Kitabı oku: «The Works of Robert Louis Stevenson – Swanston Edition. Volume 4», sayfa 19

PROVIDENCE AND THE GUITAR

CHAPTER I

Monsieur Léon Berthelini had a great care of his appearance, and sedulously suited his deportment to the costume of the hour. He affected something Spanish in his air, and something of the bandit, with a flavour of Rembrandt at home. In person he was decidedly small, and inclined to be stout; his face was the picture of good-humour; his dark eyes, which were very expressive, told of a kind heart, a brisk, merry nature, and the most indefatigable spirits. If he had worn the clothes of the period you would have set him down for a hitherto undiscovered hybrid between the barber, the innkeeper, and the affable dispensing chemist. But in the outrageous bravery of velvet jacket and flapped hat, with trousers that were more accurately described as fleshings, a white handkerchief cavalierly knotted at his neck, a shock of Olympian curls upon his brow, and his feet shod through all weathers in the slenderest of Molière shoes – you had but to look at him and you knew you were in the presence of a Great Creature. When he wore an overcoat he scorned to pass the sleeves; a single button held it round his shoulders; it was tossed backwards after the manner of a cloak, and carried with the gait and presence of an Almaviva. I am of opinion that M. Berthelini was nearing forty. But he had a boy’s heart, gloried in his finery, and walked through life like a child in a perpetual dramatic performance. If he were not Almaviva after all, it was not for lack of making believe. And he enjoyed the artist’s compensation. If he were not really Almaviva, he was sometimes just as happy as though he were.

I have seen him, at moments when he has fancied himself alone with his Maker, adopt so gay and chivalrous a bearing, and represent his own part with so much warmth and conscience, that the illusion became catching, and I believed implicitly in the Great Creature’s pose.

But, alas! life cannot be entirely conducted on these principles; man cannot live by Almavivery alone; and the Great Creature, having failed upon several theatres, was obliged to step down every evening from his heights, and sing from half a dozen to a dozen comic songs, twang a guitar, keep a country audience in good humour, and preside finally over the mysteries of a tombola.

Madame Berthelini, who was art and part with him in these undignified labours, had perhaps a higher position in the scale of beings, and enjoyed a natural dignity of her own. But her heart was not any more rightly placed, for that would have been impossible; and she had acquired a little air of melancholy, attractive enough in its way, but not good to see like the wholesome, sky-scraping, boyish spirits of her lord.

He, indeed, swam like a kite on a fair wind, high above earthly troubles. Detonations of temper were not unfrequent in the zones he travelled; but sulky fogs and tearful depressions were there alike unknown. A well-delivered blow upon a table, or a noble attitude, imitated from Mélingue or Frédéric, relieved his irritation like a vengeance. Though the heaven had fallen, if he had played his part with propriety, Berthelini had been content! And the man’s atmosphere, if not his example, reacted on his wife; for the couple doated on each other, and although you would have thought they walked in different worlds, yet continued to walk hand in hand.

It chanced one day that Monsieur and Madame Berthelini descended with two boxes and a guitar in a fat case at the station of the little town of Castel-le-Gâchis, and the omnibus carried them with their effects to the Hotel of the Black Head. This was a dismal, conventual building in a narrow street, capable of standing siege when once the gates were shut, and smelling strangely in the interior of straw and chocolate and old feminine apparel. Berthelini paused upon the threshold with a painful premonition. In some former state, it seemed to him, he had visited a hostelry that smelt not otherwise, and been ill received.

The landlord, a tragic person in a large felt hat, rose from a business-table under the key-rack, and came forward, removing his hat with both hands as he did so.

“Sir, I salute you. May I inquire what is your charge for artists?” inquired Berthelini, with a courtesy at once splendid and insinuating.

“For artists?” said the landlord. His countenance fell and the smile of welcome disappeared. “Oh, artists!” he added brutally; “four francs a day.” And he turned his back upon these inconsiderable customers.

A commercial traveller is received, he also, upon a reduction – yet is he welcome, yet can he command the fatted calf; but an artist, had he the manners of an Almaviva, were he dressed like Solomon in all his glory, is received like a dog and served like a timid lady travelling alone.

Accustomed as he was to the rubs of his profession, Berthelini was unpleasantly affected by the landlord’s manner.

“Elvira,” said he to his wife, “mark my words: Castel-le-Gâchis is a tragic folly.”

“Wait till we see what we take,” replied Elvira.

“We shall take nothing,” replied Berthelini; “we shall feed upon insults. I have an eye, Elvira; I have a spirit of divination; and this place is accursed. The landlord has been discourteous, the Commissary will be brutal, the audience will be sordid and uproarious, and you will take a cold upon your throat. We have been besotted enough to come; the die is cast – it will be a second Sedan.”

Sedan was a town hateful to the Berthelinis, not only from patriotism (for they were French, and answered after the flesh to the somewhat homely name of Duval), but because it had been the scene of their most sad reverses. In that place they had lain three weeks in pawn for their hotel bill, and had it not been for a surprising stroke of fortune they might have been lying there in pawn until this day. To mention the name of Sedan was for the Berthelinis to dip the brush in earthquake and eclipse. Count Almaviva slouched his hat with a gesture expressive of despair, and even Elvira felt as if ill-fortune had been personally evoked.

“Let us ask for breakfast,” said she, with a woman’s tact.

The Commissary of Police of Castel-le-Gâchis was a large red Commissary, pimpled, and subject to a strong cutaneous transpiration. I have repeated the name of his office because he was so very much more a Commissary than a man. The spirit of his dignity had entered into him. He carried his corporation as if it were something official. Whenever he insulted a common citizen it seemed to him as if he were adroitly flattering the Government by a side-wind; in default of dignity he was brutal from an over-weening sense of duty. His office was a den, whence passers-by could hear rude accents laying down, not the law, but the good pleasure of the Commissary.

Six several times in the course of the day did M. Berthelini hurry thither in quest of the requisite permission for his evening’s entertainment; six several times he found the official was abroad. Léon Berthelini began to grow quite a familiar figure in the streets of Castel-le-Gâchis; he became a local celebrity, and was pointed out as “the man who was looking for the Commissary.” Idle children attached themselves to his footsteps, and trotted after him back and forward between the hotel and the office. Léon might try as he liked; he might roll cigarettes, he might straddle, he might cock his hat at a dozen different jaunty inclinations – the part of Almaviva was, under the circumstances, difficult to play.

As he passed the market-place upon the seventh excursion the Commissary was pointed out to him, where he stood, with his waistcoat unbuttoned and his hands behind his back, to superintend the sale and measurement of butter. Berthelini threaded his way through the market-stalls and baskets, and accosted the dignitary with a bow which was a triumph of the histrionic art.

“I have the honour,” he asked, “of meeting M. le Commissaire?”

The Commissary was affected by the nobility of his address. He excelled Léon in the depth if not in the airy grace of his salutation.

“The honour,” said he, “is mine!”

“I am,” continued the strolling player, “I am, sir, an artist, and I have permitted myself to interrupt you on an affair of business. To-night I give a trifling musical entertainment at the Café of the Triumphs of the Plough – permit me to offer you this little programme – and I have come to ask you for the necessary authorisation.”

At the word “artist” the Commissary had replaced his hat with the air of a person who, having condescended too far, should suddenly remember the duties of his rank.

“Go, go,” said he, “I am busy; I am measuring butter.”

“Heathen Jew!” thought Léon. “Permit me, sir,” he resumed, aloud. “I have gone six times already – “

“Put up your bills if you choose,” interrupted the Commissary. “In an hour or so I will examine your papers at the office. But now go; I am busy.”

“Measuring butter!” thought Berthelini. “O France, and it is for this that we made ’93!”

The preparations were soon made; the bills posted, programmes laid on the dinner-table of every hotel in the town, and a stage erected at one end of the Café of the Triumphs of the Plough; but when Léon returned to the office, the Commissary was once more abroad.

“He is like Madame Benoîton,” thought Léon: “Fichu Commissaire!”

And just then he met the man face to face.

“Here, sir,” said he, “are my papers. Will you be pleased to verify?”

But the Commissary was now intent upon dinner.

“No use,” he replied, “no use; I am busy; I am quite satisfied. Give your entertainment.”

And he hurried on.

“Fichu Commissaire!” thought Léon.

CHAPTER II

The audience was pretty large; and the proprietor of the café made a good thing of it in beer. But the Berthelinis exerted themselves in vain.

Léon was radiant in velveteen; he had a rakish way of smoking a cigarette between his songs that was worth money in itself; he underlined his comic points so that the dullest numskull in Castel-le-Gâchis had a notion when to laugh; and he handled his guitar in a manner worthy of himself. Indeed, his play with that instrument was as good as a whole romantic drama; it was so dashing, so florid, and so cavalier.

Elvira, on the other hand, sang her patriotic and romantic songs with more than usual expression; her voice had charm and plangency; and as Léon looked at her, in her low-bodied maroon dress, with her arms bare to the shoulder, and a red flower set provocatively in her corset, he repeated to himself for the many hundredth time that she was one of the loveliest creatures in the world of women.

Alas! when she went round with the tambourine, the golden youth of Castel-le-Gâchis turned from her coldly. Here and there a single halfpenny was forthcoming; the net result of a collection never exceeded half a franc; and the Maire himself, after seven different applications, had contributed exactly twopence. A certain chill began to settle upon the artists themselves; it seemed as if they were singing to slugs; Apollo himself might have lost heart with such an audience. The Berthelinis struggled against the impression; they put their back into their work, they sang louder and louder, the guitar twanged like a living thing; and at last Léon arose in his might, and burst with inimitable conviction into his great song, “Y a des honnêtes gens partout!” Never had he given more proof of his artistic mastery; it was his intimate, indefeasible conviction that Castel-le-Gâchis formed an exception to the law he was now lyrically proclaiming, and was peopled exclusively by thieves and bullies; and yet, as I say, he flung it down like a challenge, he trolled it forth like an article of faith; and his face so beamed the while that you would have thought he must make converts of the benches.

He was at the top of his register, with his head thrown back and his mouth open, when the door was thrown violently open, and a pair of new-comers marched noisily into the café. It was the Commissary, followed by the Garde Champêtre.

The undaunted Berthelini still continued to proclaim, “Y a des honnêtes gens partout!” But now the sentiment produced an audible titter among the audience. Berthelini wondered why; he did not know the antecedents of the Garde Champêtre; he had never heard of a little story about postage-stamps. But the public knew all about the postage-stamps and enjoyed the coincidence hugely.

The Commissary planted himself upon a vacant chair with somewhat the air of Cromwell visiting the Rump, and spoke in occasional whispers to the Garde Champêtre, who remained respectfully standing at his back. The eyes of both were directed upon Berthelini, who persisted in his statement.

“Y a des honnêtes gens partout,” he was just chanting for the twentieth time; when up got the Commissary upon his feet and waved brutally to the singer with his cane.

“Is it me you want?” inquired Léon, stopping in his song.

“It is you,” replied the potentate.

“Fichu Commissaire!” thought Léon, and he descended from the stage and made his way to the functionary.

“How does it happen, sir,” said the Commissary, swelling in person, “that I find you mountebanking in a public café without my permission?”

“Without?” cried the indignant Léon. “Permit me to remind you – “

“Come, come, sir!” said the Commissary, “I desire no explanations.”

“I care nothing about what you desire,” returned the singer. “I choose to give them, and I will not be gagged. I am an artist, sir, a distinction that you cannot comprehend. I received your permission and stand here upon the strength of it; interfere with me who dare.”

“You have not got my signature, I tell you,” cried the Commissary. “Show me my signature! Where is my signature?”

That was just the question; where was his signature? Léon recognised that he was in a hole; but his spirit rose with the occasion, and he blustered nobly, tossing back his curls. The Commissary played up to him in the character of tyrant; and as the one leaned farther forward, the other leaned farther back – majesty confronting fury. The audience had transferred their attention to this new performance, and listened with that silent gravity common to all Frenchmen in the neighbourhood of the Police. Elvira had sat down, she was used to these distractions, and it was rather melancholy than fear that now oppressed her.

“Another word,” cried the Commissary, “and I arrest you.”

“Arrest me?” shouted Léon. “I defy you!”

“I am the Commissary of Police,” said the official.

Léon commanded his feelings, and replied, with great delicacy of innuendo —

“So it would appear.”

The point was too refined for Castel-le-Gâchis; it did not raise a smile; and as for the Commissary, he simply bade the singer follow him to his office, and directed his proud footsteps towards the door. There was nothing for it but to obey. Léon did so with a proper pantomime of indifference, but it was a leek to eat, and there was no denying it.

The Maire had slipped out and was already waiting at the Commissary’s door. Now the Maire, in France, is the refuge of the oppressed. He stands between his people and the boisterous rigours of the Police. He can sometimes understand what is said to him; he is not always puffed up beyond measure by his dignity. ’Tis a thing worth the knowledge of travellers. When all seems over, and a man has made up his mind to injustice, he has still, like the heroes of romance, a little bugle at his belt whereon to blow; and the Maire, a comfortable deus ex machinâ, may still descend to deliver him from the minions of the law. The Maire of Castel-le-Gâchis, although inaccessible to the charms of music as retailed by the Berthelinis, had no hesitation whatever as to the rights of the matter. He instantly fell foul of the Commissary in very high terms, and the Commissary, pricked by this humiliation, accepted battle on the point of fact. The argument lasted some little while with varying success, until at length victory inclined so plainly to the Commissary’s side that the Maire was fain to re-assert himself by an exercise of authority. He had been out-argued, but he was still the Maire. And so, turning from his interlocutor, he briefly but kindly recommended Léon to get back instanter to his concert.

“It is already growing late,” he added.

Léon did not wait to be told twice. He returned to the Café of the Triumphs of the Plough with all expedition. Alas! the audience had melted away during his absence; Elvira was sitting in a very disconsolate attitude on the guitar-box; she had watched the company dispersing by twos and threes, and the prolonged spectacle had somewhat overwhelmed her spirits. Each man, she reflected, retired with a certain proportion of her earnings in his pocket, and she saw to-night’s board and to-morrow’s railway expenses, and finally even to-morrow’s dinner, walk one after another out of the café-door and disappear into the night.

“What was it?” she asked languidly.

But Léon did not answer. He was looking round him on the scene of defeat. Scarce a score of listeners remained, and these of the least promising sort. The minute-hand of the clock was already climbing upward towards eleven.

“It’s a lost battle,” said he, and then taking up the money-box, he turned it out. “Three francs seventy-five!” he cried, “as against four of board and six of railway fares; and no time for the tombola! Elvira, this is Waterloo!” And he sat down and passed both hands desperately among his curls. “O fichu Commissaire!” he cried, “fichu Commissaire!”

“Let us get the things together and be off,” returned Elvira. “We might try another song, but there is not six halfpence in the room.”

“Six halfpence?” cried Leon, “six hundred thousand devils! There is not a human creature in the town – nothing but pigs and dogs and commissaries! Pray heaven we get safe to bed.”

“Don’t imagine things!” exclaimed Elvira, with a shudder.

And with that they set to work on their preparations. The tobacco-jar, the cigarette-holder, the three papers of shirt-studs, which were to have been the prizes of the tombola had the tombola come off, were made into a bundle with the music; the guitar was stowed into the fat guitar-case; and Elvira having thrown a thin shawl about her neck and shoulders, the pair issued from the café and set off for the Black Head.

As they crossed the market-place the church bell rang out eleven. It was a dark, mild night, and there was no one in the streets.

“It is all very fine,” said Léon: “but I have a presentiment. The night is not yet done.”

CHAPTER III

The Black Head presented not a single chink of light upon the street, and the carriage gate was closed.

“This is unprecedented,” observed Léon. “An inn closed by five minutes after eleven! And there were several commercial travellers in the café up to a late hour. Elvira, my heart misgives me. Let us ring the bell.”

The bell had a potent note; and being swung under the arch it filled the house from top to bottom with surly, clanging reverberations. The sound accentuated the conventual appearance of the building; a wintry sentiment, a thought of prayer and mortification, took hold upon Elvira’s mind; and, as for Léon, he seemed to be reading the stage directions for a lugubrious fifth act.

“This is your fault,” said Elvira; “this is what comes of fancying things!”

Again Léon pulled the bell-rope; again the solemn tocsin awoke the echoes of the inn; and ere they had died away, a light glimmered in the carriage entrance, and a powerful voice was heard upraised and tremulous with wrath.

“What’s all this?” cried the tragic host through the spars of the gate. “Hard upon twelve, and you come clamouring like Prussians at the door of a respectable hotel? Oh!” he cried, “I know you now! Common singers! People in trouble with the Police! And you present yourselves at midnight like lords and ladies? Be off with you!”

“You will permit me to remind you,” replied Léon, in thrilling tones, “that I am a guest in your house, that I am properly inscribed, and that I have deposited baggage to the value of four hundred francs.”

“You cannot get in at this hour,” returned the man. “This is no thieves’ tavern, for mohocks and night-rakes and organ-grinders.”

“Brute!” cried Elvira, for the organ-grinders touched her home.

“Then I demand my baggage,” said Léon, with unabated dignity.

“I know nothing of your baggage,” replied the landlord.

“You detain my baggage? You dare to detain my baggage?” cried the singer.

“Who are you?” returned the landlord. “It is dark – I cannot recognise you.”

“Very well, then – you detain my baggage,” concluded Léon. “You shall smart for this. I will weary out your life with persecutions; I will drag you from court to court; if there is justice to be had in France, it shall be rendered between you and me. And I will make you a by-word – I will put you in a song – a scurrilous song – an indecent song – a popular song – which the boys shall sing to you in the street, and come and howl through these spars at midnight!”

He had gone on raising his voice at every phrase, for all the while the landlord was very placidly retiring; and now, when the last glimmer of light had vanished from the arch, and the last footstep died away in the interior, Léon turned to his wife with a heroic countenance.

“Elvira,” said he, “I have now a duty in life. I shall destroy that man as Eugène Sue destroyed the concierge. Let us come at once to the Gendarmerie and begin our vengeance.”

He picked up the guitar-case, which had been propped against the wall, and they set forth through the silent and ill-lighted town with burning hearts.

The Gendarmerie was concealed beside the telegraph-office at the bottom of a vast court, which was partly laid out in gardens; and here all the shepherds of the public lay locked in grateful sleep. It took a deal of knocking to waken one; and he, when he came at last to the door, could find no other remark but that “it was none of his business.” Léon reasoned with him, threatened him, besought him; “here,” he said, “was Madame Berthelini in evening dress – a delicate woman – in an interesting condition“ – the last was thrown in, I fancy, for effect; and to all this the man-at-arms made the same answer —

“It is none of my business,” said he.

“Very well,” said Léon, “then we shall go to the Commissary.” Thither they went; the office was closed and dark; but the house was close by, and Leon was soon swinging the bell like a madman. The Commissary’s wife appeared at the window. She was a thread-paper creature, and informed them that the Commissary had not yet come home.

“Is he at the Maire’s?” demanded Léon.

She thought that was not unlikely.

“Where is the Maire’s house?” he asked.

And she gave him some rather vague information on that point.

“Stay you here, Elvira,” said Léon, “lest I should miss him by the way. If, when I return, I find you here no longer, I shall follow at once to the Black Head.”

And he set out to find the Maire’s. It took him some ten minutes’ wandering among blind lanes, and when he arrived it was already half an hour past midnight. A long white garden wall overhung by some thick chestnuts, a door with a letter-box, and an iron bell-pull – that was all that could be seen of the Maire’s domicile. Léon took the bell-pull in both hands, and danced furiously upon the side-walk. The bell itself was just upon the other side of the wall; it responded to his activity, and scattered an alarming clangour far and wide into the night.

A window was thrown open in a house across the street, and a voice inquired the cause of this untimely uproar.

“I wish the Maire,” said Léon.

“He has been in bed this hour,” returned the voice.

“He must get up again,” retorted Léon, and he was for tackling the bell-pull once more.

“You will never make him hear,” responded the voice. “The garden is of great extent, the house is at the farther end, and both the Maire and his housekeeper are deaf.”

“Aha!” said Léon, pausing. “The Maire is deaf, is he? That explains.” And he thought of the evening’s concert with a momentary feeling of relief. “Ah!” he continued, “and so the Maire is deaf, and the garden vast, and the house at the far end?”

“And you might ring all night,” added the voice, “and be none the better for it. You would only keep me awake.”

“Thank you, neighbour,” replied the singer. “You shall sleep.”

And he made off again at his best pace for the Commissary’s. Elvira was still walking to and fro before the door.

“He has not come?” asked Léon.

“Not he,” she replied.

“Good,” returned Léon. “I am sure our man’s inside. Let me see the guitar-case. I shall lay this siege in form, Elvira; I am angry; I am indignant: I am truculently inclined; but I thank my Maker I have still a sense of fun. The unjust judge shall be importuned in a serenade, Elvira. Set him up – and set him up.”

He had the case opened by this time, struck a few chords, and fell into an attitude which was irresistibly Spanish.

“Now,” he continued, “feel your voice. Are you ready? Follow me!”

The guitar twanged, and the two voices upraised, in harmony and with a startling loudness, the chorus of a song of old Béranger’s: —

The stones of Castel-le-Gâchis thrilled at this audacious innovation. Hitherto had the night been sacred to repose and night-caps; and now what was this? Window after window was opened; matches scratched, and candles began to flicker; swollen, sleepy faces peered forth into the starlight. There were the two figures before the Commissary’s house, each bolt upright, with head thrown back and eyes interrogating the starry heavens; the guitar wailed, shouted, and reverberated like half an orchestra; and the voices, with a crisp and spirited delivery, hurled the appropriate burden at the Commissary’s window. All the echoes repeated the functionary’s name. It was more like an entr’acte in a farce of Molière’s than a passage of real life in Castel-le-Gâchis.

The Commissary, if he was not the first, was not the last of the neighbours to yield to the influence of music, and furiously threw open the window of his bedroom. He was beside himself with rage. He leaned far over the window-sill, raving and gesticulating; the tassel of his white nightcap danced like a thing of life: he opened his mouth to dimensions hitherto unprecedented, and yet his voice, instead of escaping from it in a roar, came forth shrill and choked and tottering. A little more serenading, and it was clear he would be better acquainted with the apoplexy.

I scorn to reproduce his language; he touched upon too many serious topics by the way for a quiet story-teller. Although he was known for a man who was prompt with his tongue, and had a power of strong expression at command, he excelled himself so remarkably this night that one maiden lady, who had got out of bed like the rest to hear the serenade, was obliged to shut her window at the second clause. Even what she had heard disquieted her conscience; and next day she said she scarcely reckoned as a maiden lady any longer.

Léon tried to explain his predicament, but he received nothing but threats of arrest by way of answer.

“If I come down to you!” cried the Commissary.

“Ay,” said Léon, “do!”

“I will not!” cried the Commissary.

“You dare not!” answered Léon.

At that the Commissary closed his window.

“All is over,” said the singer. “The serenade was perhaps ill-judged. These boors have no sense of humour.”

“Let us get away from here,” said Elvira, with a shiver. “All these people looking – it is so rude and so brutal.” And then giving way once more to passion – “Brutes!” she cried aloud to the candle-lit spectators – “brutes! brutes! brutes!”

“Sauve qui peut,” said Léon. “You have done it now!”

And taking the guitar in one hand and the case in the other, he led the way with something too precipitate to be merely called precipitation from the scene of this absurd adventure.