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"Wait till to-morrow," said De Mauleon; "take no step till then. Meanwhile, you are in my hands, and I answer for your honour."

On leaving Hennequin, Victor sought the spadassin at the club of which they were both members, and contrived, without reference to Hennequin, to pick a quarrel with him. A challenge ensued; a duel with swords took place the next morning. De Mauleon disarmed and wounded his antagonist, not gravely, but sufficiently to terminate the encounter. He assisted to convey the wounded man to his apartment, and planted himself by his bedside, as if he were a friend.

"Why on earth did you fasten a quarrel on me?" asked the spadassin; "and why, having done so, did you spare my life; for your sword was at my heart when you shifted its point, and pierced my shoulder?"

"I will tell you, and in so doing, beg you to accept my friendship hereafter, on one condition. In the course of the day, write or dictate a few civil words of apology to M. Hennequin. Ma foi! every one will praise you for a generosity so becoming in a man who has given such proofs of courage and skill to an avocat who has never handled a sword nor fired a pistol."

That same day De Mauleon remitted to Hennequin an apology for heated words freely retracted, which satisfied all his friends. For the service thus rendered by De Mauleon, Hennequin declared himself everlastingly indebted. In fact, he entirely owed to that friend his life, his marriage, his honour, his career.

"And now," thought De Mauleon, "now, when he could so easily requite me, —now he will not even take my hand. Is human nature itself at war with me?"

CHAPTER III

Nothing could be simpler than the apartment of the Vicomte de Mauleon, in the second story of a quiet old-fashioned street. It had been furnished at small cost out of his savings. Yet, on the whole, it evinced the good taste of a man who had once been among the exquisites of the polite world. You felt that you were in the apartment of a gentleman, and a gentleman of somewhat severe tastes, and of sober matured years. He was sitting the next morning in the room which he used as a private study. Along the walls were arranged dwarf bookcases, as yet occupied by few books, most of them books of reference, others cheap editions of the French classics in prose—no poets, no romance-writers, with a few Latin authors also in prose,—Cicero, Sallust, Tacitus. He was engaged at his desk writing,—a book with its leaves open before him, "Paul Louis Courier," that model of political irony and masculine style of composition. There was a ring at his door-bell. The Vicomte kept no servant. He rose and answered the summons. He recoiled a few paces on recognizing his visitor in M. Hennequin.

The Prefet this time did not withdraw his hand; he extended it, but it was with a certain awkwardness and timidity. "I thought it my duty to call on you, Vicomte, thus early, having already seen M. Enguerrand de Vandemar. He has shown me the copies of the pieces which were inspected by your distinguished kinsmen, and which completely clear you of the charge that—grant me your pardon when I say—seemed to me still to remain unanswered when I had the honour to meet you last night."

"It appears to me, Monsieur Hennequin, that you, as an avocat so eminent, might have convinced yourself very readily of that fact."

"Monsieur le Vicomte, I was in Switzerland with my wife at the time of the unfortunate affair in which you were involved."

"But when you returned to Paris, you might perhaps have deigned to make inquiries so affecting the honour of one you had called a friend, and for whom you had professed"—De Mauleon paused; he disdained to add—"an eternal gratitude."

Hennequin coloured slightly, but replied with self-possession.

"I certainly did inquire. I did hear that the charge against you with regard to the abstraction of the jewels was withdrawn, that you were therefore acquitted by law; but I heard also that society did not acquit you, and that, finding this, you had quitted France. Pardon me again, no one would listen to me when I attempted to speak on your behalf but now that so many years have elapsed, that the story is imperfectly remembered, that relations so high-placed receive you so cordially,—now I rejoice to think that you will have no difficulty in regaining a social position never really lost, but for a time resigned."

"I am duly sensible of the friendly joy you express. I was reading the other day in a lively author some pleasant remarks on the effects of medisance or calumny upon our impressionable Parisian public. 'If,' says the writer, 'I found myself accused of having put the two towers of Notre Dame into my waistcoat-pocket I should not dream of defending myself; I should take to flight. And,' adds the writer, 'if my best friend were under the same accusation, I should be so afraid of being considered his accomplice that I should put my best friend outside the door.' Perhaps, Monsieur Hennequin, I was seized with the first alarm. Why should I blame you if seized with the second? Happily, this good city of Paris has its reactions. And you can now offer me your hand. Paris has by this time discovered that the two towers of Notre Dame are not in my pocket."

There was a pause. De Mauleon had resettled himself at his desk, bending over his papers, and his manner seemed to imply that he considered the conversation at an end.

But a pang of shame, of remorse, of tender remembrance, shot across the heart of the decorous, worldly, self-seeking man, who owed all that he now was to the ci-devant vaurien before him. Again he stretched forth his hand, and this time grasped De Mauleon's warmly. "Forgive me," he said, feelingly and hoarsely; "forgive me, I was to blame. By character, and perhaps by the necessities of my career, I am over-timid to public opinion, public scandal. Forgive me. Say if in anything now I can requite, though but slightly, the service I owe you."

De Mauleon looked steadily at the Prefet, and said slowly, "Would you serve me in turn? Are you sincere?"

The Prefet hesitated a moment, then answered firmly, "Yes."

"Well, then, what I ask of you is a frank opinion,—not as lawyer, not as Prefet, but as a man who knows the present state of French society. Give that opinion without respect to my feelings one way or other. Let it emanate solely from your practised judgment."

"Be it so," said Hennequin, wondering what was to come. De Mauleon resumed, "As you may remember, during my former career I had no political ambition. I did not meddle with politics. In the troubled times that immediately succeeded the fall of Louis Philippe I was but an epicurean looker-on. Grant that, so far as admission to the salons is concerned, I shall encounter no difficulty in regaining position; but as regards the Chamber, public life, a political career, can I have my fair opening under the Empire? You pause. Answer as you have promised, frankly."

"The difficulties in the way of a political career would be very great."

"Insuperable?"

"I fear so. Of course, in my capacity of Prefet, I have no small influence in my department in support of a Government candidate. But I do not think that the Imperial Government could, at this time especially, in which it must be very cautious in selecting its candidates, be induced to recommend you. The affair of the jewels would be raked up; your vindication disputed, denied; the fact that for so many years you have acquiesced in that charge without taking steps to refute it; your antecedents, even apart from that charge; your present want of property (M. Enguerrand tells me your income is but moderate); the absence of all previous repute in public life. No; relinquish the idea of political contest,—it would expose you to inevitable mortifications, to a failure that would even jeopardize the admission to the salons which you are now gaining. You could not be a Government candidate."

"Granted. I may have no desire to be one; but an opposition candidate, one of the Liberal party?"

"As an Imperialist," said Hennequin, smiling gravely, "and holding the office I do, it would not become me to encourage a candidate against the Emperor's Government. But speaking with the frankness you solicit, I should say that your chances there are infinitely worse. The Opposition are in a pitiful minority,—the most eminent of the Liberals can scarcely gain seats for themselves; great local popularity or property, high established repute for established patriotism, or proved talents of oratory and statesmanship, are essential qualifications for a seat in the Opposition; and even these do not suffice for a third of the persons who possess them. Be again what you were before,—the hero of salons remote from the turbulent vulgarity of politics."

"I am answered. Thank you once more. The service I rendered you once is requited now."

"No, indeed,—no; but will you dine with me quietly today, and allow me to present to you my wife and two children, born since we parted? I say to-day, for to-morrow I return to my Prefecture."

"I am infinitely obliged by your invitation, but to-day I dine with the Comte de Beauvilliers to meet some of the Corps Diplomatique. I must make good my place in the salons, since you so clearly show me that I have no chance of one in the Legislature—unless—"

"Unless what?"

"Unless there happen one of those revolutions in which the scum comes uppermost."

"No fear of that. The subterranean barracks and railway have ended forever the rise of the scum, the reign of the canaille and its barricades."

"Adieu, my dear Hennequin. My respectful hommages a Madame."

After that day the writing of Pierre Firmin in "Le Sens Commun," though still keeping within the pale of the law, became more decidedly hostile to the Imperial system, still without committing their author to any definite programme of the sort of government that should succeed it.

CHAPTER IV

The weeks glided on. Isaura's manuscript bad passed into print; it came out in the French fashion of feuilletons,—a small detachment at a time. A previous flourish of trumpets by Savarin and the clique at his command insured it attention, if not from the general public, at least from critical and literary coteries. Before the fourth instalment appeared it had outgrown the patronage of the coteries; it seized hold of the public. It was not in the last school in fashion; incidents were not crowded and violent,—they were few and simple, rather appertaining to an elder school, in which poetry of sentiment and grace of diction prevailed. That very resemblance to old favourites gave it the attraction of novelty. In a word, it excited a pleased admiration, and great curiosity was felt as to the authorship. When it oozed out that it was by the young lady whose future success in the musical world had been so sanguinely predicted by all who had heard her sing, the interest wonderfully increased. Petitions to be introduced to her acquaintance were showered upon Savarin. Before she scarcely realized her dawning fame, she was drawn from her quiet home and retired habits; she was fetee and courted in the literary circle of which Savarin was a chief. That circle touched, on one side, Bohemia; on the other, that realm of politer fashion which, in every intellectual metropolis, but especially in Paris, seeks to gain borrowed light from luminaries in art and letters. But the very admiration she obtained somewhat depressed, somewhat troubled her; after all, it did not differ from that which was at her command as a singer.

On the one hand, she shrank instinctively from the caresses of female authors and the familiar greetings of male authors, who frankly lived in philosophical disdain of the conventions respected by sober, decorous mortals. On the other hand, in the civilities of those who, while they courted a rising celebrity, still held their habitual existence apart from the artistic world, there was a certain air of condescension, of patronage, towards the young stranger with no other protector but Signora Venosta, the ci-devant public singer, and who had made her debut in a journal edited by M. Gustave Rameau, which, however disguised by exaggerated terms of praise, wounded her pride of woman in flattering her vanity as author. Among this latter set were wealthy, high-born men, who addressed her as woman—as woman beautiful and young—with words of gallantry that implied love, but certainly no thought of marriage,—many of the most ardent were indeed married already. But once launched into the thick of Parisian hospitalities, it was difficult to draw back. The Venosta wept at the thought of missing some lively soiree, and Savarin laughed at her shrinking fastidiousness as that of a child's ignorance of the world. But still she had her mornings to herself; and in those mornings, devoted to the continuance of her work (for the commencement was in print before a third was completed), she forgot the commonplace world that received her in the evenings. Insensibly to herself the tone of this work had changed as it proceeded. It had begun seriously indeed, but in the seriousness there was a certain latent joy. It might be the joy of having found vent of utterance; it might be rather a joy still more latent, inspired by the remembrance of Graham's words and looks, and by the thought that she had renounced all idea of the professional career which he had evidently disapproved. Life then seemed to her a bright possession. We have seen that she had begun her roman without planning how it should end. She had, however, then meant it to end, somehow or other, happily. Now the lustre had gone from life; the tone of the work was saddened; it foreboded a tragic close. But for the general reader it became, with every chapter, still more interesting; the poor child had a singularly musical gift of style,—a music which lent itself naturally to pathos. Every very young writer knows how his work, if one of feeling, will colour itself from the views of some truth in his innermost self; and in proportion as it does so, how his absorption in the work increases, till it becomes part and parcel of his own mind and heart. The presence of a hidden sorrow may change the fate of the beings he has created, and guide to the grave those whom, in a happier vein, he would have united at the altar. It is not till a later stage of experience and art that the writer escapes from the influence of his individual personality, and lives in existences that take no colourings from his own. Genius usually must pass through the subjective process before it gains the objective. Even a Shakspeare represents himself in the Sonnets before no trace of himself is visible in a Falstaff or a Lear.

No news of the Englishman,—not a word. Isaura could not but feel that in his words, his looks, that day in her own garden, and those yet happier days at Enghien, there had been more than friendship; there had been love,—love enough to justify her own pride in whispering to herself, "And I love too." But then that last parting! how changed he was! how cold! She conjectured that jealousy of Rameau might, in some degree, account for the coldness when he first entered the room, but surely not when he left; surely not when she had overpassed the reserve of her sex, and implied by signs rarely misconstrued by those who love that he had no cause for jealousy of another. Yet he had gone,—parted with her pointedly as a friend, a mere friend. How foolish she had been to think this rich ambitious foreigner could ever have meant to be more! In the occupation of her work she thought to banish his image; but in that work the image was never absent; there were passages in which she pleadingly addressed it, and then would cease abruptly, stifled by passionate tears. Still she fancied that the work would reunite them; that in its pages he would hear her voice and comprehend her heart. And thus all praise of the work became very, very dear to her.

At last, after many weeks, Savarin heard from Graham. The letter was dated Aix-la-Chapelle, at which the Englishman said he might yet be some time detained. In the letter Graham spoke chiefly of the new journal: in polite compliment of Savarin's own effusions; in mixed praise and condemnation of the political and social articles signed Pierre Firmin,— praise of their intellectual power, condemnation of their moral cynicism.

"The writer," he said, "reminds me of a passage in which Montesquieu compares the heathen philosophers to those plants which the earth produces in places that have never seen the heavens. The soil of his experience does not grow a single belief; and as no community can exist without a belief of some kind, so a politician without belief can but help to destroy; he cannot reconstruct. Such writers corrupt a society; they do not reform a system."

He closed his letter with a reference to Isaura:

"Do, in your reply, my dear Savarin, tell me something about your friends Signora Venosta and the Signorina, whose work, so far as yet published, I have read with admiring astonishment at the power of a female writer so young to rival the veteran practitioners of fiction in the creation of interest in imaginary characters, and in sentiments which, if they appear somewhat over-romantic and exaggerated, still touch very fine chords in human nature not awakened in our trite every-day existence. I presume that the beauty of the roman has been duly appreciated by a public so refined as the Parisian, and that the name of the author is generally known. No doubt she is now much the rage of the literary circles, and her career as a writer may be considered fixed. Pray present my congratulations to the Signorina when you see her."

Savarin had been in receipt of this letter some days before he called on Isaura, and carelessly showed it to her. She took it to the window to read, in order to conceal the trembling of her hands. In a few minutes she returned it silently.

"Those Englishmen," said Savarin, "have not the heart of compliment. I am by no means flattered by what he says of my trifles, and I dare say you are still less pleased with this chilly praise of your charming tale; but the man means to be civil."

"Certainly," said Isaura, smiling faintly.

"Only think of Rameau!" resumed Savarin. "On the strength of his salary in the 'Sens Commun,' and on the chateaux en Espagne which he constructs thereon, he has already furnished an apartment in the Chaussee d'Antin, and talks of setting up a coupe in order to maintain the dignity of letters when he goes to dine with the duchesses who are some day or other to invite him. Yet I admire his self-confidence, though I laugh at it. A man gets on by a spring in his own mechanism, and he should always keep it wound up. Rameau will make a figure. I used to pity him; I begin to respect. Nothing succeeds like success. But I see I am spoiling your morning. Au revoir, mon enfant."

Left alone, Isaura brooded in a sort of mournful wonderment over the words referring to herself in Graham's letter. Read though but once, she knew them by heart. What! did he consider those characters she had represented as wholly imaginary? In one—the most prominent, the most attractive—could he detect no likeness to himself? What! did he consider so "over-romantic and exaggerated" sentiments which couched appeals from her heart to his? Alas! in matters of sentiment it is the misfortune of us men that even the most refined of us often grate upon some sentiment in a woman, though she may not be romantic,—not romantic at all, as people go,—some sentiment which she thought must be so obvious if we cared a straw about her, and which, though we prize her above the Indies, is by our dim, horn-eyed, masculine vision undiscernible. It may be something in itself the airiest of trifles: the anniversary of a day in which the first kiss was interchanged, nay, of a violet gathered, a misunderstanding cleared up; and of that anniversary we remember no more than we do of our bells and coral. But she—she remembers it; it is no bells and coral to her. Of course, much is to be said in excuse of man, brute though he be. Consider the multiplicity of his occupations, the practical nature of his cares. But granting the validity of all such excuse, there is in man an original obtuseness of fibre as regards sentiment in comparison with the delicacy of woman's. It comes, perhaps, from the same hardness of constitution which forbids us the luxury of ready tears. Thus it is very difficult for the wisest man to understand thoroughly a woman. Goethe says somewhere that the highest genius in man must have much of the woman in it. If this be true, the highest genius alone in man can comprehend and explain the nature of woman, because it is not remote from him, but an integral part of his masculine self. I am not sure, however, that it necessitates the highest genius, but rather a special idiosyncrasy in genius which the highest may or may not have. I think Sophocles a higher genius than Euripides; but Euripides has that idiosyncrasy, and Sophocles not. I doubt whether women would accept Goethe as their interpreter with the same readiness with which they would accept Schiller. Shakspeare, no doubt, excels all poets in the comprehension of women, in his sympathy with them in the woman-part of his nature which Goethe ascribes to the highest genius; but, putting aside that "monster," I do not remember any English poet whom we should consider conspicuously eminent in that lore, unless it be the prose poet, nowadays generally underrated and little read, who wrote the letters of Clarissa Harlowe. I say all this in vindication of Graham Vane, if, though a very clever man in his way, and by no means uninstructed in human nature, he had utterly failed in comprehending the mysteries which to this poor woman-child seemed to need no key for one who really loved her. But we have said somewhere before in this book that music speaks in a language which cannot explain itself except in music. So speaks, in the human heart, much which is akin to music. Fiction (that is, poetry, whether in form of rhyme or prose) speaks thus pretty often. A reader must be more commonplace than, I trust, my gentle readers are, if he suppose that when Isaura symbolized the real hero of her thoughts in the fabled hero of her romance, she depicted him as one of whom the world could say, "That is Graham Vane." I doubt if even a male poet would so vulgarize any woman whom he thoroughly reverenced and loved. She is too sacred to him to be thus unveiled to the public stare; as the sweetest of all ancient love-poets says well—