“Ah, you are here already,” said the notary1, perceiving the young banker Gobenheim, a connection of Gobenheim–Keller, the head of the great banking2 house in Paris.
This young man with a livid face — a blonde of the type with black eyes, whose immovable glance has an indescribable fascination3, sober in speech as in conduct, dressed in black, lean as a consumptive, but nevertheless vigorously framed — visited the family of his former master and the house of his cashier less from affection than from self-interest. Here they played whist at two sous a point; a dress-coat was not required; he accepted no refreshment4 except “eau sucree,” and consequently had no civilities to return. This apparent devotion to the Mignon family allowed it to be supposed that Gobenheim had a heart; it also released him from the necessity of going into the society of Havre and incurring5 useless expenses, thus upsetting the orderly economy of his domestic life. This disciple6 of the golden calf7 went to bed at half-past ten o’clock and got up at five in the morning. Moreover, being perfectly8 sure of Latournelle’s and Butscha’s discretion9, he could talk over difficult business matters, obtain the advice of the notary gratis10, and get an inkling of the real truth of the gossip of the street. This stolid11 gold-glutton (the epithet12 is Butscha’s) belonged by nature to the class of substances which chemistry terms absorbents. Ever since the catastrophe14 of the house of Mignon, where the Kellers had placed him to learn the principles of maritime15 commerce, no one at the Chalet had ever asked him to do the smallest thing, no matter what; his reply was too well known. The young fellow looked at Modeste precisely16 as he would have looked at a cheap lithograph17.
“He’s one of the pistons18 of the big engine called ‘Commerce,’” said poor Butscha, whose clever mind made itself felt occasionally by such little sayings timidly jerked out.
The four Latournelles bowed with the most respectful deference19 to an old lady dressed in black velvet20, who did not rise from the armchair in which she was seated, for the reason that both eyes were covered with the yellow film produced by cataract21. Madame Mignon may be sketched22 in one sentence. Her august countenance23 of the mother of a family attracted instant notice as that of one whose irreproachable24 life defies the assaults of destiny, which nevertheless makes her the target of its arrows and a member of the unnumbered tribe of Niobes. Her blonde wig25, carefully curled and well arranged upon her head, became the cold white face which resembled that of some burgomaster’s wife painted by Hals or Mirevelt. The extreme neatness of her dress, the velvet boots, the lace collar, the shawl evenly folded and put on, all bore testimony26 to the solicitous27 care which Modeste bestowed28 upon her mother.
When silence was, as the notary had predicted, restored in the pretty salon29, Modeste, sitting beside her mother, for whom she was embroidering30 a kerchief, became for an instant the centre of observation. This curiosity, barely veiled by the commonplace salutations and inquiries31 of the visitors, would have revealed even to an indifferent person the existence of the domestic plot to which Modeste was expected to fall a victim; but Gobenheim, more than indifferent, noticed nothing, and proceeded to light the candles on the card-table. The behavior of Dumay made the whole scene terrifying to Butscha, to the Latournelles, and above all to Madame Dumay, who knew her husband to be capable of firing a pistol at Modeste’s lover as coolly as though he were a mad dog.
After dinner that day the cashier had gone to walk followed by two magnificent Pyrenees hounds, whom he suspected of betraying him, and therefore left in charge of a farmer, a former tenant32 of Monsieur Mignon. On his return, just before the arrival of the Latournelles, he had taken his pistols from his bed’s head and placed them on the chimney-piece, concealing33 this action from Modeste. The young girl took no notice whatever of these preparations, singular as they were.
Though short, thick-set, pockmarked, and speaking always in a low voice as if listening to himself, this Breton, a former lieutenant34 in the Guard, showed the evidence of such resolution, such sang-froid on his face that throughout life, even in the army, no one had ever ventured to trifle with him. His little eyes, of a calm blue, were like bits of steel. His ways, the look on his face, his speech, his carriage, were all in keeping with the short name of Dumay. His physical strength, well-known to every one, put him above all danger of attack. He was able to kill a man with a blow of his fist, and had performed that feat35 at Bautzen, where he found himself, unarmed, face to face with a Saxon at the rear of his company. At the present moment the usually firm yet gentle expression of the man’s face had risen to a sort of tragic36 sublimity37; his lips were pale as the rest of his face, indicating a tumult38 within him mastered by his Breton will; a slight sweat, which every one noticed and guessed to be cold, moistened his brow. The notary knew but too well that these signs might result in a drama before the criminal courts. In fact the cashier was playing a part in connection with Modeste Mignon, which involved to his mind sentiments of honor and loyalty39 of far greater importance than mere40 social laws; and his present conduct proceeded from one of those compacts which, in case disaster came of it, could be judged only in a higher court than one of earth. The majority of dramas lie really in the ideas which we make to ourselves about things. Events which seem to us dramatic are nothing more than subjects which our souls convert into tragedy or comedy according to the bent13 of our characters.
Madame Latournelle and Madame Dumay, who were appointed to watch Modeste, had a certain assumed stiffness of demeanor41 and a quiver in their voices, which the suspected party did not notice, so absorbed was she in her embroidery42. Modeste laid each thread of cotton with a precision that would have made an ordinary workwoman desperate. Her face expressed the pleasure she took in the smooth petals43 of the flower she was working. The dwarf44, seated between his mistress and Gobenheim, restrained his emotion, trying to find means to approach Modeste and whisper a word of warning in her ear.
By taking a position in front of Madame Mignon, Madame Latournelle, with the diabolical45 intelligence of conscientious46 duty, had isolated47 Modeste. Madame Mignon, whose blindness always made her silent, was even paler than usual, showing plainly that she was aware of the test to which her daughter was about to be subjected. Perhaps at the last moment she revolted from the stratagem48, necessary as it might seem to her. Hence her silence; she was weeping inwardly. Exupere, the spring of the trap, was wholly ignorant of the piece in which he was to play a part. Gobenheim, by reason of his character, remained in a state of indifference49 equal to that displayed by Modeste. To a spectator who understood the situation, this contrast between the ignorance of some and the palpitating interest of others would have seemed quite poetic50. Nowadays romance-writers arrange such effects; and it is quite within their province to do so, for nature in all ages takes the liberty to be stronger than they. In this instance, as you will see, nature, social nature, which is a second nature within nature, amused herself by making truth more interesting than fiction; just as mountain torrents51 describe curves which are beyond the skill of painters to convey, and accomplish giant deeds in displacing or smoothing stones which are the wonder of architects and sculptors52.
It was eight o’clock. At that season twilight53 was still shedding its last gleams; there was not a cloud in the sky; the balmy air caressed54 the earth, the flowers gave forth55 their fragrance56, the steps of pedestrians57 turning homeward sounded along the gravelly road, the sea shone like a mirror, and there was so little wind that the wax candles upon the card-tables sent up a steady flame, although the windows were wide open. This salon, this evening, this dwelling58 — what a frame for the portrait of the young girl whom these persons were now studying with the profound attention of a painter in presence of the Margharita Doni, one of the glories of the Pitti palace. Modeste — blossom enclosed, like that of Catullus — was she worth all these precautions?
You have seen the cage; behold59 the bird! Just twenty years of age, slender and delicate as the sirens which English designers invent for their “Books of Beauty,” Modeste was, like her mother before her, the captivating embodiment of a grace too little understood in France, where we choose to call it sentimentality, but which among German women is the poetry of the heart coming to the surface of the being and spending itself — in affectations if the owner is silly, in divine charms of manner if she is “spirituelle” and intelligent. Remarkable60 for her pale golden hair, Modeste belonged to the type of woman called, perhaps in memory of Eve, the celestial61 blonde; whose satiny skin is like a silk paper applied62 to the flesh, shuddering63 at the winter of a cold look, expanding in the sunshine of a loving glance, — teaching the hand to be jealous of the eye. Beneath her hair, which was soft and feathery and worn in many curls, the brow, which might have been traced by a compass so pure was its modelling, shone forth discreet64, calm to placidity65, and yet luminous66 with thought: when and where could another be found so transparently67 clear or more exquisitely68 smooth? It seemed, like a pearl, to have its orient. The eyes, of a blue verging69 on gray and limpid70 as the eyes of a child, had all the mischief71, all the innocence72 of childhood, and they harmonized well with the arch of the eyebrows73, faintly indicated by lines like those made with a brush on Chinese faces. This candor74 of the soul was still further evidenced around the eyes, in their corners, and about the temples, by pearly tints75 threaded with blue, the special privilege of these delicate complexions76. The face, whose oval Raphael so often gave to his Madonnas, was remarkable for the sober and virginal tone of the cheeks, soft as a Bengal rose, upon which the long lashes78 of the diaphanous79 eyelids80 cast shadows that were mingled81 with light. The throat, bending as she worked, too delicate perhaps, and of milky82 whiteness, recalled those vanishing lines that Leonardo loved. A few little blemishes83 here and there, like the patches of the eighteenth century, proved that Modeste was indeed a child of earth, and not a creation dreamed of in Italy by the angelic school. Her lips, delicate yet full, were slightly mocking and somewhat sensuous84; the waist, which was supple85 and yet not fragile, had no terrors for maternity86, like those of girls who seek beauty by the fatal pressure of a corset. Steel and dimity and lacings defined but did not create the serpentine87 lines of the elegant figure, graceful88 as that of a young poplar swaying in the wind.
A pearl-gray dress with crimson89 trimmings, made with a long waist, modestly outlined the bust90 and covered the shoulders, still rather thin, with a chemisette which left nothing to view but the first curves of the throat where it joined the shoulders. From the aspect of the young girl’s face, at once ethereal and intelligent, where the delicacy91 of a Greek nose with its rosy92 nostrils93 and firm modelling marked something positive and defined; where the poetry enthroned upon an almost mystic brow seemed belied95 at times by the pleasure-loving expression of the mouth; where candor claimed the depths profound and varied96 of the eye, and disputed them with a spirit of irony97 that was trained and educated — from all these signs an observer would have felt that this young girl, with the keen, alert ear that waked at every sound, with a nostril94 open to catch the fragrance of the celestial flower of the Ideal, was destined98 to be the battle-ground of a struggle between the poesies of the dawn and the labors99 of the day; between fancy and reality, the spirit and the life. Modeste was a pure young girl, inquisitive100 after knowledge, understanding her destiny, and filled with chastity — the Virgin77 of Spain rather than the Madonna of Raphael.
She raised her head when she heard Dumay say to Exupere, “Come here, young man.” Seeing them together in the corner of the salon she supposed they were talking of some commission in Paris. Then she looked at the friends who surrounded her, as if surprised by their silence, and exclaimed in her natural manner, “Why are you not playing?”— with a glance at the green table which the imposing101 Madame Latournelle called the “altar.”
“Yes, let us play,” said Dumay, having sent off Exupere.
“Sit there, Butscha,” said Madame Latournelle, separating the head-clerk from the group around Madame Mignon and her daughter by the whole width of the table.
“And you, come over here,” said Dumay to his wife, making her sit close by him.
Madame Dumay, a little American about thirty-six years of age, wiped her eyes furtively102; she adored Modeste, and feared a catastrophe.
“You are not very lively this evening,” remarked Modeste.
“We are playing,” said Gobenheim, sorting his cards.
No matter how interesting this situation may appear, it can be made still more so by explaining Dumay’s position towards Modeste. If the brevity of this explanation makes it seem rather dry, the reader must pardon its dryness in view of our desire to get through with these preliminaries as speedily as possible, and the necessity of relating the main circumstances which govern all dramas.
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1
notary
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| n.公证人，公证员 | |
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banking
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| n.银行业，银行学，金融业 | |
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fascination
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| n.令人着迷的事物，魅力，迷恋 | |
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refreshment
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| n.恢复，精神爽快，提神之事物；（复数）refreshments:点心，茶点 | |
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incurring
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| 遭受，招致，引起( incur的现在分词 ) | |
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disciple
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| n.信徒，门徒，追随者 | |
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calf
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| n.小牛，犊，幼仔，小牛皮 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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discretion
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| n.谨慎；随意处理 | |
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gratis
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| adj.免费的 | |
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stolid
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| adj.无动于衷的，感情麻木的 | |
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epithet
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| n.（用于褒贬人物等的）表述形容词，修饰语 | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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catastrophe
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| n.大灾难，大祸 | |
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maritime
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| adj.海的，海事的，航海的，近海的，沿海的 | |
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precisely
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| adv.恰好，正好，精确地，细致地 | |
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lithograph
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| n.平板印刷，平板画；v.用平版印刷 | |
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pistons
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| 活塞( piston的名词复数 ) | |
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deference
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| n.尊重，顺从；敬意 | |
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velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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cataract
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| n.大瀑布，奔流，洪水，白内障 | |
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sketched
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| v.草拟（sketch的过去式与过去分词形式） | |
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countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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irreproachable
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| adj.不可指责的，无过失的 | |
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wig
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| n.假发 | |
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testimony
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| n.证词；见证，证明 | |
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solicitous
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| adj.热切的，挂念的 | |
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bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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salon
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| n.[法]沙龙；客厅；营业性的高级服务室 | |
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embroidering
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| v.（在织物上）绣花( embroider的现在分词 )；刺绣；对…加以渲染（或修饰）；给…添枝加叶 | |
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inquiries
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| n.调查( inquiry的名词复数 )；疑问；探究；打听 | |
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tenant
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| n.承租人；房客；佃户；v.租借，租用 | |
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concealing
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| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
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lieutenant
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| n.陆军中尉，海军上尉；代理官员，副职官员 | |
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feat
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| n.功绩；武艺，技艺；adj.灵巧的，漂亮的，合适的 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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sublimity
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| 崇高，庄严，气质高尚 | |
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tumult
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| n.喧哗；激动，混乱；吵闹 | |
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loyalty
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| n.忠诚，忠心 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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demeanor
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| n.行为；风度 | |
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embroidery
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| n.绣花，刺绣；绣制品 | |
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petals
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| n.花瓣( petal的名词复数 ) | |
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dwarf
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| n.矮子，侏儒，矮小的动植物；vt.使…矮小 | |
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diabolical
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| adj.恶魔似的，凶暴的 | |
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conscientious
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| adj.审慎正直的，认真的，本着良心的 | |
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isolated
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| adj.与世隔绝的 | |
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stratagem
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| n.诡计，计谋 | |
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indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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torrents
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| n.倾注；奔流( torrent的名词复数 )；急流；爆发；连续不断 | |
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sculptors
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| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
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twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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caressed
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| 爱抚或抚摸…( caress的过去式和过去分词 ) | |
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forth
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| adv.向前；向外，往外 | |
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fragrance
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| n.芬芳，香味，香气 | |
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pedestrians
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| n.步行者( pedestrian的名词复数 ) | |
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dwelling
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| n.住宅，住所，寓所 | |
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behold
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| v.看，注视，看到 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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celestial
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| adj.天体的；天上的 | |
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applied
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| adj.应用的；v.应用，适用 | |
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shuddering
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| v.战栗( shudder的现在分词 )；发抖；（机器、车辆等）突然震动；颤动 | |
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discreet
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| adj.(言行)谨慎的；慎重的；有判断力的 | |
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placidity
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| n.平静，安静，温和 | |
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luminous
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| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
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transparently
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| 明亮地，显然地，易觉察地 | |
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exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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verging
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| 接近，逼近（verge的现在分词形式） | |
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limpid
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| adj.清澈的，透明的 | |
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mischief
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| n.损害，伤害，危害；恶作剧，捣蛋，胡闹 | |
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innocence
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| n.无罪；天真；无害 | |
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eyebrows
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| 眉毛( eyebrow的名词复数 ) | |
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candor
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| n.坦白，率真 | |
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tints
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| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
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complexions
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| 肤色( complexion的名词复数 )； 面色； 局面； 性质 | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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lashes
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| n.鞭挞( lash的名词复数 )；鞭子；突然猛烈的一击；急速挥动v.鞭打( lash的第三人称单数 )；煽动；紧系；怒斥 | |
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diaphanous
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| adj.(布)精致的，半透明的 | |
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eyelids
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| n.眼睑( eyelid的名词复数 )；眼睛也不眨一下；不露声色；面不改色 | |
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mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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milky
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| adj.牛奶的，多奶的；乳白色的 | |
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blemishes
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| n.（身体的）瘢点( blemish的名词复数 )；伤疤；瑕疵；污点 | |
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sensuous
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| adj.激发美感的；感官的，感觉上的 | |
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supple
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| adj.柔软的，易弯的，逢迎的，顺从的，灵活的；vt.使柔软，使柔顺，使顺从；vi.变柔软，变柔顺 | |
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86
maternity
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| n.母性，母道，妇产科病房；adj.孕妇的，母性的 | |
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87
serpentine
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| adj.蜿蜒的，弯曲的 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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89
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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bust
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| vt.打破；vi.爆裂；n.半身像；胸部 | |
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delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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rosy
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| adj.美好的，乐观的，玫瑰色的 | |
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nostrils
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| 鼻孔( nostril的名词复数 ) | |
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nostril
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| n.鼻孔 | |
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95
belied
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| v.掩饰( belie的过去式和过去分词 )；证明（或显示）…为虚假；辜负；就…扯谎 | |
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varied
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| adj.多样的，多变化的 | |
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irony
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| n.反语，冷嘲；具有讽刺意味的事，嘲弄 | |
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destined
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| adj.命中注定的；(for)以…为目的地的 | |
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labors
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| v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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100
inquisitive
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| adj.求知欲强的，好奇的，好寻根究底的 | |
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101
imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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furtively
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| adv. 偷偷地, 暗中地 | |
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