On quitting the Louvre, by the door facing the Palais Royal, Turner moved to the left. To say that he walked would be to overstate the action of his little stout3 legs, which took so short a stride that his progress suggested wheels and some one pushing behind. He turned to the left again, and ambled5 under the great arch, to take the path passing behind the Tuileries.
His stoutness7 was, in a sense, a safeguard in streets where the travelling Englishman, easily recognised, has not always found a welcome. His clothes and his walk were studiously French. Indeed, no one, passing by with a casual glance, would have turned to look a second time at a figure so typical of the Paris streets.
Mr. Turner quitted the enclosure of the Tuileries gardens and crossed the quay8 toward the Pont Royal. But he stopped short under the trees by the river wall, with a low whistle of surprise. Crossing the bridge, toward him, and carrying a carpet-bag of early Victorian design, was Mr. Septimus Marvin, rector of Farlingford, in Suffolk.
After a moment's thought, John Turner went toward the bridge, and stationed himself on the pavement at the corner. The pavement is narrow, and Turner was wide. In order to pass him, Septimus Marvin would need to step into the road. This he did, without resentment9; with, indeed, a courtly and vague inclination10 of the head toward the human obstruction11.
“Look here, Sep,” said Turner, “you are not going to pass an old schoolfellow like that.”
Septimus Marvin lurched onward12 one or two steps, with long loose strides. Then he clutched his carpet-bag with both hands and looked back at his interlocutor, with the scared eyes of a detected criminal. This gave place to the habitual13 gentle smile when, at last, the recognition was complete.
“What have you got there?” asked Turner, pointing with his stick at the carpet-bag. “A kitten?”
“No—no,” replied Marvin, looking this way and that, to make sure that none could overhear.
“A Nanteuil—engraved from his own drawing, Jack14—a real Nanteuil. I have just been to a man I know—the print-shop opposite the statue on the Quai Voltaire—to have my own opinion verified. I was sure of it. He says that I am undoubtedly15 right. It is a genuine Nanteuil—a proof before letters.”
“Ah! And you have just picked it up cheap? Picked it up, eh?”
“No, no, quite the contrary,” Marvin replied, in a confidential16 whisper.
“Stolen—dear, dear! I am sorry to hear that, Septimus.”
And Septimus Marvin broke into the jerky, spasmodic laugh of one who has not laughed for long—perhaps for years.
“Ah, Jack,” he said; “you are still up to a joke.”
“Well, I should hope so. We are quite close to my club. Come, and have luncheon17, and tell me all about it.”
So the Social and Sporting Club, renowned18 at that day for its matchless cuisine19 and for nothing else of good repute at all, entertained an angel unawares, and was much amused at Septimus Marvin's appearance, although the amusement was not apparent. The members, it would appear, were gentlemen of that good school of old France which, like many good things both French and English, is fast disappearing. And with all those faults, which we are so ready to perceive in any Frenchman, there is none on earth who will conceal20 from you so effectually the fact that in his heart he is vastly amused.
It was with some difficulty that Septimus was persuaded to consign21 his carpet-bag to the custody22 of the hall-porter.
“If it wasn't a Nanteuil,” he explained in a whisper to his friend, “I should have no hesitation23; for I am sure the man is honest and in every way to be relied upon. But a Nanteuil—ad vivum—Jack. There are none like him. It is priceless.”
“You used not to be a miser,” said Turner, panting on the stairs, when at last the bag was concealed24 in a safe place. “What matter what the value may be, so long as you like it?”
“Oh! but the value is of great importance,” answered Septimus, rather sheepishly.
“Then you have changed a good deal since you and I were at Ipswich school together. There, sit down at this table. I suppose you are hungry. I hope you are. Try and think—there's a good fellow—and remember that they have the best cook in Paris here. Their morals ain't of the first water, but their cook is without match. Yes, you have changed a good deal, if you think of money.”
Septimus Marvin had changed colour, at all events, in the last few minutes.
“I have to, Jack, I have to. That is the truth of it. I have come to Paris to sell that Nanteuil. To realise, I suppose you would call it in the financial world. Pro4 aris et focis, old friend. I want money for the altar and the hearth25. It has come to that. I cannot ask them in Farlingford for more money, for I know they have none. And the church is falling about our ears. The house wants painting. It is going the way of the church, indeed.”
“Ah!” said Turner, glancing at him over the bill of fare. “So you have to sell an engraving26. It goes to the heart, I suppose?”
Marvin laughed and rubbed his spare hands together, with an assumption of cheerfulness in which some one less stout and well-to-do than his companion might have perceived that dim minor27 note of pathos28, which always rings somewhere in a forced laugh.
“One has to face it,” he replied. “Ne cedas malis, you know. I suddenly found it was necessary. It was forced upon me, in fact. I found that my niece was secretly helping29 to make both ends meet. A generous action, made doubly generous by the manner in which it was performed.”
“Miriam?” put in John Turner, who appeared to be absorbed in the all-important document before him.
“Yes, Miriam. Do you know her? Ah! I forgot. You are her guardian30 and trustee. I sometimes think my memory is failing. I found her out quite by accident. It must have been going on for quite a long time. Heaven will reward her, Turner! One cannot doubt it.”
He absent-mindedly seized two pieces of bread from the basket offered to him by a waiter, and began to eat as if famished31.
“Steady, man, steady,” exclaimed Turner, leaning forward with a horror-stricken face to restrain him. “Don't spoil a grand appetite on bread. Gad32! I wish I could fall on my food like that. You seem to be starving.”
“I think I forgot to have any breakfast,” said Marvin, apologetically.
“I dare say you did!” was the angry retort. “You always were a bit of an ass6, you know, Sep. But I have ordered a tiptop luncheon, and I'll trouble you not to wolf like that.”
“Well—well, I'm sorry,” said the other, who, even in the far-off days at Ipswich school, had always been in the clouds, while John Turner moved essentially33 on the earth.
“And do not sell that Nanteuil to the first bidder,” went on Turner, with a glance, of which the keenness was entirely34 disarmed35 by the good-natured roundness of his huge cheeks. “I know a man who will buy it—at a good price, too. Where did you get it?”
“Ah! that is a long story,” replied Marvin, looking dreamily out of the window. “I bought it, years ago, at Farlingford. But it is a long story.”
“Then tell it, slowly. While I eat this sole a la Normande. I see you've nearly finished yours, and I have scarcely begun.”
It was a vague and disjointed enough story, as related by Septimus Marvin. And it was the story of Loo Barebone's father. As it progressed John Turner grew redder and redder in the face, while he drank glass after glass of Burgundy.
“A queer story,” he ejaculated, breathlessly. “Go on. And you bought this engraving from the man himself, before he died? Did he tell you where he got it? It is the portrait of a woman, you say.”
“Portrait of a woman—yes, yes. But he did not know who she was. And I do not know whether I gave him enough for it. Do you think I did, Jack?”
“I do not know how much you gave him, but I have no doubt that it was too much. Where did he get it?”
“He thinks it was brought from France by his mother, or the woman who was supposed in Farlingford to be his mother—together with other papers, which he burnt, I believe.”
“And then he died?”
“Yes—yes. He died—but he left a son.”
“The devil he did! Why did you not mention that before? Where is the son? Tell me all about him, while I see how they've served this langue fourree, which should be eaten slowly; though it is too late to remind you of that now. Go on. Tell me all about the son.”
And before the story of Loo Barebone was half told, John Turner laid aside his knife and fork and turned his attention to the dissection36 of this ill-told tale. As the story neared its end, he glanced round the room, to make sure that none was listening to their conversation.
“Dormer Colville,” he repeated. “Does he come into it?”
“He came to Farlingford with the Marquis de Gemosac, out of pure good-nature—because the Marquis could speak but little English. He is a charming man. So unselfish and disinterested37.”
“Who? The Marquis?”
“No; Dormer Colville.”
“Oh yes!” said John Turner, returning to the cold tongue. “Yes; a charming fellow.”
And he glanced again at his friend, with a queer smile. When luncheon was finished, Turner led the way to a small smoking-room, where they would be alone, and sent a messenger to fetch Septimus Marvin's bag from downstairs.
“We will have a look at your precious engraving,” he said, “while we smoke a cigar. It is, I suppose, a relic38 of the Great Monarchy39, and I may tell you that there is rather a small demand just now for relics40 of that period. It would be wiser not to take it into the open market. I think my client would give you as good a price as any; and I suppose you want to get as much as you can for it now that you have made up your mind to the sacrifice?”
Marvin suppressed a sigh, and rubbed his hands together with that forced jocularity which had made his companion turn grave once before.
“Oh, I mean to drive a hard bargain, I can tell you!” was the reply, with an assumption of worldly wisdom on a countenance41 little calculated to wear that expression naturally.
“What did your friend in the print-shop on the Quai Voltaire mention as a probable price?” asked Turner, carelessly.
“Well, he said he might be able to sell it for me at four thousand francs. I would not hear of his running any risk in the matter, however. Such a good fellow, he is. So honest.”
“Yes, he is likely to be that,” said Turner, with his broad smile. He was a little sleepy after a heavy luncheon, and sipped42 his coffee with a feeling of charity toward his fellow-men. “You would find lots of honest men in the Quai Voltaire, Sep. I will tell you what I will do. Give me the print, and I will do my best for you. Would ten thousand francs help you out of your difficulties?”
“I do not remember saying that I was in difficulties,” objected the Reverend Septimus, with heightened colour.
“Don't you? Memory IS bad, is it not? Would ten thousand francs paint the rectory, then?”
“It would ease my mind and sweeten my sleep at night to have half that sum, my friend. With two hundred pounds I could face the world aequo animo.”
“I will see what I can do. This is the print, is it? I don't know much about such things myself, but I should put the price down at ten thousand francs.”
“But the man in the Quai Voltaire?”
“Precisely. I know little about prints, but a lot about the Quai Voltaire. Who is the lady? I presume it is a portrait?”
“It is a portrait, but I cannot identify the original. To an expert of that period it should not be impossible, however.” Septimus Marvin was all awake now, with flushed cheeks and eyes brightened by enthusiasm. “Do you know why? Because her hair is dressed in a peculiar43 way—poufs de sentiment, these curls are called. They were only worn for a brief period. In those days the writings of Jean Jacques Rousseau had a certain vogue44 among the idle classes. The women showed their sentiments in the dressing45 of their hair. Very curious—very curious. And here, in the hair, half-concealed, is an imitation dove's nest.”
“The deuce there is!” ejaculated Turner, pulling at his cigar.
“A fashion which ruled for a still briefer period.”
“I should hope so. Well, roll the thing up, and I will do my best for you. I'm less likely to be taken in than you are, perhaps. If I sell it, I will send you a cheque this evening. It is a beautiful face.”
“Yes,” agreed Septimus Marvin, with a sharp sigh. “It is a beautiful face.”
And he slowly rolled up his most treasured possession, which John Turner tucked under his arm. On the Pont Royal they parted company.
“By the way,” said John Turner, after they had shaken hands, “you never told me what sort of a man this young fellow is—this Loo Barebone?”
“The dearest fellow in the world,” answered Marvin, with eyes aglow46 behind his spectacles. “To me he has been as a son—an elder brother, as it were, to little Sep. I was already an elderly man, you know, when Sep was born. Too old, perhaps. Who knows? Heaven's way is not always marked very clearly.”
“I don't know if I ought to speak of such a thing. But I quite hoped, at one time, that Miriam might one day recognise his goodness of heart.”
“He is more than that, my friend,” answered Septimus Marvin, nodding his head slowly, so that the sun flashed on his spectacles in such a manner as to make Turner blink. Then he turned away again and crossed the bridge, leaving the English banker at the corner of it, still blinking.
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1
placid
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| adj.安静的，平和的 | |
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esteem
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| n.尊敬，尊重；vt.尊重，敬重；把…看作 | |
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pro
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| n.赞成，赞成的意见，赞成者 | |
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5
ambled
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| v.（马）缓行( amble的过去式和过去分词 )；从容地走，漫步 | |
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ass
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| n.驴；傻瓜，蠢笨的人 | |
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stoutness
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| 坚固，刚毅 | |
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8
quay
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| n.码头，靠岸处 | |
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9
resentment
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| n.怨愤，忿恨 | |
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10
inclination
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| n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好 | |
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11
obstruction
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| n.阻塞，堵塞；障碍物 | |
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onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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habitual
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| adj.习惯性的；通常的，惯常的 | |
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14
jack
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| n.插座，千斤顶，男人；v.抬起，提醒，扛举；n.（Jake）杰克 | |
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15
undoubtedly
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| adv.确实地，无疑地 | |
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16
confidential
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| adj.秘（机）密的，表示信任的，担任机密工作的 | |
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17
luncheon
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| n.午宴，午餐，便宴 | |
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18
renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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19
cuisine
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| n.烹调，烹饪法 | |
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20
conceal
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| v.隐藏，隐瞒，隐蔽 | |
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21
consign
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| vt.寄售（货品），托运，交托，委托 | |
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custody
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| n.监护，照看，羁押，拘留 | |
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hesitation
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| n.犹豫，踌躇 | |
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24
concealed
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| a.隐藏的，隐蔽的 | |
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25
hearth
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| n.壁炉炉床，壁炉地面 | |
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26
engraving
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| n.版画；雕刻（作品）；雕刻艺术；镌版术v.在（硬物）上雕刻（字，画等）( engrave的现在分词 )；将某事物深深印在（记忆或头脑中） | |
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27
minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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pathos
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| n.哀婉，悲怆 | |
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29
helping
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| n.食物的一份&adj.帮助人的，辅助的 | |
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30
guardian
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| n.监护人；守卫者，保护者 | |
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31
famished
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| adj.饥饿的 | |
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32
gad
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| n.闲逛；v.闲逛 | |
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33
essentially
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| adv.本质上，实质上，基本上 | |
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34
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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35
disarmed
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| v.裁军( disarm的过去式和过去分词 )；使息怒 | |
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36
dissection
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| n.分析；解剖 | |
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37
disinterested
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| adj.不关心的，不感兴趣的 | |
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38
relic
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| n.神圣的遗物，遗迹，纪念物 | |
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39
monarchy
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| n.君主，最高统治者；君主政体，君主国 | |
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relics
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| [pl.］n.遗物，遗迹，遗产；遗体，尸骸 | |
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41
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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42
sipped
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| v.小口喝，呷，抿( sip的过去式和过去分词 ) | |
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43
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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44
Vogue
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| n.时髦，时尚；adj.流行的 | |
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45
dressing
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| n.(食物)调料；包扎伤口的用品，敷料 | |
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46
aglow
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| adj.发亮的；发红的；adv.发亮地 | |
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47
vaguely
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| adv.含糊地，暖昧地 | |
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48
schooner
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| n.纵帆船 | |
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