C 6 L>0 L_ vvy L Digitized by tine Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/cousinponsOObalzrich HON ORE DE BALZAC TRANSLATED BY KATHARINE PRESCOTT WORMELEY Cousin Pons ROBERTS BROTHERS 3 SOMERSET STREET BOSTON 1890 Copyright, 1886, By Roberts Brothers. All rights reserved. ©m'bcrgtta |3rt0s. John Wilson and Son, Cambkidg; CONTENTS. CHAPTER PAGE I. A Glorious Kelic of the Empire . . 1 11. The End of a Grand Prix de Rome . 7 III. The Two Nut- Crackers 21 IV. One of the Many Joys of a Collec- tor 35 V. One of the Thousand Affronts a Poor Relation has to bear ... 50 VI. Specimen of' Doorkeepers (Male and Female) . 57 VII. A Living Edition of the Fable of the Two Pigeons 65 VIII. In which we shall see that Prodigal Sons always end by becoming Bank- ers AND MiLLIONNAIRES, PROVIDED they belong to Frankfort-on-the- Main 78 IX. In which Pons presents to Madame de Map.ville an Article far more pre- cious THAN A Fan 93 X. A German Idea 108 XI. Pons buried under Gravel .... 123 XII. " L'Or est UN Chimere." — Words by Scribe, Music by Meyerbeer, Sce- nery BY Remonencq 137 XIII. Treats of the Occult Sciences . . 151 VI Contents, CHAPTER XIV. XV. XVI. XVII. XVIII. XIX. XX. XXI. XXII. XXIII. XXIV. XXV. XXVI. XXVII. XXVIII. XXIX. XXX. XXXI. PAGB A Character out of Hoffman . . . 165 The Cackle and Schemes of an Old Woman 180 Depravity discussed 194 The History of all First Appear- ances IN Paris 208 A Man of Law 223 Fraisier's Secret Intention .... 237 Madame Cibot at the Theatre . . . 248 Fraisier in Flower 267 Advice to Old Bachelors 282 In which Schmucke rises to the Throne OF God 297 The Craft of a Testator 312 .The Fictitious Will 327 In which the Woman Sauvage reap- pears 341 Death as it is 356 Schmucke's Martyrdom continued; showing how People die in Paris . 371 In which we see that what is called COMING INTO Possession of Property may mean dispossession 385 The Fruits of Fraisier 400 Conclusion 414 ff UNIVEBSITT COUSIN PONS. A GLORIOUS RELIC OF THE EMPIRE. Towards three o'clock of an afternoon in October, 1844, a man about sixty years old — though most per- sons would have thought him older — was passing along the Boulevard des Itallens, his nose to the scent as it were, his lips pharisaically pursed, like those of a merchant who has just concluded a profitable piece of business, or a young fellow satisfied with himself as he leaves a boudoir. In Paris that is the highest known expression of personal satisfaction in man. As the old man approached within sight of the vari- ous persons who daily sit on chairs along the boulevard and enjoy the pleasure of anahziug the passers-by, a smile flickered across the faces of one and all, — a smile peculiar to the inhabitants of Paris ; meaning many things, ironical, sarcastic, or compassionate, though it never dawns upon the face of a Parisian, blase as he is with sights of every kind, unless drawn forth by some great and living curiosity. The clever saying of a certain actor may serve to explain both the archaeological value of this worthy man, and the meaning of the smile which 1 2 Cousin Pons.' ran like an echo from eye to eye along his way. Some one asked Hj'acinthe, famous for his witticisms, what hatter he emplo3^ed to make his hats, the mere sight of which convulsed an aii^ience. "I don't have them made," he replied, " I keep them." And in like man- ner, among the million actors who form the great troop of Parisian life, we meet with certain unconscious Hya- cinthes who carry on their persons all the absurdities of their period, and seem so complete!}^ the embodiment of an epoch that we are seized with convulsive laughter, though perhaps at the very moment we are consumed with grief for the treacher}' of some ex-friend. Preserving, as he did with uncompromising fidelit}', certain details of dress belonging to the fashions of the year 1806, this particular passer-by recalled to mind the Empire, without being altogether a caricature of it. To an observer, a discrimination of this kind renders such evocations of the past extremelj" valuable, though this conjunction of trifling things requires the anal3'tical attention with which connoisseurs in the art of loungmg are gifted : to excite a general laugh the passer-by must present fantasticalities that are " as plain as a pike- stafff" to use a common sa3'ing, such in fact as actors rely upon to insure the success of their entrance upon the stage. This withered, dried-up, thin old man wore a faut-colored spencer over a greenish coat with white metal buttons. A man wearing a spencer in 1844 is, we beg you to observe, as remarkable a sight as if Napoleon himself had deigned to be resuscitated for a couple of hours. The spencer was invented, as its name indicates, by an English lord, vain, no doubt, of his handsome per- Cousin Pons. 3 son. Before the peace of Amiens, this Enghshman thus solved the problem of covering his shoulders without burdening his whole bodj^ with the weight of that horrible box-coat, which in our da}^ has fallen on the backs of hacknev-coachmen. However, handsome figures being always in a minorit}^, the spencer had only a passing success in France, despite the fact that it was an Eng- lish invention. At sight of a spencer, the men of forty to fifty years of age clothed the wearer in their mind's eye with top-boots, kerseymere small-clothes of pistachio- green, and fancied themselves once more in the arraj' of their youth. Old women recalled their early conquests. As to the 3'oung people, they merely asked why this elderly Alcibiades had cut off the tails of his coat. Everything about him was so thoroughly in keeping with the spencer that no one could have hesitated to ticket him homme' Empire^ just as we call our chairs and consoles meubles- Empire ; though he symbolized the Empire only in the eyes of those to whom that mag- nificent and gorgeous epoch was known, at least de visu, for a certain fidelitj' of memorj' as to past fashions was needful to its perception. The Empire has alreadj^ receded so far that it is not every one who can picture to himself its Gallo-grecian reahtj^ The hat worn at the back of the head exposed the whole forehead with a sort of bravado, by which civihans and government officials were just then endeavoring to assert themselves against mililar}' assumption. It was a horrible fourteen -franc silk hat, under whose brim a pair of large thick ears had left whitish traces that no brushing had been able to efface. The silk tissue, badly stretched as it alwaj's is over the stiff frame, was 4 Cousin Pons. crumpled in several places, and looked as if it had the leprosy in spite of the hand which smoothed it dailj^ Beneath the hat, which seemed in danger of falling off, expanded one of those ludicrously droll faces such as the Chinese alone had the wit to invent for their gro- tesque porcelain images. This huge face, perforated like a colander till the holes actually produced shadows, and furrowed with lines like a Roman mask, defied all the laws of anatomy. The e3'e found no framework to rest upon. Where construction required bones, the flesh showed only gelatinous levels ; where ordinary features exhibit hollows, flabby knobs and protuberances ap- peared. This grotesque face, crushed together into the shape of a pumpkin, and made forlorn b}' two gray eyes surmounted b}^ a red rim in place of e3'elashes, was overtopped by a nose like that of Don Quixote, — just as a plain is commanded by a solitary rock. Such a nose expresses, as Cervantes must have observed, that innate tendencj^ for self-devotion to great things which degenerates into credulity. The ugliness of this face, comical as it was, excited no laughter. The extreme melancholj^ revealed in the pale eyes of the poor man struck the minds of scoffers and froze the light jest upon their lips. The thought came that here was one to whom Nature had denied the power of expressing tenderness, except at the cost of being ridiculous or revolting to a woman. Frenchmen are dumb before a misfortune such as this ; to them the worst of all mis- fortunes is the denial of the powder to please. This man, thus disfigured by Nature, was dressed like the paupers of good societ}', — a condition sometimes emulated by the rich. He wore shoes hidden hy gaiters Cousin Pons. 6 made after the fashion of those of the garde imperiale which enabled him, no doubt, to wear the shoes a long time. The black cloth of his trousers had a rusty tinge, and the creases had grown shiny and showed white lines, which, together with the old-fashioned cut, revealed the age of the garment. The amplitude of this nether casing scarcely concealed a leanness de- rived more from the man's constitution than from any Pythagorean regime ; for the wortliy soul, endowed bj' Nature with a sensual mouth and thick lips, showed when he smiled a set of white teeth worth}- of a shark. The double-breasted waistcoat, crossed like a shawl and also of black cloth, with a white vest under it, beneath which still further appeared the scarlet edge of a knitted doublet, carried you back in memory to the days of the five waistcoats of Garat. An enormous white muslin cravat, whose portentous tie had been invented b}- a famous Beau to charm the " charming women " of 1809, covered so much of his chin that his face seemed to plunge into it as into-an abNss. A silken cord, braided to resemble hair, crossed the shirt and guarded the watch from the improbable grasp of a thief. The greenish coat, which was remarkabl}' clean, testified to a fashion at least three 3'ears older than that of the trousers ; but the black velvet collar and the white metal buttons were recent restorations, and showed domestic care brought down to minute particulars. The habit of tilting the hat on the crown of the head, the triple waistcoat, the immense cravat in which the chin was buried, the gaiters, the metal buttons on the greenish coat, all these signs of imperial fashions har- monized with a lingering air of Incroj^able aflfectations ; 6 Cousin Pons, while something indescribably skimped in the folds, something precise and meagre in the general effect, savored of David's studio, and recalled the spindling furniture of Jacob. It was easy to recognize at the first glance either a man of good breeding now the prey of some secret vice, or one of a class of small incomes whose expenses are so sharply limited hj the narrow- ness of their means that a broken pane of glass, a torn garment, or the philanthropic nuisance of a charit}' suffices to put an end to their personal enjoj^ments for a month. Had you been there and seen him pass, you would have asked yourself why a smile flickered on that grotesque face, whose habitual expression must have been sad and cold, like that of one struggling in obscu- rit}' to obtain the trivial necessaries of life. But if you also noticed the maternal care with which the strange old man held something unmistakably precious beneath the two left flaps of his double coat, as if to protect it from accidental shocks ; and more especially if you observed in his manner the busy air which idle people assume when they are charged with some commission, — 3'ou might have guessed that he had found the equivalent of a countess's lap-dog, and was carrj-ing it triumphantl}^, with the assiduous gallantry of an homme-Empire^ to the charming woman of sixty who had not yet been able to renounce the daily visit of her satellite. Paris is the onl}^ city in the world where you will meet such sights, — sights which make the boulevards a perpetual drama played gratis by Frenchmen for the benefit of Art. Cousin Pons. II. THE END OF A GRAND PRIX DE ROME. Judging b}* the general structure of this bony being, and in spite of his audacious spencer, 3'ou would hardly have classed him among Parisian artists, — a clique whose privilege, like that of the Gamin de Paris, is to rouse the bourgeois imagination into jovial mirth ever since the good old word drolatique has been restored to honor. The man was, however, a grand prix} — the composer of a prize cantata, crowned at the Insti- tute about the time that the Academy of Rome was re- established ; in short, he was .Monsieur Sylvain Pons, author of many well-known songs warbled b}- our mothers ; also of two or three operas performed in 1815 and 1816, and of other unpublished scores. The worth}^ man was now ending his career as leader of an orches- tra in a boulevard theatre ; and he was also — thanks to his appearance — music-teacher in several schools for young ladies. He had no means beyond his salary and the pa}' for his private lessons. What a fate ! To be giving private lessons at his time of life ! How man}' mysteries behind this matter-of-fact and unromantic situation ! 1 The l^cole des Beaux-Arts gives as the chief prize in its several de- partments three years' stud}' at its Academy in Rome, now established in the Villa Medici. The winner of this benefit is called familiarly a "grand prix," or "grand prix de Rome." 8 Cousin Pons. This last of the spencer-wearers, if we may so desig- nate him, carried upon his person something other than the symbols of the Empire ; he bore, written upon those three waistcoats, a significant lesson. He ex- hibited gratis one of the many victims of that baneful and disastrous system called Goncours^ — a system of competition in educational institutions which has ruled in France for over a hundred 3'ears without beneficial results. This hot-bed for intellect was in- vented by Poisson de Marigny, brother of Madame de Pompadour, who was appointed director of the Beaux- Arts in 1726. We can count upon our fingers the men of genius which these laureates of the Academy have supplied to us during the last century. In the first place, no administrative or scholastic nurturing will take the place of the miraculous opportune chances to which the world owes its great men. Among all the mysteries of generation this is the most inaccessible to our ambitious modern analysis. What should we think of the Egyptians, who the3' say invented ovens to hatch chickens, if they had not immediately given food to the brood ? And 3'et that is what France neglects to do when she tries to produce artists by the forcing- pit of competition. As soon as she has obtained a sculptor, a painter, an engraver, a musician, by this mechanical contrivance, she troubles herself no more about him than a dandy troubles himself about the faded flowers in his button-hole. Thus it happens that the true man of talent is Greuze or Watteau, Felicien David or Pagnest, Gericault or Decamps, Auber or David d'Angers, Eugene Delacroix or Meissonnier, — all men who cared little for the great prizes, and who Cousin Pons. 9 came up in the open ground under the raj'S of that invisible sun called Vocation. Sjlvain Pons, sent to Rome b}^ the State to become a great musician, brought back a taste for antiquity and for the choice things of art. He had grown well versed in all those achievements and masterpieces of the hand and brain called of late, in popular parlance, hric-a-brac. This son of Euterpe returned to Paris in 1810 a rabid collector, — the owner of pictures, statuettes, carvings in wood and ivory, enamels, porcelains, etc., which in the course of his academical sta^^ in Rome swallowed up the greater part of his paternal inheritance, nearl}^ as much through costs of transportation as from the price of their acquisition. He also spent a little fortune de- rived from his mother in the same outla3's during a journey which he made through Ital}', after the official three years passed in Rome. He wished to visit Venice, Milan, Florence, Bologna, Naples, at his leisure ; to abi