SITTING straight, with the reins1 well held up in the most correct fashion, Paul Astier drove his two-wheeled cart at a stiff pace to the scene of his mysterious breakfast ‘with some business people.’ ‘Tclk! tclk!’ Past the Pont Royal, past the quays2, past the Place de la Concorde. The road was so smooth, the day so fine, that as terraces, trees, and fountains went by, it would have needed but a little imagination on his part to believe himself carried away on the wings of Fortune. But the young man was no visionary, and as he bowled along he examined the new leather and straps3, and put questions about the hay-merchant to his groom4, a young fellow perched at his side looking as cool and as sharp as a stable terrier. The hay-merchant, it seemed, was as bad as the rest of them, and grumbled5 about supplying the fodder6.
‘Oh, does he?’ said Paul absently; his mind had already passed to another subject. His mother’s revelations ran in his head. Fifty-three years old! The beautiful Duchess Antonia, whose neck and shoulders were the despair of Paris! Utterly7 incredible! ‘Tclk! tclk!’ He pictured her at Mousseaux last summer, rising earlier than any of her guests, wandering with her dogs in the park while the dew was still on the ground, with loosened hair and blooming lips; she did not look made up, not a bit. Fifty-three years old? Impossible!
‘Tclk, tclk! Hi! Hi!’ That’s a nasty corner between the Rond Pont and the Avenue d’Antin.—All the same, it was a low trick they were playing her, to find a wife for the Prince. For let his mother say what she would, the Duchess and her drawing-room had been a fine thing for them all. Perhaps his father might never have been in the Académie but for her; he himself owed her all his commissions. Then there was the succession to Loisillon’s place and the prospect8 of the fine rooms under the cupola—well, there was nothing like a woman for flinging you over. Not that men were any better; the Prince d’Athis, for instance. To think what the Duchess had done for him! When they met he was a ruined and penniless rip; now what was he? High in the diplomatic service, member of the Académie des Sciences Morales et Politiques, on account of a book not a word of which he had written himself, ‘The Mission of Woman in the World’. And while the Duchess was busily at work to fit him with an Embassy, he was only waiting to be gazetted before taking French leave and playing off this dirty trick on her, after fifteen years of uninterrupted happiness. ‘The mission of woman in the world!’ Well, the Prince understood what the mission of woman was. The next thing was to better the lesson. ‘Tclk! tclk! Gate, please.’
Paul’s soliloquy was over, and his cart drew up before a mansion9 in the Rue10 de Courcelles. The double gates were rolled, back slowly and heavily as if accomplishing a task to which they had long been unused.
In this house lived the Princess Colette de Rosen, who had shut herself up in the complete seclusion11 of mourning since the sad occurrence which had made her a widow at twenty-six. The daily papers recorded the details of the young widow’s sensational12 despair: how the fair hair was cut off close and thrown into the coffin13; how her room was decorated as for a lying in state; how she took her meals alone with two places laid, while on the table in the anteroom lay as usual the Prince’s walking stick, hat, and gloves, as though he were at home and just going out. But one detail had not been mentioned, and that was the devoted14 affection and truly maternal15 care which Madame Astier showed for the ‘poor little woman’ in these distressing17 circumstances.
Their friendship had begun some years ago, when a prize for an historical work had been adjudged to the Prince de Rosen by the Académie, ‘on the report of Astier-Réhu.’ Differences of age and social position had however kept them apart until the Princess’s mourning removed the barrier. When the widow’s door was solemnly closed against society, Madame Astier alone escaped the interdict18. Madame Astier was the only person allowed to cross the threshold of the mansion, or rather the convent, inhabited by the poor weeping Carmelite with her shaven head and robe of black; Madame Astier was the only person admitted to hear the mass sung twice a week at St. Philip’s for the repose19 of Herbert’s soul; and it was she who heard the letters which Colette wrote every evening to her absent husband, relating her life and the way she spent her days. All mourning, however rigid20, involves attention to material details which are degrading to grief but demanded by society. Liveries must be ordered, trappings provided for horses and carriages, and the heartbroken mourner must face the hypocritical sympathy of the tradesman. All these duties were discharged by Madame Astier with never-failing patience. She undertook the heavy task of managing the household, which the tear-laden eyes of its fair mistress could no longer supervise, and so spared the young widow all that could disturb her despair, or disarrange her hours for praying, weeping, writing ‘to him,’ and carrying armfuls of exotic flowers to the cemetery21 of Père Lachaise, where Paul Astier was superintending the erection of a gigantic mausoleum in commemorative stone brought at the express wish of the Princess from the scene of the tragedy.
Unfortunately the quarrying22 of this stone and its conveyance23 from Illyria, the difficulties of carving24 granite25, and the endless plans and varying fancies of the widow, to whom nothing seemed sufficiently26 huge and magnificent to suit her dead hero, had brought about many hitches27 and delays. So it happened that in May 1880, two years and more after the catastrophe28 and the commencement of the work, the monument was still unfinished. Two years is a long time to maintain the constant paroxysms of an ostentatious grief, each sufficient to discharge the whole. The mourning was still observed as rigidly29 as ever, the house was still closed and silent as a cave. But in the place of the living statue weeping and praying in the furthest recesses30 of the crypt was now a pretty young woman whose hair was growing again, instinct with life in every curl and wave of its soft luxuriance. The reappearance of this fair hair gave a touch of lightness, almost of brightness, to the widow’s mourning, which seemed now no more than a caprice of fashion. In the movements and tones of the Princess was perceptible the stirring of spring; she had the air of relief and repose noticeable in young widows in the second period of their mourning. It is a delightful31 position. For the first time after the restraints of girlhood and the restraints of marriage, a woman enjoys the sweets of liberty and undisputed possession of herself; she is freed from contact with the coarser nature of man, and above all from the fear of maternity32, the haunting terror of the young wife of the present day. In the case of the Princess Colette the natural development of uncontrollable grief into perfect peacefulness was emphasised by the paraphernalia33 of inconsolable widowhood with which she was still surrounded. It was not hypocrisy34; but how could she give orders, without raising a smile on the servants’ faces, to remove the hat always waiting in the ante-room, the walking stick conspicuously35 handy, the place at table always laid for the absent husband; how could she say, ‘The Prince will not dine to-night’? But the mystic correspondence ‘with Herbert in heaven’ had begun to fall off, growing less frequent every day, till it ended in a calmly written journal which caused considerable, though unexpressed, amusement to Colette’s discerning friend.
The fact was that Madame Astier had a plan. The idea had sprung up in her practical little mind one Tuesday night at the Théatre Fran?ais, when the Prince d’Athis had said to her confidentially36 in a low voice: ‘Oh, my dear Adelaide, what a chain to drag! I am bored to death.’ She at once planned to marry him to the Princess. It was a new game to play, crossing the old game, but not less subtle and fascinating. She had not now to hold forth37 upon the eternal nature of vows38, or to hunt up in Joubert or other worthy39 philosophers such mottoes as the following, which the Princess had written out at the beginning of her wedding book: ‘A woman can be wife and widow with honour but once.’ She no longer went into raptures40 over the manly41 beauty of the young hero, whose portrait, full length and half length, profile and three quarters, in marble and on canvas, met you in every part of the house.
It was her system now to bring him gradually and dexterously42 down. ‘Do you not think, dear,’ she would say, ‘that these portraits of the Prince make his jaw43 too heavy? Of course I know the lower part of his face was rather pronounced, a little too massive.’ And so she administered a series of little poisonous stabs, with an indescribable skill and gentleness, drawing back when she went too far, and watching for Colette’s smile at some criticism a little sharper than the rest. Working in this way she at last brought Colette to admit that Herbert had always had a touch of the boor44; his manners were scarcely up to his rank; he had not, for instance, the distinguished45 air of the Prince d’Athis, ‘whom we met a few Sundays ago on the steps of St. Philip’s . If you should fancy him, dear, he is looking for a wife.’ This last remark was thrown out as a jest; but presently Madame Astier recurred46 to it and put it more definitely. Well, why should the Princess not marry him? It would be most suitable; the Prince had a good name, a diplomatic position of some importance; the marriage would involve no alteration47 of the Princess’s coronet or title—a practical convenience not to be overlooked. ‘And, indeed, if I am to tell you the truth, dear, the Prince entertains towards you an affection which’... &c. &c.
The word ‘affection’ at first hurt the Princess’s feelings, but she soon grew used to hear it. They met the Prince d’Athis at church, then in great privacy at Madame Astier’s in the Rue de Beaune, and Colette soon admitted that he was the only man who might have induced her to abandon her widowhood. But then poor dear Herbert had loved her so devotedly—she had been his all.
‘Really,’ said Madame Astier with the quiet smile of a person who knows. Then followed allusions48, hints, and all the devices by which one woman poisons the mind of another.
‘Why, my dear, there is no such thing in the world. A man of good breeding—a gentleman—will take care, for the sake of peace, not to give his wife pain or distress16. But——’
‘Then you mean that Herbert——’
‘Was no better than the rest of them.’ The Princess, with an indignant protest, burst into tears; painless, passionless tears, such as ease a woman, and leave her as fresh as a lawn after a shower. But still she did not give way, to the great annoyance49 of Madame Astier, who had no conception of the real cause of her obduracy50.
The truth was that frequent meetings to criticise51 the scheme of the mausoleum, much touching52 of hands and mingling53 of locks over the plans and sketches54 of cells and sepulchral55 figures, had created between Paul and Colette a fellow feeling which had gradually grown more and more tender, until one day Paul Astier detected in Colette’s eyes as she looked at him an expression that almost confessed her liking56. There rose before him as a possibility the miraculous57 vision of Colette de Rosen bringing him her million as a marriage gift. That might be in a short time, after a preliminary trial of patience, a regularly conducted beleaguering58 of the fortress59. In the first place it was most important to-betray no hint to ‘mamma,’ who, though very cunning and subtle, was likely to fail through excess of zeal60, especially when the interests of her Paul were at stake. She would spoil all the chances in her eagerness to hasten the successful issue. So Paul concealed61 his plans from Madame Astier, in entire ignorance that she was running a countermine in the same line as his. He acted on his own account with great deliberation. The Princess was attracted by his youth and fashion, his brightness and his witty62 irony63, from which he carefully took the venom64. He knew that women, like children and the mob, and all impulsive65 and untutored beings, hate a tone of sarcasm66, which puts them out, and which they perceive by instinct to be hostile to the dreams of enthusiasm and romance.
On this spring morning it was with feelings of more confidence than usual that young Astier reached the house. This was the first time that he had been asked to breakfast at the Rosen mansion; the reason alleged67 was a visit which they were to make together to the cemetery, in order to inspect the works on the spot. With an unexpressed understanding they had fixed68 on a Wednesday, the day when Madame Astier was ‘at home,’ so as not to have her as a third in the party. With this thought in his mind the young man, self-controlled as he was, let fall as he crossed the threshold a careless glance which took in the large courtyard and magnificent offices almost as if he were entering on the possession of them. His spirits fell as he passed through the ante-room, where the footmen and lacqueys in deep mourning were dozing69 on their seats. They seemed to be keeping a funeral vigil round the hat of the defunct70, a magnificent grey hat, which proclaimed the arrival of spring as well as the determination with which his memory was kept up by the Princess. Paul was much annoyed by it; it was like meeting a rival. He did not realise the difficulty which prevented Colette from escaping the self-forged fetters71 of her custom. He was wondering angrily whether she would expect him to breakfast in company with him, when the footman who relieved him of his walking stick and hat informed him that the Princess would receive him in the small drawing-room. He was shown at once into the rotunda72 with its glass roof, a bower73 of exotic plants, and was completely reassured74 by the sight of a little table with places laid for two, the arrangement of which Madame de Rosen was herself superintending.
‘A fancy of mine,’ she said, pointing to the table, ‘when I saw how fine it was. It will be almost like the country.’
She had spent the night considering how she could avoid sitting down with this handsome young man in the presence of his knife and fork, and, not knowing what to say to the servants, had devised the plan of abandoning the situation and ordering breakfast, as a sudden whim75, ‘in the conservatory76.’
Altogether the ‘business’ breakfast promised well. The Romany blanc lay to keep cool in the rocky basin of the fountain, amidst ferns and water plants, and the sun shone on the pieces of spar and on the bright smooth green of the outspread leaves. The two young people sat opposite one another, their knees almost touching: he quite self-possessed, his light eyes cold and fiery77; she all pink and white, her new growth of hair, like a delicate wavy78 plumage, showing without any artificial arrangement the shape of her little head. And while they talked on indifferent topics, both concealing79 their real thoughts, young Astier exulted80 each time that the silent servants opened the door of the deserted81 dining-room, when he saw in the distance the napkin of the departed, left for the first time cheerless and alone.
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reins
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| 感情，激情； 缰( rein的名词复数 )； 控制手段； 掌管； （成人带着幼儿走路以防其走失时用的）保护带 | |
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quays
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| 码头( quay的名词复数 ) | |
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straps
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| n.带子( strap的名词复数 )；挎带；肩带；背带v.用皮带捆扎( strap的第三人称单数 )；用皮带抽打；包扎；给…打绷带 | |
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groom
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| vt.给（马、狗等）梳毛，照料，使...整洁 | |
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grumbled
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| 抱怨( grumble的过去式和过去分词 )； 发牢骚； 咕哝； 发哼声 | |
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fodder
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| n.草料；炮灰 | |
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utterly
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| adv.完全地，绝对地 | |
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prospect
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| n.前景，前途；景色，视野 | |
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mansion
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| n.大厦，大楼；宅第 | |
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rue
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| n.懊悔，芸香，后悔；v.后悔，悲伤，懊悔 | |
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seclusion
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| n.隐遁，隔离 | |
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sensational
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| adj.使人感动的，非常好的，轰动的，耸人听闻的 | |
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coffin
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| n.棺材，灵柩 | |
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devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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maternal
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| adj.母亲的，母亲般的，母系的，母方的 | |
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distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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distressing
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| a.使人痛苦的 | |
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interdict
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| v.限制；禁止；n.正式禁止；禁令 | |
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repose
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| v.(使)休息；n.安息 | |
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rigid
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| adj.严格的，死板的；刚硬的，僵硬的 | |
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cemetery
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| n.坟墓，墓地，坟场 | |
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quarrying
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| v.采石；从采石场采得( quarry的现在分词 )；从（书本等中）努力发掘（资料等）；在采石场采石 | |
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conveyance
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| n.(不动产等的)转让，让与；转让证书；传送；运送；表达；（正）运输工具 | |
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carving
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| n.雕刻品，雕花 | |
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granite
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| adj.花岗岩，花岗石 | |
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sufficiently
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| adv.足够地，充分地 | |
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hitches
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| 暂时的困难或问题( hitch的名词复数 )； 意外障碍； 急拉； 绳套 | |
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catastrophe
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| n.大灾难，大祸 | |
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rigidly
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| adv.刻板地，僵化地 | |
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recesses
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| n.壁凹( recess的名词复数 )；（工作或业务活动的）中止或暂停期间；学校的课间休息；某物内部的凹形空间v.把某物放在墙壁的凹处( recess的第三人称单数 )；将（墙）做成凹形，在（墙）上做壁龛；休息，休会，休庭 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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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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paraphernalia
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| n.装备；随身用品 | |
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hypocrisy
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| n.伪善，虚伪 | |
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conspicuously
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| ad.明显地，惹人注目地 | |
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confidentially
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| ad.秘密地，悄悄地 | |
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forth
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| adv.向前；向外，往外 | |
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vows
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| 誓言( vow的名词复数 )； 郑重宣布，许愿 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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raptures
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| 极度欢喜( rapture的名词复数 ) | |
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manly
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| adj.有男子气概的；adv.男子般地，果断地 | |
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dexterously
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| adv.巧妙地，敏捷地 | |
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jaw
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| n.颚，颌，说教，流言蜚语；v.喋喋不休，教训 | |
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boor
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| n.举止粗野的人；乡下佬 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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recurred
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| 再发生，复发( recur的过去式和过去分词 )； 治愈 | |
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alteration
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| n.变更，改变；蚀变 | |
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allusions
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| 暗指，间接提到( allusion的名词复数 ) | |
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49
annoyance
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| n.恼怒，生气，烦恼 | |
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50
obduracy
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| n.冷酷无情，顽固，执拗 | |
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51
criticise
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| v.批评，评论；非难 | |
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52
touching
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| adj.动人的，使人感伤的 | |
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mingling
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| adj.混合的 | |
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sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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sepulchral
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| adj.坟墓的，阴深的 | |
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56
liking
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| n.爱好；嗜好；喜欢 | |
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miraculous
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| adj.像奇迹一样的，不可思议的 | |
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beleaguering
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| v.围攻( beleaguer的现在分词 )；困扰；骚扰 | |
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fortress
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| n.堡垒，防御工事 | |
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zeal
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| n.热心，热情，热忱 | |
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concealed
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| a.隐藏的，隐蔽的 | |
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witty
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| adj.机智的，风趣的 | |
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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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venom
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| n.毒液，恶毒，痛恨 | |
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impulsive
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| adj.冲动的，刺激的；有推动力的 | |
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sarcasm
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| n.讥讽，讽刺，嘲弄，反话 （adj.sarcastic） | |
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alleged
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| a.被指控的，嫌疑的 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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dozing
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| v.打瞌睡,假寐 n.瞌睡 | |
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defunct
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| adj.死亡的；已倒闭的 | |
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fetters
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| n.脚镣( fetter的名词复数 )；束缚v.给…上脚镣，束缚( fetter的第三人称单数 ) | |
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rotunda
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| n.圆形建筑物；圆厅 | |
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bower
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| n.凉亭，树荫下凉快之处；闺房；v.荫蔽 | |
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74
reassured
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| adj.使消除疑虑的；使放心的v.再保证，恢复信心( reassure的过去式和过去分词) | |
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75
whim
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| n.一时的兴致，突然的念头；奇想，幻想 | |
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76
conservatory
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| n.温室，音乐学院；adj.保存性的，有保存力的 | |
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77
fiery
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| adj.燃烧着的，火红的；暴躁的；激烈的 | |
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78
wavy
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| adj.有波浪的，多浪的，波浪状的，波动的，不稳定的 | |
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79
concealing
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| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
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80
exulted
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| 狂喜，欢跃( exult的过去式和过去分词 ) | |
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81
deserted
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| adj.荒芜的，荒废的，无人的，被遗弃的 | |
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