he adds, in a burst of vulgar delight, "Luckily, we can expect it'll all burst before long!"
He laughs alone. Mame goes and sits apart. She detests Brisbille, who is the personification of envy, malice and coarseness. And everybody hates this marionette, too, for his drunkenness and his forward notions. All the same, when there is something you want him to do, you choose Sunday morning to call, and you linger there, knowing that you will meet others. This has become a tradition.
"They're going to cure little Antoinette," says Benoît, as he frames himself in the doorway.
Benoît is like a newspaper. He to whom nothing ever happens only lives to announce what is happening to others.
"I know," cries Mame, "they told me so this morning. Several people already knew it this morning at seven. A big, famous doctor's coming to the castle itself, for the hunting, and he only treats just the eyes."
"Poor little angel!" sighs a woman, who has just come in.
Brisbille intervenes, rancorous and quarrelsome, "Yes, they're always going to cure the child, so they say. Bad luck to them! Who cares about her?"
"Everybody does!" reply two incensed women, in the same breath.
"And meanwhile," said Brisbille, viciously, "she's snuffing it." And he chews, once more, his customary saying—pompous and foolish as the catchword of a public meeting—"She's a victim of society!"
Monsieur Joseph Bonéas has come into Brisbille's, and he does it complacently, for he is not above mixing with the people of the neighborhood. Here, too, are Monsieur Pocard, and Crillon, new shaved, his polished skin taut and shiny, and several other people. Prominent among them one marks the wavering head of Monsieur Mielvaque, who, in his timidity and careful respect for custom, took his hat off as he crossed the threshold. He is only a copying-clerk at the factory; he wears much-used and dubious linen, and a frail and orphaned jacket which he dons for all occasions.
Monsieur Joseph Bonéas overawes me. My eyes are attracted by his delicate profile, the dull gloom of his morning attire, and the luster of his black gloves, which are holding a little black rectangle, gilt-edged.
He, too, has removed his hat. So I, in my corner discreetly remove mine, too.
He is a young man, refined and distinguished, who impresses by his innate elegance. Yet he is an invalid, tormented by abscesses. One never sees him but his neck is swollen, or his wrists enlarged by a ghastly outcrop. But the sickly body encloses bright and sane intelligence. I admire him because he is thoughtful and full of ideas, and can express himself faultlessly. Recently he gave me a lesson in sociology, touching the links between the France of to-day and the France of tradition, a lesson on our origins whose plain perspicuity was a revelation to me. I seek his company; I strive to imitate him, and certainly he is not aware how much influence he has over me.
All are attentive while he says that he is thinking of organizing a young people's association in Viviers. Then he speaks to me, "The farther I go the more I perceive that all men are afflicted with short sight. They do not see, nor can they see, beyond the end of their noses."
"Yes," say I.
My reply seems rather scanty, and the silence which follows repeats it mercilessly. It seems so to him, too, no doubt, for he engages other interlocutors, and I feel myself redden in the darkness of Brisbille's cavern.
Crillon is arguing with Brisbille on the matter of the recent renovation of an old hat, which they keep handing to each other and examine ardently. Crillon is sitting, but he keeps his eyes on it. Heart and soul he applies himself to the debate. His humble trade as a botcher does not allow a fixed tariff, and he is all alone as he vindicates the value of his work. With his fists he hammers the gray-striped mealy cloth on his knees, and the hair, which grows thickly round his big neck, gives him the nape of a wild boar.
"That felt," he complains, "I'll tell you what was the matter with it. It was rain, heavy rain, that had drowned it. That felt, I tells you, was only like a dirty handkerchief. What does that represent—in ebullition of steam, in gumming, and the passage of time?"
Monsieur Justin Pocard is talking to three companions, who, hat in hand, are listening with all their ears. He is entertaining them in his sonorous language about the great financial and industrial combination which he has planned. A speculative thrill electrifies the company.
"That'll brush business up!" says Crillon, in wonder, torn for a moment from contemplation of the hat, but promptly relapsing on it.
Joseph Bonéas says to me, in an undertone,—and I am flattered,—"That Pocard is a man of no education, but he has practical sense. That's a big idea he's got,—at least if he sees things as I see them."
And I, I am thinking that if I were older or more influential in the district, perhaps I should be in the Pocard scheme, which is taking shape, and will be huge.
Meanwhile, Brisbille is scowling. An unconfessable disquiet is accumulating in his bosom. All this gathering is detaining him at home, and he is tormented by the desire for drink. He cannot conceal his vinous longing, and squints darkly at the assembly. On a week day at this hour he would already have begun to slake his thirst. He is parched, he burns, he drags himself from group to group. The wait is longer than he can stand.
Suddenly every one looks out to the street through the still open door.
A carriage is making its way towards the church; it has a green body and silver lamps. The old coachman, whose great glove sways the slender scepter of a whip, is so adorned with overlapping capes that he suggests several men on the top of each other. The black horse is prancing.
"He shines like a piano," says Benoît.
The Baroness is in the carriage. The blinds are drawn, so she cannot be seen, but every one salutes the carriage.
"All slaves!" mumbles Brisbille. "Look at yourselves now, just look! All the lot of you, as soon as a rich old woman goes by, there you are, poking your noses into the ground, showing your bald heads, and growing humpbacked."
"She does good," protests one of the gathering.
"Good? Ah, yes, indeed!" gurgles the evil man, writhing as though in the grip of some one; "I call it ostentation—that's what I call it."
Shoulders are shrugged, and Monsieur Joseph Bonéas, always self-controlled, smiles.
Encouraged by that smile, I say, "There have always been rich people, and there must be."
"Of course," trumpets Crillon, "that's one of the established thoughts that you find in your head when you fish for 'em. But mark what I says,—there's some that dies of envy. I'm not one of them that dies of envy."
Monsieur Mielvaque has put his hat back on his petrified head and gone to the door. Monsieur Joseph Bonéas, also, turns his back and goes away.
All at once Crillon cries, "There's Pétrarque!" and darts outside on the track of a big body, which, having seen him, opens its long pair of compasses and escapes obliquely.
"And to think," says Brisbille, with a horrible grimace, when Crillon has disappeared, "that the scamp is a town councilor! Ah, by God!"
He foams, as a wave of anger runs through him, swaying on his feet, and gaping at the ground. Between his fingers there is a shapeless cigarette, damp and shaggy, which he rolls in all directions, patching up and resticking it unceasingly.
Charged with snarls and bristling with shoulder-shrugs, the smith rushes at his fire and pulls the bellows-chain, his yawning shoes making him limp like Vulcan. At each pull the bellows send spouting from the dust-filled throat of the furnace a cutting blue comet, lined with crackling and dazzling white, and therein the man forges.
Purpling as his agitation rises, nailed to his imprisoning corner, alone of his kind, a rebel against all the immensity of things, the man forges.
The church bell rang, and we left him there. When I was leaving I heard Brisbille growl. No doubt I got my quietus as well. But what can he have imagined against me?
We meet again, all mixed together in the Place de l'Eglise.