Modeste Mignon. Оноре де Бальзак

for the real, she made herself as fantastic as the poetry of Manfred, and provided for his scepticism by making him a Catholic. Modeste attributed Moliere’s melancholy to the women of the seventeenth century. “Why is there not some one woman,” she asked herself, “loving, beautiful, and rich, ready to stand beside each man of genius and be his slave, like Lara, the mysterious page?” She had, as the reader perceives, fully understood “il pianto,” which the English poet chanted by the mouth of his Gulmare. Modeste greatly admired the behavior of the young Englishwoman who offered herself to Crebillon, the son, who married her. The story of Sterne and Eliza Draper was her life and her happiness for several months. She made herself ideally the heroine of a like romance, and many a time she rehearsed in imagination the sublime role of Eliza. The sensibility so charmingly expressed in that delightful correspondence filled her eyes with tears which, it is said, were lacking in those of the wittiest of English writers.

      Modeste existed for some time on a comprehension, not only of the works, but of the characters of her favorite authors—Goldsmith, the author of Obermann, Charles Nodier, Maturin. The poorest and the most suffering among them were her deities; she guessed their trials, initiated herself into a destitution where the thoughts of genius brooded, and poured upon it the treasures of her heart; she fancied herself the giver of material comfort to these great men, martyrs to their own faculty. This noble compassion, this intuition of the struggles of toilers, this worship of genius, are among the choicest perceptions that flutter through the souls of women. They are, in the first place, a secret between the woman and God, for they are hidden; in them there is nothing striking, nothing that gratifies the vanity—that powerful auxiliary to all action among the French.

      Out of this third period of the development of her ideas, there came to Modeste a passionate desire to penetrate to the heart of one of these abnormal beings; to understand the working of the thoughts and the hidden griefs of genius—to know not only what it wanted but what it was. At the period when this story begins, these vagaries of fancy, these excursions of her soul into the void, these feelers put forth into the darkness of the future, the impatience of an ungiven love to find its goal, the nobility of all her thoughts of life, the decision of her mind to suffer in a sphere of higher things rather than flounder in the marshes of provincial life like her mother, the pledge she had made to herself never to fail in conduct, but to respect her father’s hearth and bring it happiness—all this world of feeling and sentiment had lately come to a climax and taken shape. Modeste wished to be the friend and companion of a poet, an artist, a man in some way superior to the crowd of men. But she intended to choose him—not to give him her heart, her life, her infinite tenderness freed from the trammels of passion, until she had carefully and deeply studied him.

      She began this pretty romance by simply enjoying it. Profound tranquillity settled down upon her soul. Her cheeks took on a soft color; and she became the beautiful and noble image of Germany, such as we have lately seen her, the glory of the Chalet, the pride of Madame Latournelle and the Dumays. Modeste was living a double existence. She performed with humble, loving care all the minute duties of the homely life at the Chalet, using them as a rein to guide the poetry of her ideal life, like the Carthusian monks who labor methodically on material things to leave their souls the freer to develop in prayer. All great minds have bound themselves to some form of mechanical toil to obtain greater mastery of thought. Spinosa ground glasses for spectacles; Bayle counted the tiles on the roof; Montesquieu gardened. The body being thus subdued, the soul could spread its wings in all security.

      Madame Mignon, reading her daughter’s soul, was therefore right. Modeste loved; she loved with that rare platonic love, so little understood, the first illusion of a young girl, the most delicate of all sentiments, a very dainty of the heart. She drank deep draughts from the chalice of the unknown, the vague, the visionary. She admired the blue plumage of the bird that sings afar in the paradise of young girls, which no hand can touch, no gun can cover, as it flits across the sight; she loved those magic colors, like sparkling jewels dazzling to the eye, which youth can see, and never sees again when Reality, the hideous hag, appears with witnesses accompanied by the mayor. To live the very poetry of love and not to see the lover—ah, what sweet intoxication! what visionary rapture! a chimera with flowing man and outspread wings!

      The following is the puerile and even silly event which decided the future life of this young girl.

      Modeste happened to see in a bookseller’s window a lithographic portrait of one of her favorites, Canalis. We all know what lies such pictures tell—being as they are the result of a shameless speculation, which seizes upon the personality of celebrated individuals as if their faces were public property.

      In this instance Canalis, sketched in a Byronic pose, was offering to public admiration his dark locks floating in the breeze, a bare throat, and the unfathomable brow which every bard ought to possess. Victor Hugo’s forehead will make more persons shave their heads than the number of incipient marshals ever killed by the glory of Napoleon. This portrait of Canalis (poetic through mercantile necessity) caught Modeste’s eye. The day on which it caught her eye one of Arthez’s best books happened to be published. We are compelled to admit, though it may be to Modeste’s injury, that she hesitated long between the illustrious poet and the illustrious prose-writer. Which of these celebrated men was free?—that was the question.

      Modeste began by securing the co-operation of Francoise Cochet, a maid taken from Havre and brought back again by poor Bettina, whom Madame Mignon and Madame Dumay now employed by the day, and who lived in Havre. Modeste took her to her own room and assured her that she would never cause her parents any grief, never pass the bounds of a young girl’s propriety, and that as to Francoise herself she would be well provided for after the return of Monsieur Mignon, on condition that she would do a certain service and keep it an inviolable secret. What was it? Why, a nothing—perfectly innocent. All that Modeste wanted of her accomplice was to put certain letters into the post at Havre and to bring some back which would be directed to herself, Francoise Cochet. The treaty concluded, Modeste wrote a polite note to Dauriat, publisher of the poems of Canalis, asking, in the interest of that great poet, for some particulars about him, among others if he were married. She requested the publisher to address his answer to Mademoiselle Francoise, “poste restante,” Havre.

      Dauriat, incapable of taking the epistle seriously, wrote a reply in presence of four or five journalists who happened to be in his office at the time, each of whom added his particular stroke of wit to the production.