself.
|
||
|
||
|
||
|
||
PART 3
|
||
|
||
CHAPTER EIGHT
|
||
|
||
As she walked she wondered. "What am I going to say?
|
||
What shall I tell him first?" Drawing nearer, she recognized
|
||
the thickets, the trees, the furze on the hill, the chateau
|
||
in the distance. She was reliving the sensations of her
|
||
first love, and at the memory her poor anguished heart swelled
|
||
tenderly. A warm wind was blowing in her face, melting snow
|
||
dripped from the leaf-buds onto the grass.
|
||
|
||
She entered, as she always had, by the little park gate,
|
||
and then came to the main courtyard, planted round with a
|
||
double row of thick-crowned lindens, their long branches
|
||
rustling and swaying. All the dogs in the kennel barked, but
|
||
though their outcry echoed and re-echoed, no one came.
|
||
|
||
She climbed the wide, straight, wooden-banistered stairs
|
||
that led up to the hall with its paving of dusty flagstones.
|
||
A row of doors opened onto it, as in a monastery or an inn.
|
||
His room was at the far end, the last on the left. When her
|
||
fingers touched the latch her strength suddenly left her.
|
||
She was afraid that he would not be there. She almost wished
|
||
that he wouldn't be, and yet he was her only hope, her last
|
||
chance of salvation. For a minute she collected her thoughts.
|
||
Then, steeling her courage to the present necessity, she
|
||
entered.
|
||
|
||
He was smoking a pipe before the fire, his feet against
|
||
the mantelpiece.
|
||
|
||
"Oh, it's you!" he said, rising quickly.
|
||
|
||
"Yes, here I am . . . Rodolphe, I want . . . I need some
|
||
advice . . ." Despite her best efforts she couldn't go on.
|
||
|
||
"You haven't changed . . . you're as charming as ever!"
|
||
|
||
"Oh, my charms!" she answered bitterly. "They can't
|
||
amount to much, since you scorned them."
|
||
|
||
He launched into apology, justifying his conduct in
|
||
terms that were vague but the best he could muster.
|
||
|
||
She let herself be taken in . . . not so much by what he
|
||
said, as by the sound of his voice and the very sight of him,
|
||
and she pretended to believe . . . or perhaps she actually did
|
||
believe . . . the reason he gave for their break. It was a
|
||
secret, he said, involving the honor . . . the life, even . . .
|
||
of a third person.
|
||
|
||
She looked at him sadly. "Whatever it was," she said, "I
|
||
suffered a great deal."
|
||
|
||
He answered philosophically, "That's how life is!"
|
||
|
||
"Has it been kind to you, at least," asked Emma, "since
|
||
we parted?"
|
||
|
||
"Oh, neither kind nor unkind, particularly."
|
||
|
||
"Perhaps it would have been better had we stayed
|
||
together."
|
||
|
||
"Yes . . . perhaps!"
|
||
|
||
|
||
"Do you really think so?" she asked, coming closer.
|
||
|
||
And she sighed, "Oh, Rodolphe! If you knew! I loved you
|
||
very much!"
|
||
|
||
She took his hand, and for a few moments their fingers
|
||
were intertwined, like that first day, at the Agricultural
|
||
Show! Pride made him struggle against giving in to his feel-
|
||
ings. But she leaned heavily against him, and said, "How did
|
||
you ever think that I could live without you? Happiness is a
|
||
habit that's hard to break! I was desperate! I thought I'd
|
||
die! I'll tell you all about it. And you . . . you stayed
|
||
away from me . . .!"
|
||
|
||
It was true. For the past three years he had carefully
|
||
avoided her, out of the natural cowardice that characterizes
|
||
the stronger sex. And now Emma went on, twisting and turning
|
||
her head in coaxing little movements that were loving and
|
||
catlike.
|
||
|
||
"You have other women . . . admit it. Oh, I sympathize
|
||
with them. I don't blame them. You seduced them, the way
|
||
you seduced me. You're a man! You have everything to make
|
||
us love you. But you and I'll begin all over again, won't
|
||
we? We'll love each other! Look . . . I'm laughing, I'm
|
||
happy! Speak to me!"
|
||
|
||
And indeed she was ravishing to see, with a tear tremb-
|
||
ling in her eye like a raindrop in a blue flower-cup after a
|
||
storm.
|
||
|
||
He drew her onto his lap, and with the back of his hand
|
||
caressed her sleek hair. In the twilight a last sunbeam was
|
||
gleaming on it like a golden arrow. She lowered her head,
|
||
and soon he was kissing her on the eyelids, very gently just
|
||
brushing them with his lips.
|
||
|
||
"But you've been crying!" he said. "Why?"
|
||
|
||
She burst into sobs. Rodolphe thought it was from the
|
||
violence of her love. When she didn't answer him he inter-
|
||
preted her silence as the ultimate refuge of her womanly
|
||
modesty, and exclaimed, "Ah! Forgive me! You're the only
|
||
one I really care about! I've been stupid and heartless! I
|
||
love you . . . I'll always love you . . . What is it? Tell
|
||
me!" He was on his knees.
|
||
|
||
"Well, then . . . I'm ruined, Rodolphe! You've got to
|
||
lend me three thousand francs!"
|
||
|
||
"But . . . but . . .?' he said, slowly rising, a worried
|
||
expression coming over his face.
|
||
|
||
"You know," she went on quickly, "my husband gave his
|
||
money to a notary to invest, and the notary absconded. We've
|
||
borrowed, patients haven't paid . . . The estate isn't
|
||
settled yet. We'll be getting something later. But today
|
||
. . . just for three thousand francs . . . they're going to
|
||
sell us out. Now, this very instant. I counted on your
|
||
friendship. I came to you."
|
||
|
||
And after a moment he said, calmly, "I haven't got it,
|
||
dear lady."
|
||
|
||
He wasn't lying. If he had had it he would probably have
|
||
given it to her, unpleasant though it usually is to make such
|
||
generous gifts. Of all the icy blasts that blow on love, a
|
||
request for money is the most chilling and havoc-wreaking.
|
||
|
||
For a long moment she stared at him. Then, "You haven't
|
||
got it!" She said it again, several times. "You haven't got
|
||
it! I might have spared myself this final humiliation. You
|
||
never loved me! You're no better than the rest!"
|
||
|
||
She was giving herself away. She no longer knew what
|
||
she was saying.
|
||
|
||
Rodolphe broke in, assuring her that he was "hard up"
|
||
himself.
|
||
|
||
"Ah, I pity you!" said Emma. "How I pity you!"
|
||
|
||
And as her eyes fell on a damascened rifle that glittered
|
||
in a trophy on the wall, "When you're as poor as all that you
|
||
don't put silver on the stock of your gun! You don't buy
|
||
things with tortoise-shell inlay!" She went on, pointing to
|
||
the Boulle clock. "Or silver-gilt whistles for your whip!"
|
||
. . . she touched them . . . "or charms for your watch chain!
|
||
Oh, he has everything! Even a liqueur case in his bedroom!
|
||
You pamper yourself, you live well, you have a chateau, farms,
|
||
woods. You hunt, you make trips to Paris . . . Why, even
|
||
things like this," she cried, snatching up his cuff links from
|
||
the mantelpiece. "The tiniest trifles, you can raise money on
|
||
. . .! Oh, I don't want then! Keep them." And she hurled
|
||
the two buttons so violently that their gold chain snapped as
|
||
they struck the wall.
|
||
|
||
"But I . . . I'd have given you everything, I'd have sold
|
||
everything, worked my fingers to the bone, begged in the
|
||
streets, just for a smile from you, for a look, just to hear
|
||
you say `Thank you.' And you sit there calmly in your chair,
|
||
as though you hadn't made me suffer enough already! If it
|
||
hadn't been for you I could have been happy! What made you do
|
||
it? Was it a bet? You loved me, though . . . you used to say
|
||
so . . . And you said so again just now. Ah, you'd have done
|
||
better to throw me out! My hands are still hot from your
|
||
kisses! And right there on the rug you swore on your knees
|
||
that you'd love me forever. You made me believe it. For two
|
||
years you led me on in a wonderful, marvelous dream . . . Our
|
||
plans for going away . . . you remember? Oh! That letter you
|
||
wrote me! It tore my heart in two! And now when I come back
|
||
to him . . . and find him rich and happy and free . . . to
|
||
implore him for help that anybody would give me . . . come in
|
||
distress, bringing him all my love . . . he refuses me, because
|
||
it would cost him three thousand francs!"
|
||
|
||
"I haven't got it," answered Rodolphe, with that perfect
|
||
calm that resigned anger employs as a shield.
|
||
|
||
She walked out. The walls were quaking, the ceiling was
|
||
threatening to crush her. And she went back down the long
|
||
avenue of trees, stumbling against piles of dead leaves that
|
||
were scattering in the wind. At last she reached the ditch
|
||
before the gate. She broke her nails on the latch, so fran-
|
||
tically did she open it. Then, a hundred yards further on,
|
||
out of breath, ready to drop, she paused. She turned, and
|
||
once again she saw the impassive chateau, with its peak, its
|
||
gardens, its three courtyards, its many-windowed facade.
|
||
|
||
She stood there in a daze. Only the pulsing of her veins
|
||
told her that she was alive. She thought she heard it outside
|
||
herself, like some deafening music filling the countryside.
|
||
The earth beneath her feet was as yielding as water, and the
|
||
furrows seemed to her like immense, dark, breaking waves. All
|
||
the memories and thoughts in her mind poured out at once, like
|
||
a thousand fireworks. She saw her father, Lheureux's office,
|
||
their room in Rouen, another landscape. Madness began to take
|
||
hold of her. She was frightened, but managed to control her-
|
||
self . . . without, however, emerging from her confusion, for
|
||
the cause of her horrible state . . . the question of money
|
||
. . . had faded from her mind. It was only her love that was
|
||
making her suffer, and she felt her soul leave her at the
|
||
thought . . . just as a wounded man, as he lies dying, feels
|
||
his life flowing out with his blood through the gaping hole.
|
||
|
||
Night was falling. Crows flew overhead.
|
||
|
||
It suddenly seemed to her that fiery particles were
|
||
bursting in the air, like bullets exploding as they fell, and
|
||
spinning and spinning and finally melting in the snow among
|
||
the tree branches. In the center of each of them appeared
|
||
Rodolphe's face. They multiplied. They came together. They
|
||
penetrated her. Everything vanished. She recognized the
|
||
lights of houses, shining far off in the mist.
|
||
|
||
Suddenly her plight loomed before her, like an abyss.
|
||
She panted as though her lungs would burst. Then, with a
|
||
heroic resolve that made her almost happy, she ran down the
|
||
hill and across the cow plank, ran down the river path and
|
||
the lane, crossed the square, and came to the pharmacy.
|
||
|
||
It was empty. She was about to go in, when it occurred
|
||
to her that the sound of the bell might bring someone, and
|
||
slipping through the side gate, holding her breath, feeling
|
||
her way along the walls, she came to the kitchen door. A
|
||
lighted tallow candle was standing on the stove, and Justin,
|
||
in shirt sleeves, was just leaving the room carrying a dish.
|
||
|
||
"Ah, they're at dinner," she said to herself. "Better
|
||
wait."
|
||
|
||
Justin returned to the kitchen. She tapped on the win-
|
||
dow. He came out.
|
||
|
||
"The key! The one for upstairs, where the . . ."
|
||
|
||
"What?"
|
||
|
||
And he stared at her, astounded by the pallor of her
|
||
face, which stood out white against the blackness of the
|
||
night. She seemed to him extraordinarily beautiful, majestic
|
||
as an apparition from another world. Without understanding
|
||
what she wanted, he had a foreboding of something terrible.
|
||
|
||
But she went on quickly, in a low voice, a voice that
|
||
was gentle and melting, "I want it! Give it to me."
|
||
|
||
The wall was thin, and they could hear the clinking of
|
||
forks on plates in the dining room.
|
||
|
||
She pretended she had to kill some rats that were keeping
|
||
her awake nights.
|
||
|
||
"I must go ask Monsieur."
|
||
|
||
"No! Stay here!"
|
||
|
||
Then, with a casual air, "There's no use bothering him.
|
||
I'll tell him later. Come along, give me a light."
|
||
|
||
She passed into the hall off which opened the laboratory
|
||
door. There against the wall hung a key marked "capharnaum."
|
||
|
||
"Justin!" called the apothecary impatiently.
|
||
|
||
"Let's go up!"
|
||
|
||
He followed her.
|
||
|
||
The key turned in the lock, and she went straight to the
|
||
third shelf . . . so well did her memory serve her as guide
|
||
. . . seized the blue jar, tore out the cork, plunged in her
|
||
hand, withdrew it full of white powder, and ate greedily.
|
||
|
||
"Stop!" he cried, flinging himself on her.
|
||
|
||
"Be quiet! Someone might come . . ."
|
||
|
||
He was frantic, wanted to call out.
|
||
|
||
"Don't say a word about it. All the blame would fall on
|
||
your master!"
|
||
|
||
Then she went home, suddenly at peace, almost as serene
|
||
as though she had done her duty.
|
||
|
||
When Charles reached home, overwhelmed by the news of
|
||
the execution, Emma had just left. He called her name, wept,
|
||
fainted away, but she didn't come back. Where could she be?
|
||
He sent Felicite to the pharmacist's, to the mayor's, to the
|
||
dry-goods shop, to the Lion d'Or, everywhere. And whenever
|
||
his anguish about her momentarily subsided he saw his reputa-
|
||
tion ruined, all their money gone, Berthe's future wrecked!
|
||
What was the cause of it all . . .? Not a word! He waited
|
||
until six that evening. Finally, unable to bear it any longer,
|
||
and imagining that she must have gone to Rouen, he went out to
|
||
the highway, followed it for a mile or so, met no one, waited
|
||
a while, and returned.
|
||
|
||
She was back.
|
||
|
||
"What happened? . . . Why? . . . Tell me!"
|
||
|
||
She sat down at her desk and wrote a letter, sealed it
|
||
slowly, and added the date and the hour. Then she said in a
|
||
solemn tone, "Read it tomorrow. Till then, please don't ask
|
||
me a single question . . . not one!"
|
||
|
||
"But . . ."
|
||
|
||
"Oh, leave me alone!"
|
||
|
||
And she stretched out on her bed.
|
||
|
||
An acrid taste in her mouth woke her. She caught sight
|
||
of Charles and reclosed her eyes.
|
||
|
||
She observed herself with interest, to see whether there
|
||
was any pain. No . . . nothing yet. She heard the ticking of
|
||
the clock, the sound of the fire, and Charles breathing, stand-
|
||
ing there beside her bed.
|
||
|
||
"Dying doesn't amount to much!" she thought. "I'll fall
|
||
asleep, and everything will be over."
|
||
|
||
She swallowed a mouthful of water and turned to the wall.
|
||
There was still that dreadful taste of ink.
|
||
|
||
"I'm thirsty! I'm so thirsty! she whispered.
|
||
|
||
"What's wrong with you, anyway?' said Charles, handing
|
||
her a glass.
|
||
|
||
"Nothing! Open the window . . . I'm choking!"
|
||
|
||
She was seized by an attack of nausea so sudden that
|
||
she scarcely had time to snatch her handkerchief from under
|
||
the pillow.
|
||
|
||
"Get rid of it!" she said quickly. "Throw it out!"
|
||
|
||
He questioned her, but she made no answer. She lay very
|
||
still, fearing that the slightest disturbance would make her
|
||
vomit. Now she felt an icy coldness creeping up from her feet
|
||
toward her heart.
|
||
|
||
"Ah! It's beginning!" she murmured.
|
||
|
||
"What did you say?"
|
||
|
||
She twisted her head from side to side in a gentle move-
|
||
ment expressive of anguish, and kept opening her jaws as though
|
||
she had something very heavy on her tongue. At eight o'clock
|
||
the vomiting resumed.
|
||
|
||
Charles noticed that there was a gritty white deposit on
|
||
the bottom of the basin, clinging to the porcelain.
|
||
|
||
"That's extraordinary! That's peculiar!" he kept saying.
|
||
|
||
"No! she said loudly. "You're mistaken."
|
||
|
||
Very gently, almost caressingly, he passed his hand over
|
||
her stomach. She gave a sharp scream. He drew back in fright.
|
||
|
||
She began to moan, softly at first. Her shoulders heaved
|
||
in a great shudder, and she grew whiter than the sheet her
|
||
clenched fingers were digging into. Her irregular pulse was
|
||
almost imperceptible now.
|
||
|
||
Beads of sweat stood out on her face, which had turned
|
||
blue and rigid, as though from the breath of some metallic
|
||
vapor. Her teeth chattered, her dilated eyes stared about
|
||
her vaguely, and her sole answer to questions was a shake of
|
||
her head. Two or three times she even smiled. Gradually
|
||
her groans grew louder. A muffled scream escaped her. She
|
||
pretended that she was feeling better and that she'd soon be
|
||
getting up. But she was seized with convulsions.
|
||
|
||
"God!" she cried. "It's horrible!"
|
||
|
||
He flung himself on his knees beside her bed.
|
||
|
||
"Speak to me! What did you eat? Answer, for heaven's
|
||
sake!"
|
||
|
||
And in his eyes she read a love such as she had never
|
||
known.
|
||
|
||
"There . . . over there . . ." she said in a faltering
|
||
voice.
|
||
|
||
He darted to the secretary, broke open the seal and
|
||
|
||
read aloud, "No one is to blame . . ." He stopped, passed
|
||
his hand over his eyes, read it again.
|
||
|
||
"What . . .! Help! Help!"
|
||
|
||
He could only repeat the word. "Poisoned! Poisoned!"
|
||
|
||
Felicite ran to Homais, who spoke loudly as he crossed
|
||
the square. Madame Lefrancois heard him at the Lion d'Or,
|
||
other citizens left their beds to tell their neighbors, and
|
||
all night long the village was awake.
|
||
|
||
Distracted, stammering, close to collapse, Charles
|
||
walked in circles around the room. He stumbled against the
|
||
furniture, tore his hair. Never had the pharmacist dreamed
|
||
there could be so frightful a sight.
|
||
|
||
He went back to his own house and wrote letters to Mon-
|
||
sieur Canivet and Doctor Lariviere. He couldn't concentrate,
|
||
had to begin them over fifteen times. Hippolyte left for
|
||
Neufchatel, and Justin spurred Bovary's horse so hard that he
|
||
left it on the hill at Bois-Guillaume, foundered and all but
|
||
done for.
|
||
|
||
Charles tried to consult his medical dictionary. He
|
||
|
||
couldn't see, the lines danced before his eyes.
|
||
|
||
"Don't lose your head!" said the apothecary. "It's just
|
||
a question of administering some powerful antidote. What
|
||
poison is it?"
|
||
|
||
Charles showed him the letter. It was arsenic.
|
||
|
||
"Well then!" said Homais. "We must make an analysis."
|
||
For he knew that an analysis always had to be made in cases
|
||
of poisoning.
|
||
|
||
Charles, who hadn't understood, answered with a groan.
|
||
"Do it! Do it! Save her . . .!"
|
||
|
||
And returning to her side, he sank down on the carpet and
|
||
leaned his head on the edge of her bed, sobbing.
|
||
|
||
"Don't cry!" she said. "I shan't be tormenting you much
|
||
longer."
|
||
|
||
"Why did you do it? What made you?"
|
||
|
||
"It was the only thing," she answered.
|
||
|
||
"Weren't you happy? Am I to blame? But I did everything
|
||
I could . . .!"
|
||
|
||
"Yes . . . I know . . . You're good, you're different."
|
||
|
||
She slowly passed her hand through his hair. The sweet-
|
||
ness of her touch was more than his grief could bear. He felt
|
||
his entire being give way to despair at the thought of having
|
||
to lose her just when she was showing him more love than ever
|
||
in the past. And he could think of nothing to do . . . he
|
||
knew nothing, dared nothing. The need for immediate action
|
||
took away the last of his presence of mind.
|
||
|
||
Emma was thinking that now she was through with all the
|
||
betrayals, the infamies, the countless fierce desires that had
|
||
racked her. She hated no one, now. A twilight confusion was
|
||
falling over her thoughts, and of all the world's sounds she
|
||
heard only the intermittent lament of this poor man beside her,
|
||
gentle and indistinct, like the last echo of an ever-fainter
|
||
symphony.
|
||
|
||
"Bring me my little girl," she said, raising herself on
|
||
her elbow.
|
||
|
||
"You're not feeling worse, are you?" Charles asked.
|
||
|
||
"No! No!"
|
||
|
||
Berthe was carried in by the maid. Her bare feet peeped
|
||
out from beneath her long nightdress. She looked serious,
|
||
still half dreaming. She stared in surprise to see the room
|
||
in such disorder, and she blinked her eyes, dazzled by the
|
||
candles that were standing here and there on the furniture.
|
||
They probably reminded her of other mornings. New Year's day
|
||
or mi-careme, when she was wakened early in just the same way
|
||
by candlelight and carried to her mother's bed to be given a
|
||
shoeful of presents, for she asked, "Where is it, maman?"
|
||
|
||
And when no one answered, "I don't see my little shoe!"
|
||
|
||
Felicite held her over the bed, but she kept looking
|
||
toward the fireplace. "Did nurse take it away?" she asked.
|
||
|
||
At the word "nurse" which brought back her adulteries
|
||
and her calamities, Madame Bovary averted her head, as though
|
||
another, stronger, poison had risen to her mouth and filled
|
||
her with revulsion.
|
||
|
||
"Oh, how big your eyes are, maman!" cried Berthe, whom
|
||
the maid had put on the bed. "How pale you are! You're
|
||
sweating . . .!"
|
||
|
||
Her mother looked at her.
|
||
|
||
"I'm afraid!" cried the little girl, shrinking back.
|
||
|
||
Emma took her hand to kiss it. She struggled.
|
||
|
||
"Enough! Take her away!" cried Charles, sobbing at the
|
||
foot of the bed.
|
||
|
||
The symptoms momentarily stopped. She seemed calmer.
|
||
And at each insignificant word she said, each time she
|
||
breathed a little more easily, his hope gained ground. When
|
||
Canivet finally arrived he threw himself in his arms, weeping.
|
||
|
||
"Ah! You've come! Thank you! You're kind! But she's
|
||
doing better. Here, look at her!"
|
||
|
||
His colleague was not at all of this opinion. There was
|
||
no use, as he himself put it, "beating around the bush," and
|
||
he prescribed an emetic, to empty the stomach completely.
|
||
|
||
Soon she was vomiting blood. Her lips pressed together
|
||
more tightly. Her limbs were contorted, her body was covered
|
||
with brown blotches, her pulse quivered under the doctor's
|
||
fingers like a taut thread, like a harpstring about to snap.
|
||
|
||
Then she began to scream, horribly. She cursed the
|
||
poison, railed against it, begged it to be quick. And with
|
||
her stiffened arms she pushed away everything that Charles,
|
||
in greater agony than herself, tried to make her drink. He
|
||
was standing, his handkerchief to his mouth, moaning, weeping,
|
||
choked by sobs and shaking all over. Felicite rushed about
|
||
the room. Homais, motionless, kept sighing heavily. And
|
||
Monsieur Canivet, for all his air of self-assurance, began to
|
||
manifest some uneasiness.
|
||
|
||
"What the devil . . .! But she's purged, and since the
|
||
cause is removed . . ."
|
||
|
||
"The effect should subside," said Homais. "It's self-
|
||
evident."
|
||
|
||
"Do something to save her!" cried Bovary.
|
||
|
||
Paying no attention to the pharmacist, who was venturing
|
||
the hypothesis that "this paroxysm may mark the beginning of
|
||
improvement," Canivet was about to give her theriaca when
|
||
there came the crack of a whip, all the windows rattled, and
|
||
a post chaise drawn at breakneck speed by three mud-covered
|
||
horses flashed around the corner of the market place. It was
|
||
Doctor Lariviere.
|
||
|
||
The sudden appearance of a god wouldn't have caused
|
||
greater excitement. Bovary raised both hands, Canivet broke
|
||
off his preparations, and Homais doffed his cap well before
|
||
the doctor entered.
|
||
|
||
He belonged to that great surgical school created by
|
||
Bichat. That generation, now vanished, of philosopher-
|
||
practitioners, who cherished their art with fanatical love
|
||
and applied it with enthusiasm and sagacity. Everyone in
|
||
his hospital trembled when he was angry. And his students
|
||
so revered him that the moment they set up for themselves
|
||
they imitated him as much as they could. There was scarcely
|
||
a town in the district where one of them couldn't be found,
|
||
wearing a long merino overcoat and a full black tail coat,
|
||
exactly like his. Doctor Lariviere's unbuttoned cuffs
|
||
partly covered his fleshy hands. Extraordinary hands,
|
||
always ungloved, as though to be the readier to grapple with
|
||
suffering. Disdainful of decorations, titles and academies,
|
||
hospitable, generous, a father to the poor, practicing
|
||
Christian virtues although an unbeliever, he might have been
|
||
thought of as a saint if he hadn't been feared as a devil
|
||
because of the keenness of his mind. His scalpel-sharp
|
||
glance cut deep into your soul, exposing any lie buried under
|
||
excuses and reticences. His manner was majestic and genial,
|
||
conscious as he was of his great gifts and his wealth and
|
||
the forty years of hard work and blameless living he had
|
||
behind him.
|
||
|
||
While he was still in the doorway he frowned, catching
|
||
sight of Emma's cadaverous face as she lay on her back, her
|
||
mouth open. Then, seeming to listen to Canivet, he passed
|
||
his forefinger back and forth beneath his nostrils, repeating,
|
||
"Yes, yes."
|
||
|
||
But his shoulders lifted in a slow shrug. Bovary
|
||
noticed it, their eyes met. The sight of a grieving face was
|
||
no novelty to the doctor, yet he couldn't keep a tear from
|
||
dropping onto his shirt front.
|
||
|
||
He asked Canivet to step into the next room. Charles
|
||
followed him.
|
||
|
||
"She's very low, isn't she? How about poultices? What
|
||
else? Can't you think of something? You've saved so many
|
||
lives!"
|
||
|
||
Charles put his arms around him, sagged against his
|
||
chest, and looked at him anxiously and beseechingly.
|
||
|
||
"Come, my poor boy, be brave! There's nothing to be
|
||
done." And Doctor Lariviere turned away.
|
||
|
||
"You're leaving?"
|
||
|
||
"I'll be back."
|
||
|
||
He pretended he had something to say to the coachman,
|
||
and went out with Canivet, who was no more eager that he to
|
||
watch Emma die.
|
||
|
||
The pharmacist joined them in the square. He was tem-
|
||
peramentally incapable of staying away from celebrities, and
|
||
he begged Monsieur Lariviere to do him the signal honor of
|
||
being his guest at lunch.
|
||
|
||
Someone was quickly sent to the Lion d'Or for pigeons,
|
||
the butcher was stripped of all his chops, Tuvache supplied
|
||
cream and Lestiboudois eggs. The apothecary himself helped
|
||
with the preparations, while Madame Homais pulled at her
|
||
wrapper-strings and said:
|
||
|
||
"I hope you'll forgive us, Monsieur. In this wretched
|
||
village, if we don't have a full day's warning . . ."
|
||
|
||
"The stemmed glasses!!!" whispered Homais.
|
||
|
||
"If we lived in the city we'd at least have stuffed pigs'
|
||
feet to fall back on."
|
||
|
||
"Don't talk so much . . .! Sit down, Doctor!"
|
||
|
||
After the first few mouthfuls he considered it appropriate
|
||
to supply a few details concerning the catastrophe.
|
||
|
||
"First we had a sensation of siccity in the pharynx, then
|
||
intolerable pain in the epigastrium, superprugation, coma."
|
||
|
||
"How did she poison herself?'
|
||
|
||
"I have no idea, Doctor, and I can't even imagine where
|
||
she managed to procure that arsenous oxide."
|
||
|
||
Justin, who was just then carrying in a pile of plates,
|
||
was seized with a fit of trembling.
|
||
|
||
"What's the matter with you?' asked the pharmacist.
|
||
|
||
At the question the young man dropped everything with a
|
||
great crash.
|
||
|
||
"Imbecile!" cried Homais. "Clumsy lout! Damned idiot!"
|
||
|
||
Then, quickly regaining his self-control, "I wanted to
|
||
try an analysis, Doctor, and, primo, I carefully inserted into
|
||
a tube . . ."
|
||
|
||
"It would have been better," said the surgeon, "if you'd
|
||
inserted your fingers into her throat."
|
||
|
||
Canivet said nothing, having just a few minutes before
|
||
been given, in private, a severe rebuke concerning his emetic.
|
||
Today he was as meek as he had been arrogant and verbose the
|
||
day he had operated on Hippolyte. His face was fixed in a
|
||
continual, approving smile.
|
||
|
||
Homais blossomed in his role of proud host, and the
|
||
thought of Bovary's distress added something to his pleasure
|
||
as he selfishly contrasted their lots. Moreover, the doctor's
|
||
presence excited him. He displayed all his erudition, drag-
|
||
ging in, pell-mell, mention of cantharides, the upas, the
|
||
manchineel, the bite of the adder.
|
||
|
||
"I've even read about people being poisoned, Doctor,
|
||
positively struck down, by blood sausages that had been sub-
|
||
jected to excessive fumigation! At least, so it says in a
|
||
very fine report, written by one of our leading pharmaceutical
|
||
lights, one of our masters, the illustrious Cadet de Gassi-
|
||
court!"
|
||
|
||
Madame Homais reappeared, bearing one of those rickety
|
||
contraptions that are heated with alcohol, for Homais insisted
|
||
on brewing his coffee at table, having, needless to say,
|
||
previously done his own roasting, his own grinding and his own
|
||
blending.
|
||
|
||
"Saccharum, Doctor?' he said, passing the sugar.
|
||
|
||
Then he called in all his children, eager to have the
|
||
surgeon's opinion on their constitutions.
|
||
|
||
Finally, when Monsieur Lariviere was about to leave,
|
||
Madame Homais asked him to advise her about her husband. His
|
||
"blood was getting thicker" because of his habit of falling
|
||
asleep every evening after dinner.
|
||
|
||
"Oh, he's not thick-blooded!"
|
||
|
||
And smiling a little at his joke, which passed unnoticed,
|
||
the doctor opened the door. But the pharmacy was thronged,
|
||
and he had a hard time getting rid of Monsieur Tuvache, who
|
||
was afraid that his wife would get pneumonia because of her
|
||
habit of spitting into the fire. Then Monsieur Binet com-
|
||
plained of often feeling ravenous, Madame Caron had prickling
|
||
sensations, Lheureux suffered from dizzy spells, Lestiboudois
|
||
was rheumatic, and Madame Lefrancois had heartburn. Finally,
|
||
the three horses bore him away, and the general verdict was
|
||
that he had been far from obliging.
|
||
|
||
Then the attention of the public was distracted by the
|
||
appearance of Monsieur Bournisien, crossing the market with
|
||
the holy oils.
|
||
|
||
Homais paid his debt to his principles by likening
|
||
priests to ravens, both are attracted by the odor of the dead.
|
||
Actually, he had a more personal reason for disliking the
|
||
sight of a priest. A cassock made him think of a shroud, and
|
||
his execration of the one owed something to his fear of the
|
||
other.
|
||
|
||
Nevertheless, not flinching in the face of what he called
|
||
his "mission," he returned to the Bovary house along with
|
||
Canivet, whom Monsieur Lariviere had urged to stay on to the
|
||
end. But for his wife's protests, the pharmacist would have
|
||
taken his two sons along, to inure them to life's great
|
||
moments, to provide them with a lesson, an example, a momentous
|
||
spectacle that they would remember later.
|
||
|
||
The bedroom, as they entered, was mournful and solemn.
|
||
On the sewing table, now covered with a white napkin, were
|
||
five or six small wads of cotton in a silver dish, and nearby
|
||
a large crucifix between two lighted candelabra. Emma lay
|
||
with her chin sunk on her breast, her eyelids unnaturally wide
|
||
apart, and her poor hands picked at the sheets in the ghastly
|
||
and poignant way of the dying, who seem impatient to cover
|
||
themselves with their shrouds. Pale as a statue, his eyes red
|
||
as coals, but no longer weeping, Charles stood facing her at
|
||
the foot of the bed. The priest, on one knee, mumbled under
|
||
his breath.
|
||
|
||
She slowly turned her face, and seemed overjoyed at
|
||
suddenly seeing the purple stole. Doubtless recognizing, in
|
||
this interval of extraordinary peace, the lost ecstasy of her
|
||
first mystical flights and the first visions of eternal bliss.
|
||
|
||
The priest stood up and took the crucifix. She stretched
|
||
out her head like someone thirsting, and pressing her lips to
|
||
the body of the God-Man, she imprinted on it, with every ounce
|
||
of her failing strength, the most passionate love-kiss she had
|
||
ever given. Then he recited the Misereatur and the Indul-
|
||
gentiam, dipped his right thumb in the oil, and began the
|
||
unctions. First he anointed her eyes, once so covetous of all
|
||
earthly luxuries, then her nostrils, so gluttonous of caressing
|
||
breezes and amorous scents, then her mouth, so prompt to lie,
|
||
so defiant in pride, so loud in lust, then her hands, that had
|
||
thrilled to voluptuous contacts, and finally the soles of her
|
||
feet, once so swift when she had hastened to slake her desires,
|
||
and now never to walk again.
|
||
|
||
The cure wiped his fingers, threw the oil-soaked bits of
|
||
cotton into the fire, and returned to the dying woman, sitting
|
||
beside her and telling her that now she must unite her suffer-
|
||
ings with Christ's and throw herself on the divine mercy.
|
||
|
||
As he ended his exhortations he tried to have her grasp a
|
||
blessed candle, symbol of the celestial glories soon to sur-
|
||
round her. Emma was too weak, and couldn't close her fingers.
|
||
But for Monsieur Bournisien the candle would have fallen to
|
||
the floor.
|
||
|
||
Yet she was no longer so pale, and her face was serene,
|
||
as though the sacrament had cured her.
|
||
|
||
The priest didn't fail to point this out. He even ex-
|
||
plained to Bovary that the Lord sometimes prolonged people's
|
||
lives when He judged it expedient for their salvation. And
|
||
Charles remembered another day, when, similarly close to
|
||
death, she had received communion.
|
||
|
||
"Perhaps there's hope after all," he thought.
|
||
|
||
And indeed, she looked all about her, slowly, like some-
|
||
one waking from a dream. Then, in a distinct voice, she asked
|
||
for her mirror, and she remained bowed over it for some time,
|
||
until great tears flowed from her eyes. Then she threw back
|
||
her head with a sigh, and sank onto the pillow.
|
||
|
||
At once her breast began to heave rapidly. Her tongue
|
||
hung at full length from her mouth. Her rolling eyes grew dim
|
||
like the globes of two lamps about to go out. And one might
|
||
have thought her dead already but for the terrifying, ever-
|
||
faster movement of her ribs, which were shaken by furious
|
||
gasps, as though her soul were straining violently to break
|
||
its fetters. Felicite knelt before the crucifix, and even the
|
||
pharmacist flexed his knees a little. Monsieur Canivet stared
|
||
vaguely out into the square. Bournisien had resumed his pray-
|
||
ing, his face bowed over the edge of the bed and his long black
|
||
cassock trailing out behind him into the room. Charles was on
|
||
the other side, on his knees, his arms stretched out toward
|
||
Emma. He had taken her hands, and was pressing them, shudder-
|
||
ing at every beat of her heart, as at the tremors of a falling
|
||
ruin. As the death-rattle grew louder, the priest speeded his
|
||
prayers. They mingled with Bovary's stifled sobs, and at
|
||
moments everything seemed drowned by the monotonous flow of
|
||
Latin syllables that sounded like the tolling of a bell.
|
||
|
||
Suddenly from out on the sidewalk came a noise of heavy
|
||
wooden shoes and the scraping of a stick, and a voice rose up,
|
||
a raucous voice singing:
|
||
|
||
A clear day's warmth will often move
|
||
A lass to stray in dreams of love.
|
||
|
||
Emma sat up like a galvanized corpse, her hair streaming,
|
||
her eyes fixed and gaping.
|
||
|
||
|
||
To gather up the stalks of wheat
|
||
The swinging scythe keeps laying by,
|
||
Nanette goes stooping in the heat
|
||
Along the furrow where they lie.
|
||
|
||
"The blind man!" she cried. Emma began to laugh . . .
|
||
a horrible, frantic, desperate laugh . . . fancying that she
|
||
saw the beggar's hideous face, a figure of terror looming up
|
||
in the darkness of eternity.
|
||
|
||
The wind blew very hard that day
|
||
And snatched her petticoat away!
|
||
|
||
A spasm flung her down on the mattress. Everyone drew
|
||
close. She had ceased to exist.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 3
|
||
|
||
CHAPTER NINE
|
||
|
||
Anyone's death always releases something like an aura of
|
||
stupefaction, so difficult is it to grasp this irruption of
|
||
nothingness and to believe that it has actually taken place.
|
||
But when Charles realized how still she was, he threw himself
|
||
on her, crying, "Adieu! Adieu!"
|
||
|
||
Homais and Canivet led him from the room.
|
||
|
||
"Control yourself!"
|
||
|
||
"Let me stay!" he said, struggling. "I'll be reasonable.
|
||
I won't do anything I shouldn't. But I want to be near her.
|
||
She's my wife!" And he wept.
|
||
|
||
"Weep, weep," said the pharmacist. "Let yourself go.
|
||
You'll feel the better for it."
|
||
|
||
Helpless as a child, Charles let himself be taken down-
|
||
stairs to the parlor. Monsieur Homais soon went home.
|
||
|
||
In the square he was accosted by the blind beggar.
|
||
Lured by the hope of the antiphlogistic salve, he had dragged
|
||
himself all the way to Yonville, and now was asking every
|
||
passer-by where the apothecary lived.
|
||
|
||
"Good Lord! As though I didn't have other things on my
|
||
mind! Too bad! Come back later."
|
||
|
||
He hurried into the pharmacy.
|
||
|
||
He had to write two letters, prepare a sedative for
|
||
Bovary, and invent a plausible lie that would cover up the
|
||
suicide for an article in the Fanal and for the crowd that
|
||
was awaiting him in order to learn the news. When all the
|
||
Yonvillians had heard his story about the arsenic that Emma
|
||
had mistaken for sugar while making a custard, Homais re-
|
||
turned once more to Bovary.
|
||
|
||
He found him alone (Canivet had just left), sitting in
|
||
the armchair beside the window, staring vacantly at the parlor
|
||
floor.
|
||
|
||
"Now," said the pharmacist, "what you've got to do is
|
||
decide on a time for the ceremony."
|
||
|
||
"Why? What ceremony?'
|
||
|
||
Then, in a frightened stammer, "Oh no! I don't have to,
|
||
do I? I want to keep her!"
|
||
|
||
To hide his embarrassment Homais took a carafe from the
|
||
whatnot and began to water the geraniums.
|
||
|
||
"Ah, thank you!" said Charles. "You're so good!" He
|
||
broke off, choked by the flood of memories the pharmacist's
|
||
action evoked.
|
||
|
||
To distract him, Homais thought it well to talk about
|
||
horticulture. Plants, he ventured, had to be kept moist.
|
||
Charles nodded in agreement.
|
||
|
||
"Anyway, we'll soon be having fine spring weather."
|
||
|
||
"Ah!" said Bovary.
|
||
|
||
Not knowing what to say next, the apothecary twitched
|
||
the sash curtain.
|
||
|
||
"Ah . . . there's Monsieur Tuvache going by."
|
||
|
||
Charles repeated mechanically, "Monsieur Tuvache going
|
||
by."
|
||
|
||
Homais didn't dare broach the subject of funeral arrange-
|
||
ments again. It was the priest who eventually made Charles
|
||
see reason.
|
||
|
||
He locked himself in his consulting room, took a pen, and
|
||
after sobbing awhile he wrote, "I want her buried in her bridal
|
||
dress, with white shoes and a wreath and her hair spread over
|
||
her shoulders. Three coffins . . . one oak, one mahogany, one
|
||
lead. No one has to say anything to me. I'll have the strength
|
||
to go through with it. Cover her with a large piece of green
|
||
velvet. I want this done. Do it."
|
||
|
||
The priest and the pharmacist were much taken aback by
|
||
Bovary's romantic ideas. Homais expostulated, "The velvet seems
|
||
to be supererogatory. Not to mention the expense . . ."
|
||
|
||
"Is it any concern of yours?' cried Charles. "Leave me
|
||
alone! You didn't love her! Go away!"
|
||
|
||
The priest took him by the arm and walked him around the
|
||
garden, discoursing on the vanity of earthly things. God is
|
||
all-great, all-good. We must submit to His decrees without
|
||
complaint. More than that, we must be grateful.
|
||
|
||
Charles burst into a stream of blasphemy.
|
||
|
||
"I detest your God!"
|
||
|
||
"The spirit of rebellion is still in you," sighed the
|
||
priest.
|
||
|
||
Bovary had strode away from him and was pacing up and
|
||
down beside the wall of espaliered fruit trees, grinding his
|
||
teeth and looking curses at heaven. But not even a leaf
|
||
stirred in answer.
|
||
|
||
A fine rain was falling. Charles' shirt was open, and
|
||
soon he began to shiver. He went back into the house and sat
|
||
in the kitchen.
|
||
|
||
At six o'clock there was a clanking in the square. It was
|
||
the Hirondelle arriving, and he stood with his head against
|
||
the windowpanes, watching all the passengers get out, one after
|
||
the other. Felicite put down a mattress for him in the parlor,
|
||
and he threw himself on it and fell asleep.
|
||
|
||
Rationalist though he was, Monsieur Homais respected the
|
||
dead. So, bearing no grudge against poor Charles, he returned
|
||
that night to watch beside the body. He brought three books
|
||
with him, and a writing-pad for making notes.
|
||
|
||
He found Monsieur Bournisien already there. Two tall
|
||
candles were burning at the head of the bed, which had been
|
||
moved out of the alcove.
|
||
|
||
The apothecary, oppressed by the silence, soon made a few
|
||
elegiac remarks concerning "this hapless young woman," and the
|
||
priest replied that now there was nothing left to do but pray
|
||
for her.
|
||
|
||
"Still," said Homais, "it's one thing or the other, either
|
||
she died in a state of grace, as the church puts it, and there-
|
||
fore had no need of our prayers, or else she died unrepentant,
|
||
I believe that is the ecclesiastical term, and in that case..."
|
||
|
||
Bournisien interrupted him, replying testily that prayer
|
||
was called for nonetheless.
|
||
|
||
"But," objected the pharmacist, "since God knows all our
|
||
needs, what purpose can be served by prayer?'
|
||
|
||
"What?' said the priest. "Prayer? Aren't you a Christian,
|
||
then?"
|
||
|
||
"I beg your pardon!" said Homais. "I admire Christianity.
|
||
It freed the slaves, for one thing. It introduced into the
|
||
world a moral code that..."
|
||
|
||
"That's not the point! All the texts..."
|
||
|
||
"Oh! Oh! The texts! Look in any history book. Every-
|
||
body knows they were falsified by the Jesuits."
|
||
|
||
Charles came in, walked up to the bed and slowly parted
|
||
the curtains.
|
||
|
||
Emma's head was turned toward her right shoulder. The
|
||
corner of her open mouth was like a black hole in the lower
|
||
part of her face. Her two thumbs were bent inward toward the
|
||
palms of her hands. A kind of white dust powdered her lashes,
|
||
and the outline of her eyes was beginning to disappear in a
|
||
viscous pallor, as though spiders had been spinning cobwebs
|
||
over her face. From her breasts to her knees the sheet sagged,
|
||
rising again at her toes, and it seemed to Charles that some
|
||
infinite mass, some enormous weight, was pressing on her.
|
||
|
||
The church clock struck two. The flowing river murmured
|
||
deeply in the darkness at the foot of the terrace. Now and
|
||
again Monsieur Bournisien blew his nose loudly, and Homais'
|
||
pen was scratching on his paper.
|
||
|
||
"Go back to bed, my friend," he said. "Stop torturing
|
||
yourself."
|
||
|
||
When Charles had gone, the pharmacist and the cure
|
||
resumed their arguments.
|
||
|
||
"Read Voltaire!" said the one. "Read Holbach! Read the
|
||
Encyclopedia!"
|
||
|
||
"Read the Letters of Some Portuguese Jews!" said the
|
||
other. "Read the Proof of Christianity, by ex-magistrate
|
||
Nicolas!"
|
||
|
||
They grew excited and flushed. Both spoke at once,
|
||
neither listening to the other. Bournisien was shocked by
|
||
such audacity. Homais marveled at such stupidity. And they
|
||
were on the point of exchanging insults when Charles suddenly
|
||
reappeared. He couldn't keep away. It was as though a spell
|
||
kept drawing him upstairs.
|
||
|
||
He stood at the foot of the bed to see her better, ab-
|
||
sorbed in contemplation so intense that he no longer felt any
|
||
pain. He recalled stories about catalepsy and the miracles of
|
||
magnetism, and he told himself that by straining his will to
|
||
the utmost he might resuscitate her. Once he even leaned over
|
||
toward her and cried very softly, "Emma! Emma!" The force of
|
||
his breath blew the flickering candle flames against the wall.
|
||
|
||
At daybreak the older Madame Bovary arrived, and as
|
||
Charles embraced her he had another fit of weeping. Like
|
||
the pharmacist, she ventured a few remarks about the funeral
|
||
expenses, but he flew into such a rage that she said no more,
|
||
and he sent her straight to the city to buy what was needed.
|
||
|
||
Charles spent all afternoon alone. Berthe had been taken
|
||
to Madame Homais'. Felicite stayed upstairs in the bedroom
|
||
with Madame Lefrancois.
|
||
|
||
That evening, people called. He rose and shook hands
|
||
with them, unable to speak. Each then took a seat alongside
|
||
the others, gradually forming a wide semicircle in front of
|
||
the fireplace. Eyes lowered and legs crossed, they dangled
|
||
their feet, sighing deeply from time to time. Everyone was
|
||
bored beyond measure, but no one was willing to be the first
|
||
to leave.
|
||
|
||
When Homais returned at nine o'clock (during the past
|
||
two days he had seemed to spend all his time crossing the
|
||
square) he brought with him a supply of camphor, benzoin and
|
||
aromatic herbs. He also had a vase full of chlorine water,
|
||
to "drive out the miasmas." At that moment the maid, Madame
|
||
Lefrancois and the older Madame Bovary were clustered around
|
||
Emma, putting the finishing touches to her toilette. They
|
||
drew down the long, stiff veil, covering her even to her
|
||
satin shoes.
|
||
|
||
Felicite sobbed, "Ah! Poor mistress! Poor mistress!"
|
||
|
||
"Look at her," said the hotel-keeper, with a sigh. "How
|
||
pretty she still is! You'd swear she'd be getting up any
|
||
minute."
|
||
|
||
Then they bent over to put on her wreath. They had to
|
||
lift her head a little, and as they did so a black liquid
|
||
poured out of her mouth like vomit.
|
||
|
||
"Heavens! Watch out for her dress!" cried Madame
|
||
Lefrancois. "Help us, won't you?' she said to the pharmacist.
|
||
"You wouldn't be afraid, would you?"
|
||
|
||
"I, afraid?' he answered, shrugging his shoulders. "Take
|
||
it from me, I saw plenty of things like this at the hospital,
|
||
when I was studying pharmacy. We used to make punch in the
|
||
dissecting room while we worked. Death holds no terrors for a
|
||
philosopher. In fact, as I often say, I intend to leave my
|
||
body to the hospitals, so that it can eventually be of service
|
||
to science."
|
||
|
||
When the cure arrived he asked how Monsieur was, and at
|
||
the apothecary's reply he said, "Of course. He still hasn't
|
||
got over the shock."
|
||
|
||
Homais went on to congratulate him on not being exposed,
|
||
like other men, to the risk of losing a beloved wife. And
|
||
there followed a discussion on the celibacy of the clergy.
|
||
|
||
"After all," said the pharmacist, "it's against nature
|
||
for a man to do without women. We've all heard of crimes..."
|
||
|
||
"But drat it all!" cried the priest. "How would you
|
||
expect anyone who was married to be able to keep the secrets
|
||
of the confessional, for example?'
|
||
|
||
Homais attacked confession. Bournisien defended it. He
|
||
dilated on the acts of restitution it was constantly responsi-
|
||
ble for, told stories about thieves suddenly turning honest.
|
||
Soldiers, approaching the tribunal of repentance, had felt the
|
||
scales drop from their eyes. There was a minister at Fribourg
|
||
. . ."
|
||
|
||
His fellow watcher had fallen asleep. Bournisien found it
|
||
somewhat hard to breathe, the air of the room was so heavy, and
|
||
he opened a window. This woke the pharmacist.
|
||
|
||
"Here," the priest said. "Take a pinch of snuff. Do, it
|
||
clears the head."
|
||
|
||
There was a continual barking somewhere in the distance.
|
||
|
||
"Do you hear a dog howling?' said the pharmacist.
|
||
|
||
"People say that they scent the dead," answered the
|
||
priest. "It's like bees. They leave the hive when someone
|
||
dies."
|
||
|
||
Homais didn't challenge those superstitions, for once
|
||
again he had fallen asleep.
|
||
|
||
Monsieur Bournisien, more resistant, continued for some
|
||
time to move his lips in a murmur, then his chin sank grad-
|
||
ually lower, his thick black book slipped from his hand, and
|
||
he began to snore.
|
||
|
||
They sat opposite one another, stomachs out, faces swol-
|
||
len, both of them scowling, united, after so much dissension,
|
||
in the same human weakness. And they stirred no more than the
|
||
corpse that was like another sleeper beside them.
|
||
|
||
Charles' coming didn't wake them. This was the last
|
||
time. He had come to bid her farewell.
|
||
|
||
The aromatic herbs were still smoking, and at the window
|
||
their swirls of bluish vapor mingled with the mist that was
|
||
blowing in.
|
||
|
||
There were a few stars. The night was mild.
|
||
|
||
Great drops of wax were falling onto the bedsheets from
|
||
the candles. Charles watched them burn, tiring his eyes in
|
||
the gleam of their yellow flames.
|
||
|
||
The watered satin of her dress was shimmering with the
|
||
whiteness of moonbeams. Emma was invisible under it. And it
|
||
seemed to him as though she were spreading out beyond herself,
|
||
melting confusedly into the surroundings, the silence, the
|
||
night, the passing wind, the damp fragrance that rose from the
|
||
earth.
|
||
|
||
Then, suddenly, he saw her in the garden at Tostes, on
|
||
the seat, against the thorn hedge, or in Rouen, in the street,
|
||
or on the doorstep of their house, in the farmyard at Les
|
||
Bertaux. Once again he heard the laughter of the merry lads
|
||
dancing under the apple trees. the wedding chamber was full
|
||
of the perfume of her hair, and her dress rustled in his arms
|
||
with a sound of flying sparks. And now she was wearing that
|
||
very dress!
|
||
|
||
He stood there a long time thus recalling all his past
|
||
happiness. Her poses, her gestures, the sound of her voice.
|
||
Wave of despair followed upon wave, endlessly, like the
|
||
waters of an overflowing tide.
|
||
|
||
A terrible curiosity came over him. Slowly, with the
|
||
tips of his fingers, his heart pounding, he lifted her veil.
|
||
He gave a scream of horror that woke the sleepers. They took
|
||
him downstairs to the parlor.
|
||
|
||
Then Felicite came up, to say that he was asking for a
|
||
lock of her hair.
|
||
|
||
"Cut some!" answered the apothecary.
|
||
|
||
She didn't dare, and he stepped forward himself, scissors
|
||
in hand. He trembled so violently that he nicked the skin on
|
||
the temples in several places. Finally, steeling himself,
|
||
Homais slashed blindly two or three times, leaving white marks
|
||
in the beautiful black tresses.
|
||
|
||
The pharmacist and the cure resumed their respective occu-
|
||
pations, not without dozing off now and again and reproaching
|
||
each other for doing so each time they awoke. Then Monsieur
|
||
Bournisien would sprinkle the room with holy water and Homais
|
||
would pour a little chlorine water on the floor.
|
||
|
||
Felicite had thought to leave a bottle of brandy for them
|
||
on the chest of drawers, along with a cheese and a big brioche.
|
||
Finally, about four in the morning, the apothecary could hold
|
||
out no longer.
|
||
|
||
"I confess," he sighed, "that I'd gladly partake of some
|
||
nourishment."
|
||
|
||
The priest didn't have to be asked twice. He went out,
|
||
said his Mass, came back, and they proceeded to eat and clink
|
||
their glasses, chuckling a little without knowing why, prey
|
||
to that indefinable gaiety that often succeeds periods of
|
||
gloom. With the last drink of brandy the priest slapped the
|
||
pharmacist on the back.
|
||
|
||
"We'll be good friends yet!" he said.
|
||
|
||
Downstairs in the hall they met the workmen arriving,
|
||
and for two hours Charles had to suffer the torture of the
|
||
sound of the hammer on the planks. Then they brought her
|
||
down in her oaken coffin, which they fitted inside the two
|
||
others. The outermost was too wide, and they had to stuff
|
||
the space between with wool from a mattress. Finally, when
|
||
the three lids had been planed, nailed on and soldered, the
|
||
bier was exposed at the door. The house was thrown open,
|
||
and the Yonvillians began to flock in.
|
||
|
||
Monsieur Rouault arrived. He fell in a faint in the
|
||
square at the sight of the black cloth.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
PART 3
|
||
|
||
CHAPTER TEN
|
||
|
||
The pharmacist's letter hadn't reached him until thirty-
|
||
six hours after the event, and to spare his feelings Monsieur
|
||
Homais had worded it in such a way that it was impossible for
|
||
him to know what to think.
|
||
|
||
On reading it he fell to the ground, as though stricken
|
||
by apoplexy. Then he gathered that she was not dead. But she
|
||
might be . . . He put on his smock and his hat, fastened a
|
||
spur to his boot, and set off at a gallop. And during the en-
|
||
tire length of his breathless ride he was frantic with anguish.
|
||
At one point he had to stop and dismount. He couldn't see, he
|
||
heard voices, he thought he was losing his mind.
|
||
|
||
At daybreak he caught sight of three black hens asleep in
|
||
a tree, and he shuddered, terrified by the omen. He promised
|
||
the HOly Virgin three chasubles for the church, and vowed to
|
||
walk barefoot from the cemetery at Les Bertaux to the chapel
|
||
at Vassonville.
|
||
|
||
He rode into Maromme, shouting ahead to the people at the
|
||
inn, burst open the gate with his shoulder, dashed up to the
|
||
oats bag, poured a bottle of sweet cider into the manger. Then
|
||
he remounted his nag, and it was off again, striking sparks
|
||
from all four shoes.
|
||
|
||
He kept telling himself that she would certainly live.
|
||
The doctors would find a remedy, there was no question. He
|
||
reminded himself of all the miraculous recoveries people had
|
||
told him of.
|
||
|
||
Then he had a vision of her dead. She was there, before
|
||
him, stretched on her back in the middle of the road. He
|
||
pulled at the reins, and the hallucination vanished.
|
||
|
||
At Quincampoix he drank three coffees in a row to fortify
|
||
himself.
|
||
|
||
It occurred to him that they might have put the wrong
|
||
name on the letter. He rummaged for it in his pocket, felt
|
||
it there, but didn't dare open it.
|
||
|
||
He even began to imagine that it might be a practical
|
||
joke, an attempt to get even with him for something, or a
|
||
wag's idea of a prank. Besides, if she was dead, he'd know
|
||
it! But no, the countryside was as always. The sky was blue,
|
||
the trees were swaying. A flock of sheep crossed the road.
|
||
He caught sight of the village. People saw him racing by,
|
||
hunched over his horse, beating it furiously, its saddle
|
||
girths dripping blood.
|
||
|
||
Then, when he had regained consciousness, he fell weeping
|
||
into Bovary's arms.
|
||
|
||
"My daughter! Emma! My baby! Tell me . . ."
|
||
|
||
Charles answered, sobbing, "I don't know, I don't know!
|
||
It's a curse . . ."
|
||
|
||
The apothecary drew them apart.
|
||
|
||
"There's no use going into the horrible details. I'll
|
||
tell Monsieur all about it later. People are coming. Have
|
||
some dignity, for heaven's sake! Take it like a philosopher!"
|
||
|
||
Poor Charles made an effort, and repeated several times,
|
||
"Yes! . . . Be brave!"
|
||
|
||
"All right, then, I'll be brave, God damn it to hell!"
|
||
the old man cried. "I'll stay with her to the end."
|
||
|
||
The bell was tolling. Everything was ready. It was time
|
||
to set out.
|
||
|
||
Sitting side by side in one of the choir stalls, they
|
||
watched the three cantors continually crossing back and forth
|
||
in front of them, intoning. The serpent player blew with all
|
||
his might. Monsieur Bournisien, in full regalia, sang in a
|
||
shrill voice. He bowed to the tabernacle, raised his hands,
|
||
stretched out his arms. Lestiboudois moved about the church
|
||
with his verger's staff. Near the lectern stood the coffin,
|
||
between four rows of candles. Charles had to restrain himself
|
||
from getting up and putting them out.
|
||
|
||
He did his best, however, to work himself up into a
|
||
religious frame of mind, to seize on the hope of a future
|
||
life in which he would see her again. He tried to imagine
|
||
that she had gone on a trip, far off, a long time ago. But
|
||
when he remembered that she was right there, in the coffin,
|
||
and that everything was over, and that now she was going to
|
||
be buried, he was filled with a rage that was fierce and
|
||
black and desperate. At moments he thought he was beyond
|
||
feeling, and he relished this ebbing of grief, cursing him-
|
||
self in the same breath for a scoundrel.
|
||
|
||
A sharp, regular noise, like the tapping of a metal-
|
||
tipped walking stick, was heard on the stone floor. It came
|
||
from the far end of the church and stopped abruptly in the
|
||
side aisle. A man in a coarse brown jacket sank painfully to
|
||
his knees. It was Hippolyte, the stable-boy at the Lion d'Or.
|
||
He had put on his new leg.
|
||
|
||
One of the cantors came through the nave, taking up the
|
||
collection, and one after another the heavy coins clattered
|
||
onto the silver plate.
|
||
|
||
"Get it over with! I can't stand much more of this! cried
|
||
Bovary, angrily throwing him a five-franc piece.
|
||
|
||
The cantor thanked him with a ceremonious bow.
|
||
|
||
The singing and the kneeling and the rising went on and
|
||
on. He remembered that once, early in their marriage, they
|
||
had attended Mass together, and that they had sat on the other
|
||
side, at the right, against the wall. The bell began to toll
|
||
again. There was a great scraping of chairs. the pallbearers
|
||
slipped their three poles under the bier, and everyone left
|
||
the church.
|
||
|
||
At that moment Justin appeared in the doorway of the
|
||
pharmacy and abruptly retreated, white-faced and trembling.
|
||
|
||
People stood at their windows to watch the procession.
|
||
Charles, at the head, held himself very straight. He put on
|
||
a brave front and nodded to those who came out from the lanes
|
||
and the doorways to join the crowd.
|
||
|
||
The six men, three on each side, walked with short steps,
|
||
panting a little. The priests, the cantors and the two choir-
|
||
boys recited the De profundis, and their voices carried over
|
||
the fields, rising and falling in waves. Sometimes they dis-
|
||
appeared from view at a twist of the path, but the great sil-
|
||
ver cross was always visible high up among the trees.
|
||
|
||
At the rear were the women, in their black cloaks with
|
||
turned-down hoods. Each of them carried a thick lighted can-
|
||
dle, and Charles felt himself overcome amidst this endless
|
||
succession of prayers and lights, these cloying odors of wax
|
||
and cassocks. A cool breeze was blowing, the rye and the
|
||
colza were sprouting green. Dewdrops shimmered on the thorn
|
||
hedges along the road. All kinds of joyous sounds filled the
|
||
air. The rattle of a jolting cart in distant ruts, the re-
|
||
peated crowing of a cock, the thudding of a colt as it bolted
|
||
off under the apple trees. The pure sky was dappled with rosy
|
||
clouds. Wisps of bluish smoke trailed down over the thatched
|
||
cottages, their roofs abloom with iris. Charles recognized
|
||
each farmyard as he passed. He remembered leaving them on
|
||
mornings like this after making sick-calls, on his way back
|
||
home to where she was.
|
||
|
||
The black pall, embroidered with white tears, flapped up
|
||
now and again, exposing the coffin beneath. The tired pall-
|
||
bearers were slowing down, and the bier moved forward in a
|
||
series of jerks, like a boat pitching at every wave.
|
||
|
||
They reached the cemetery.
|
||
|
||
The pallbearers continued on to where the grave had been
|
||
dug in the turf.
|
||
|
||
Everyone stood around it, and as the priest spoke, the
|
||
reddish earth, heaped up on the edges, kept sliding down at
|
||
the corners, noiselessly and continuously.
|
||
|
||
Then, when the four ropes were in position, the coffin
|
||
was pushed onto them. He watched it go down. It went down
|
||
and down.
|
||
|
||
Finally there was a thud, and the ropes creaked as they
|
||
came back up. Then Bournisien took the shovel that Lestibou-
|
||
dois held out to him. With his left hand . . . all the while
|
||
sprinkling holy water with his right . . . he vigorously
|
||
pushed in a large spadeful of earth, and the stones striking
|
||
the wood of the coffin made that awesome sound that seems to
|
||
us like the very voice of eternity.
|
||
|
||
The priest passed his sprinkler to the person beside him.
|
||
It was Homais. He shook it gravely, then handed it to Charles,
|
||
who sank on his knees in the pile of earth and threw it into
|
||
the grave in handfuls, crying, "Adieu!" He blew her kisses,
|
||
and dragged himself toward the grave as though to be swallowed
|
||
up in it with her.
|
||
|
||
They led him away, and he soon grew calmer . . . vaguely
|
||
relieved, perhaps, like everyone else, that it was all over.
|
||
|
||
On the way back Monsieur Rouault calmly lit his pipe,
|
||
a gesture that Homais silently condemned as improper. He
|
||
noticed, too, that Monsieur Binet had stayed away, that
|
||
Tuvache had "sneaked off" after the Mass, and that Theodore,
|
||
the notary's servant, was wearing a blue coat, "as if he
|
||
couldn't find a black coat, since it's the custom, for
|
||
heaven's sake!" And he went from group to group communi-
|
||
cating his sentiments. Everyone was deploring Emma's death,
|
||
especially Lheureux, who hadn't failed to attend the funeral.
|
||
|
||
"Poor little lady! How terrible for her husband!"
|
||
|
||
"If it hadn't been for me, let me tell you," the
|
||
apothecary assured him, "he would have tried to do away with
|
||
himself!"
|
||
|
||
"Such a good woman! To think that just last Saturday I
|
||
saw her in my shop!"
|
||
|
||
"I didn't have the leisure," said Homais, "to prepare
|
||
a little speech. I'd have liked to say a few words at the
|
||
grave."
|
||
|
||
Back home, Charles took off his funeral clothes and
|
||
Monsieur Rouault got back into his blue smock. It was a new
|
||
one. All the way from Les Bertaux he had kept wiping his
|
||
eyes with the sleeve, and the dye had come off on his face,
|
||
which was still dusty and tear-streaked.
|
||
|
||
The older Madame Bovary was with them. All three were
|
||
silent. Finally the old man sighed.
|
||
|
||
"You remember, my friend, I came to Tostes once, when
|
||
you had just lost your first wife. That time I tried to
|
||
comfort you. I could think of something to say. But now
|
||
. . ." Then, his chest heaving in a long groan, "Ah!
|
||
Everything's over for me! I've seen my wife go . . . then
|
||
my son . . . and now today my daughter!"
|
||
|
||
He insisted on leaving immediately for Les Bertaux,
|
||
saying that he couldn't sleep in that house. He even refused
|
||
to see his granddaughter.
|
||
|
||
"No! No! It would be too hard on me . . . But give
|
||
her a big kiss for me! Good-bye! . . . You're a good man!
|
||
And . . . I'll never forget this!" he said, slapping his
|
||
thigh. "Don't worry . . . you'll always get your turkey."
|
||
|
||
But when he reached the top of the hill he turned
|
||
around as he had turned around once before, after parting
|
||
from her on the road to Saint-Victor. The windows of the
|
||
village were all ablaze in the slanting rays of the sun that
|
||
was setting beyond the meadow. He shaded his eyes with his
|
||
hand, and on the horizon he made out a walled enclosure
|
||
where trees stood in dark clumps here and there among white
|
||
stones. Then he continued on his way at a gentle trot, for
|
||
his nag was limping.
|
||
|
||
Weary though they were, Charles and his mother sat up
|
||
very late that night talking. They spoke of days gone by
|
||
and of the future. She would come and live in Yonville.
|
||
She would keep house for him, never again would they be
|
||
apart. She was astute and ingratiating with him, rejoicing
|
||
inwardly at the thought of recapturing his affection, which
|
||
had eluded her for so many years. Midnight struck. The
|
||
village was silent as usual, and Charles lay awake, thinking
|
||
ceaselessly of her.
|
||
|
||
Rodolphe, who had spent all day roaming the woods to
|
||
keep his mind off things, was peacefully asleep in his cha-
|
||
teau. And Leon was sleeping, too, in the distant city.
|
||
|
||
But there was someone else . . . someone who was not
|
||
asleep at that late hour.
|
||
|
||
On the grave among the firs knelt a young boy, weeping
|
||
and sobbing in the darkness, his heart overflowing with an
|
||
immense grief that was tender as the moon and unfathomable
|
||
as night. Suddenly the gate creaked. It was Lestiboudois,
|
||
come to fetch his spade, which he had forgotten a while
|
||
before. He recognized Justin clambering over the wall. At
|
||
last he knew who had been stealing his potatoes!
|
||
|
||
PART 3
|
||
|
||
CHAPTER ELEVEN
|
||
|
||
The next day Charles sent for Berthe. She asked for
|
||
maman. She was away on a trip, she was told, and would bring
|
||
her back some toys. She mentioned her again several times,
|
||
then gradually forgot her. Charles found the little girl's
|
||
cheerfulness depressing. The pharmacist's consolations, too,
|
||
were an ordeal.
|
||
|
||
Before long the question of money came up again. Monsieur
|
||
Lheureux egged on his friend Vincart as before, and Charles
|
||
signed notes for enormous sums. He refused absolutely to con-
|
||
sider selling the slightest bit of furniture that had belonged
|
||
to her. His mother fumed. He flew into an even greater rage.
|
||
He was a completely changed man. She packed up and left.
|
||
|
||
Then everyone began to snatch what he could. Mademoiselle
|
||
Lempereur demanded her fees for six months' lessons. Emma had
|
||
never taken a single one, despite the receipted bills that she
|
||
had shown Bovary. The two ladies had concocted this device
|
||
between them. The lending-library proprietor demanded three
|
||
years' subscription fees. Madame Rollet demanded postage fees
|
||
for twenty or so letters, and when Charles asked for an expla-
|
||
nation she was tactful enough to answer, "Oh, I don't know
|
||
anything about them . . . some personal matters."
|
||
|
||
Each debt he paid, Charles thought was the last. Then
|
||
more came . . . a continual stream.
|
||
|
||
He dunned patients for back bills, but they showed him
|
||
the letters his wife had sent and he had to apologize.
|
||
|
||
Felicite now wore Madame's dresses. Not all, for he had
|
||
kept a few and used to shut himself up in her dressing room
|
||
and look at them. The maid was just about her size, and often
|
||
when Charles caught sight of her from behind he thought it was
|
||
Emma, and cried out, "Oh! Don't go! Don't go!"
|
||
|
||
But at Pentecost she left Yonville without warning,
|
||
eloping with Theodore and stealing everything that was left
|
||
of the wardrobe.
|
||
|
||
It was about this time that "Madame veuve Dupuis" had
|
||
the honor of announcing to him the "marriage of M. Leon Dupuis,
|
||
her son, notary at Yvetot, and Mlle. Leocadie Leboeuf, of Bon-
|
||
deville." Charles' letter of congratulation contained the
|
||
sentence, "How happy this would have made my poor wife!"
|
||
|
||
One day, wandering aimlessly about the house, he went up
|
||
to the attic, and through the sole of his slipper he felt a wad
|
||
of thin paper. He opened it. "You must be courageous, Emma,"
|
||
he read. "The last thing I want to do is ruin your life." It
|
||
was Rodolphe's letter. It had fallen to the floor in among
|
||
some boxes and had remained there, and now the draught from the
|
||
dormer had blown it toward the door. Charles stood there
|
||
motionless and open-mouthed, in the very spot where Emma,
|
||
desperate and even paler that he was now, had longed to die.
|
||
Finally he discovered a small "R" at the bottom of the second
|
||
page. Who was it? He remembered Rodolphe's attentiveness,
|
||
his sudden disappearance, and his air of constraint the two or
|
||
three times they had met since. But the respectful tone of the
|
||
letter deceived him.
|
||
|
||
"Perhaps they loved each other platonically," he told
|
||
himself.
|
||
|
||
In any case, Charles wasn't one to go to the root of
|
||
things. He closed his eyes to the evidence, and his hesitant
|
||
jealousy was drowned in the immensity of his grief.
|
||
|
||
Everyone must have adored her, he thought. Every man who
|
||
saw her must certainly have coveted her. This made her the
|
||
lovelier in his mind, and he conceived a furious desire for
|
||
her that never stopped. It fed the flames of his despair, and
|
||
it grew stronger and stronger because not it could never be
|
||
satisfied.
|
||
|
||
To please her, as though she were still alive, he adopted
|
||
her tastes, her ideas. He bought himself patent leather shoes,
|
||
took to wearing white cravats. He waxed his mustache, and
|
||
signed . . . just as she had . . . more promissory notes. She
|
||
was corrupting him from beyond the grave.
|
||
|
||
He was forced to sell the silver piece by piece, then he
|
||
sold the parlor furniture. But though all the other rooms grew
|
||
bare, the bedroom, her bedroom, remained as before. Charles
|
||
went there every day after dinner. He pushed the round table
|
||
up to the fire, pulled her armchair close to it. He sat oppo-
|
||
site. A tallow candle burned in one of the gilded sconces.
|
||
Berthe, at his side, colored pictures.
|
||
|
||
It pained him, poor fellow, to see her so shabbily dressed,
|
||
with her shoes unlaced and the armholes of her smock torn and
|
||
gaping to below her waist, for the cleaning woman completely
|
||
neglected her. But she was so sweet and gentle, and she bent
|
||
her little head so gracefully, letting her fair hair fall
|
||
against her rosy cheek, that he was flooded with infinite
|
||
pleasure. An enjoyment that was mixed with bitterness, like
|
||
an inferior wine tasting of resin. He mended her toys, made
|
||
puppets for her out of cardboard, sewed up the torn stomachs
|
||
of her dolls. But the sight of the sewing-box, or a bit of
|
||
loose ribbon, or even a pin caught in a crack in the table,
|
||
would send him brooding. And then he looked so gloomy that
|
||
she, too, grew sad.
|
||
|
||
No one came to see them now, for Justin had run off to
|
||
Rouen, where he found work as a grocery clerk, and the apothe-
|
||
cary's children saw less and less of Berthe. Monsieur Homais
|
||
was not eager to prolong the intimacy, considering the differ-
|
||
ence in their social status.
|
||
|
||
The blind man, whom his salve had not cured, had resumed
|
||
his beat on the hill at Bois-Guillaume, where he told everyone
|
||
about the pharmacist's failure. To such a point that Homais,
|
||
whenever he went to the city, hid behind the Hirondelle's
|
||
curtain to avoid meeting him face to face. He hated him. He
|
||
must get rid of him at all costs, he decided, for the sake of
|
||
his own reputation. And he launched an underhand campaign
|
||
against him in which he revealed his deep cunning and his
|
||
criminal vanity. During the next six months paragraphs like
|
||
the following would appear in the Fanal de Rouen:
|
||
|
||
Anyone who has ever wended his way toward the fertile
|
||
fields of Picardy cannot help but have noticed, on the
|
||
hill at Bois-Guillaume, an unfortunate afflicted with
|
||
a horrible facial deformity. He pesters travelers,
|
||
persecutes them, levies a veritable tax upon them. Are
|
||
we back in the monstrous days of the Middle Ages, when
|
||
vagabonds were permitted to display, in our public
|
||
squares, the leprous ulcers and scrofulous sores they
|
||
brought back from the Crusades?
|
||
|
||
Or:
|
||
|
||
Despite the laws against vagrancy, the approaches to
|
||
our large cities continue to be infested by bands of
|
||
beggars. There are some who operate single-handed.
|
||
And these, perhaps, are not the least dangerous of the
|
||
lot. What are our Municipal Authorities waiting for?
|
||
|
||
Sometimes Homais invented ancedotes:
|
||
|
||
Yesterday, on the hill at Bois-Guillaume, a skittish
|
||
horse . . .
|
||
|
||
And there would follow the story of an accident caused by
|
||
the blind man.
|
||
|
||
This went on until the beggar was locked up. But he was
|
||
released. He took up where he had left off. So did Homais.
|
||
It was a fight to the finish. Homais was victorious. His
|
||
enemy was committed to an asylum for the rest of his days.
|
||
|
||
This success emboldened him. And from then on whenever a
|
||
dog was run over in the district, or a barn set on fire, or a
|
||
woman beaten, Homais hastened to publicize the event, inspired
|
||
always by love of progress and hatred of the clergy. He insti-
|
||
tuted comparisons between public and religious schools, to the
|
||
detriment of the latter. He referred to Saint Bartholomew's
|
||
Eve apropos of every hundred-franc subsidy the government
|
||
granted the church. He denounced abuses, he flashed the rapier
|
||
of satire. Such, at least, was the way he put it. In short
|
||
Homais was "undermining the foundations." He was becoming a
|
||
dangerous man.
|
||
|
||
He found the narrow limitations of journalism stifling,
|
||
however, and soon he felt the need to produce a book, a
|
||
"work." So he composed his General Statistics Concerning the
|
||
Canton of Yonville, Followed by Climatological Observations,
|
||
and statistics led him into philosophy. He dealt with burn-
|
||
ing issues. The social problem, raising the moral standards
|
||
of the poor, pisciculture, rubber, railroads, etc. In the
|
||
end, he felt it a disgrace to be a bourgeois. He affected
|
||
bohemian ways, he even smoked! He bought two rococo statu-
|
||
ettes, very chic, to decorate his parlor.
|
||
|
||
Not that he gave up pharmacy. Far from it! He kept up
|
||
with all the latest discoveries. He followed every stage in
|
||
the great development of chocolates. He was the first to
|
||
introduce into the department of the Seine-Inferieure those
|
||
two great chocolate health foods, Cho-ca and Revalentia. He
|
||
became an enthusiastic partisan of Pulvermacher electric
|
||
health belts. He wore one himself, and at night when he took
|
||
off his flannel undershirt Madame Homais never failed to be
|
||
dazzled by the golden spiral that almost hid him from view,
|
||
and her passion redoubled for this man she saw before her
|
||
swaddled like a Scythian and splendid as a Magian priest.
|
||
|
||
He had brilliant ideas for Emma's tombstone. First he
|
||
suggested a broken column with a drapery. Then a pyramid,
|
||
then a Temple of Vesta, a kind of rotunda, or perhaps a
|
||
romantic pile of ruins. One element was constant in all his
|
||
plans, a weeping willow, which he considered the obligatory
|
||
symbol of grief.
|
||
|
||
Charles and he made a trip to Rouen together to look at
|
||
tombstones at a burial specialist's, accompanied by an artist
|
||
named Vaufrilard, a friend of Bridoux's, who never stopped
|
||
making puns. Finally, after examining a hundred designs,
|
||
getting an estimate, and making a second trip to Rouen,
|
||
Charles decided in favor of a mausoleum whose two principal
|
||
sides were to be adorned with "a spirit bearing an extin-
|
||
guished torch."
|
||
|
||
As for the inscription, Homais could think of nothing
|
||
as eloquent as Sta viator. He couldn't get beyond it, rack
|
||
his brains as he might. He kept repeating "Sta viator" to
|
||
himself over and over again. Finally he had an inspiration,
|
||
amabilem conjugem calcas, and this was adopted.
|
||
|
||
The strange thing was that Bovary, even though he thought
|
||
of Emma continually, was forgetting her, and he felt desperate
|
||
realizing that her image was fading from his memory, struggle
|
||
as he might to keep it alive. Each night, however, he dreamed
|
||
of her. It was always the same dream. He approached her, but
|
||
just when he was about to embrace her she fell into decay in
|
||
his arms.
|
||
|
||
The first week, he went to church every evening. Monsieur
|
||
Bournisien called on him two or three times, then left him
|
||
alone. The fact is that the priest was becoming decidedly less
|
||
tolerant, sinking into real fanaticism, as Homais put it. He
|
||
thundered against the spirit of the modern age, and regularly
|
||
once a fortnight included in his sermon an account of the last
|
||
agony of Voltaire, who died eating his own excrement, as every-
|
||
one knows.
|
||
|
||
Despite Bovary's frugality, he was quite unable to pay off
|
||
his old debts. Lheureux refused to renew a single note. Exe-
|
||
cution was imminent. He had recourse to his mother, who agreed
|
||
to let him mortgage her house. But she seized the occasion to
|
||
write him many harsh things about Emma, and in return for her
|
||
sacrifice she demanded a shawl that had escaped Felicite's
|
||
depredations. Charles refused to let her have it, and they
|
||
quarreled.
|
||
|
||
She made the first overtures toward a reconciliation by
|
||
offering to take the little girl to live with her. The child
|
||
could help her in the house. Charles consented. But when the
|
||
time came for her to leave he couldn't face it, and there was
|
||
a new break between mother and son, this time irrevocable.
|
||
|
||
As his bonds with others weakened, his love for his child
|
||
grew ever stronger. She worried him, however, for occasionally
|
||
she coughed and had red patches on her cheekbones.
|
||
|
||
Across the square, in constant view, thriving and jovial,
|
||
was the family of the pharmacist. He had every reason to be
|
||
satisfied with his lot. Napoleon helped him in the laboratory,
|
||
Athalie embroidered him a smoking cap, Irma cut paper circles
|
||
to cover the jelly jars, and Franklin could recite the multi-
|
||
plication table without stumbling. Homais was the happiest of
|
||
fathers, the luckiest of men.
|
||
|
||
Not quite, though! He was eaten with a secret ambition.
|
||
He wanted the cross of the Legion of Honor. He had plenty
|
||
of qualifications.
|
||
|
||
"First: during the cholera epidemic, was conspicuous for
|
||
devotion above and beyond the call of professional duty.
|
||
Second: have published at my own expense various works of
|
||
public usefulness, such as . . ." (And he cited his treatise
|
||
on Cider: Its Manufacture and Its Effects: also, some obser-
|
||
vations on the wooly aphis that he had sent to the Academy.
|
||
His volume of statistics, and even his pharmacist's thesis.)
|
||
"NOt to mention that I am a member of several learned socie-
|
||
ties." (He belonged to only one.)
|
||
|
||
"And even suppose," he said with a caper, "that the only
|
||
thing I had to my credit was my perfect record as a volunteer
|
||
fireman!"
|
||
|
||
Homais proceeded to ingratiate himself with the powers
|
||
that be. He secretly rendered great services to Monsieur le
|
||
Prefet during an electoral campaign. In short he sold himself.
|
||
He prostituted himself. He went so far as to address a peti-
|
||
tion to the sovereign in which he begged him to "do him jus-
|
||
tice." He called him "our good king" and compared him to Henri
|
||
IV.
|
||
|
||
Every morning the apothecary rushed to the newspaper,
|
||
hoping to find the news of his nomination, but it didn't come.
|
||
Finally, in his impatience, he had a star-shaped grass plot
|
||
designed for his garden, to represent the decoration, with
|
||
two little tufts of greenery as the ribbon. He would walk
|
||
around it, his arms folded, pondering on government stupidity
|
||
and human ingratitude.
|
||
|
||
Out of respect, or to prolong the almost sensual pleasure
|
||
he took in his investigations, Charles had not yet opened the
|
||
secret compartment of the rosewood desk that Emma had always
|
||
used. At last, one day, he sat down at it, turned the key and
|
||
pressed the spring. All Leon's letters were there. No poss-
|
||
ible doubt, this time! He devoured every last one of them.
|
||
Then he rummaged in every corner, every piece of furniture,
|
||
every drawer, looked for hiding places in the walls. He was
|
||
sobbing, screaming with rage, beside himself, stark mad. He
|
||
came upon a box, kicked it open. Rodolphe's picture jumped
|
||
out at him, and all the love letters spilled out with it.
|
||
|
||
Everyone was amazed at the depth of his depression. He
|
||
no longer went out, had no visitors, refused even to call on
|
||
his patients. Everyone said that he "locked himself up to
|
||
get drunk."
|
||
|
||
Now and again someone more curious than the rest would
|
||
peer over the garden hedge and would be startled at the sight
|
||
of him, wild-eyed, long-bearded, clad in sordid rags, walking
|
||
and weeping aloud.
|
||
|
||
Summer evenings he would take his daughter with him and
|
||
go to the cemetery. They always came back after dark, when
|
||
the only light in the square was in Binet's dormer.
|
||
|
||
Still, he was unable to savor his grief to the full,
|
||
since he had no one with whom he could share it. From time
|
||
to time he called on Madame Lefrancois, for the sole purpose
|
||
of talking about "her." But the innkeeper listened to him
|
||
with only one ear, having her troubles just as he had his.
|
||
Monsieur Lheureux had finally established his transportation
|
||
service, Les Favorites du commerce, and Hivert, who enjoyed
|
||
a considerable reputation for his dependability as doer of
|
||
errands, was demanding an increase in wages and threatening
|
||
to go to work for her competitor.
|
||
|
||
One day, at the market in Argueuil, where he had gone
|
||
to sell his horse, his last asset, he met Rodolphe.
|
||
|
||
Both men turned pale when they caught sight of each
|
||
other. Rodolphe, who had merely sent his card with a message
|
||
of condolence, began by stammering a few excuses. Then he
|
||
grew bolder, and even had the cheek (it was a very hot August
|
||
day) to invite him to take a bottle of beer in a cafe.
|
||
|
||
Sitting opposite him, his elbows on the table, he chewed
|
||
his cigar as he talked, and Charles was lost in revery as he
|
||
looked into the face that she had loved. In it, he felt, he
|
||
was seeing something of her. It was a revelation. He would
|
||
have liked to be that man.
|
||
|
||
Rodolphe talked farming, livestock, fertilizers, making
|
||
use of banalities to stop up all the gaps through which any
|
||
compromising reference might creep in. Charles wasn't listen-
|
||
|
||
ing. Rodolphe became aware of this, and in the play of ex-
|
||
pression on Charles' face he could read the sequence of his
|
||
thoughts. Gradually it grew crimson. Charles' nostrils
|
||
fluttered, his lips quivered. At one point, filled with
|
||
somber fury, he stared fixedly at Rodolphe, who in his fright
|
||
stopped speaking. But almost at once the other man's features
|
||
reassumed their habitual expression of mournful weariness.
|
||
|
||
"I don't hold it against you," he said.
|
||
|
||
Rodolphe sat speechless. And Charles, his head in his
|
||
hands, repeated, in a dull voice, with all the resignation of
|
||
a grief that can never be assuaged, "No, I don't hold it against
|
||
you, any more."
|
||
|
||
And he added a bit of rhetoric, the only such utterance
|
||
that had ever escaped him, "No one is to blame. It was decreed
|
||
by fate."
|
||
|
||
Rodolphe, who had been the instrument of that fate,
|
||
thought him very meek indeed for a man in his situation,
|
||
comical, even, and a little contemptible.
|
||
|
||
The next day Charles sat down on the bench in the arbor.
|
||
Rays of light came through the trellis, grape leaves traced
|
||
their shadow on the gravel, the jasmine was fragrant under
|
||
the blue sky, beetles buzzed about the flowering lilies. A
|
||
vaporous flood of love-memories swelled in his sorrowing
|
||
heart, and he was overcome with emotion, like an adolescent.
|
||
|
||
At seven o'clock little Berthe, who hadn't seen him all
|
||
afternoon, came to call him to dinner.
|
||
|
||
She found him with his head leaning back against the
|
||
wall, his eyes closed, his mouth open, and there was a long
|
||
lock of black hair in his hands.
|
||
|
||
"Papa! Come along!" she said.
|
||
|
||
She thought that he was playing, and gave him a little
|
||
push. He fell to the ground. He was dead.
|
||
|
||
Thirty-six hours later Monsieur Canivet arrived, sum-
|
||
moned by the apothecary. He performed an autopsy, but found
|
||
nothing.
|
||
|
||
When everything was sold, there remained twelve francs
|
||
and fifteen centimes. Enough to pay Mademoiselle Bovary's
|
||
coach fare to her grandmother's. The old lady died the same
|
||
year, and since Monsieur Rouault was now paralyzed, it was
|
||
an aunt who took charge of her. She is poor, and sends her
|
||
to work for her living in a cotton mill.
|
||
|
||
Since Bovary's death, three doctors have succeeded one
|
||
another Yonville, and not one of them has gained a foothold,
|
||
so rapidly and so utterly has Homais routed them. The devil
|
||
himself doesn't have a greater following that the pharmacist.
|
||
The authorities treat him considerately, and public opinion
|
||
is on his side.
|
||
|
||
He has just been awarded the cross of the Legion of
|
||
Honor.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|