then, notwithstanding the advantages she unknowingly enjoyed through Agricola's generosity, lived very miserably; and her health, already shattered, was now wholly undermined by these constant hardships. Yet, with extreme delicacy, though ignorant of the little sacrifice already made for her by Agricola, Mother Bunch pretended she earned more than she really did, in order to avoid offers of service which it would have pained her to accept, because she knew the limited means of Frances and her son, and because it would have wounded her natural delicacy, rendered still more sensitive by so many sorrows and humiliations.
But, singular as it may appear, this deformed body contained a loving and generous soul—a mind cultivated even to poetry; and let us add, that this was owing to the example of Agricola Baudoin, with whom she had been brought up, and who had naturally the gift. This poor girl was the first confidant to whom our young mechanic imparted his literary essays; and when he told her of the charm and extreme relief he found in poetic reverie, after a day of hard toil, the workwoman, gifted with strong natural intelligence, felt, in her turn, how great a resource this would be to her in her lonely and despised condition.
One day, to Agricola's great surprise, who had just read some verses to her, the sewing-girl, with smiles and blushes, timidly communicated to him also a poetic composition. Her verses wanted rhythm and harmony, perhaps; but they were simple and affecting, as a non-envenomed complaint entrusted to a friendly hearer. From that day Agricola and she held frequent consultations; they gave each other mutual encouragement: but with this exception, no one else knew anything of the girl's poetical essays, whose mild timidity made her often pass for a person of weak intellect. This soul must have been great and beautiful, for in all her unlettered strains there was not a word of murmuring respecting her hard lot: her note was sad, but gentle—desponding, but resigned; it was especially the language of deep tenderness—of mournful sympathy—of angelic charity for all poor creatures consigned, like her, to bear the double burden of poverty and deformity. Yet she often expressed a sincere free-spoken admiration of beauty, free from all envy or bitterness; she admired beauty as she admired the sun. But, alas! many were the verses of hers that Agricola had never seen, and which he was never to see.
The young mechanic, though not strictly handsome, had an open masculine face; was as courageous as kind; possessed a noble, glowing, generous heart, a superior mind, and a frank, pleasing gayety of spirits. The young girl, brought up with him, loved him as an unfortunate creature can love, who, dreading cruel ridicule, is obliged to hide her affection in the depths of her heart, and adopt reserve and deep dissimulation. She did not seek to combat her love; to what purpose should she do so? No one would ever know it. Her well known sisterly affection for Agricola explained the interest she took in all that concerned him; so that no one was surprised at the extreme grief of the young workwoman, when, in 1830, Agricola, after fighting intrepidly for the people's flag, was brought bleeding home to his mother. Dagobert's son, deceived, like others, on this point, had never suspected, and was destined never to suspect, this love for him.
Such was the poorly-clad girl who entered the room in which Frances was preparing her son's supper.
"Is it you, my poor love," said she; "I have not seen you since morning: have you been ill? Come and kiss me."
The young girl kissed Agricola's mother, and replied: "I was very busy about some work, mother; I did not wish to lose a moment; I have only just finished it. I am going down to fetch some charcoal—do you want anything while I'm out?"
"No, no, my child, thank you. But I am very uneasy. It is half-past eight, and Agricola is not come home." Then she added, after a sigh: "He kills himself with work for me. Ah, I am very unhappy, my girl; my sight is quite going. In a quarter of an hour after I begin working, I cannot see at all—not even to sew sacks. The idea of being a burden to my son drives me distracted."
"Oh, don't, ma'am, if Agricola heard you say that—"
"I know the poor boy thinks of nothing but me, and that augments my vexation. Only I think that rather than leave me, he gives up the advantages that his fellow-workmen enjoy at Hardy's, his good and worthy master—instead of living in this dull garret, where it is scarcely light at noon, he would enjoy, like the other workmen, at very little expense, a good light room, warm in winter, airy in summer, with a view of the garden. And he is so fond of trees! not to mention that this place is so far from his work, that it is quite a toil to him to get to it."
"Oh, when he embraces you he forgets his fatigue, Mrs. Baudoin," said Mother Bunch; "besides, he knows how you cling to the house in which he was born. M. Hardy offered to settle you at Plessy with Agricola, in the building put up for the workmen."
"Yes, my child; but then I must give up church. I can't do that."
"But—be easy, I hear him," said the hunchback, blushing.
A sonorous, joyous voice was heard singing on the stairs.
"At least, I'll not let him see that I have been crying," said the good mother, drying her tears. "This is the only moment of rest and ease from toil he has—I must not make it sad to him."
CHAPTER XXIX.
AGRICOLA BAUDOIN.
Our blacksmith poet, a tall young man, about four-and-twenty years of age, was alert and robust, with ruddy complexion, dark hair and eyes, and aquiline nose, and an open, expressive countenance. His resemblance to Dagobert was rendered more striking by the thick brown moustache which he wore according to the fashion; and a sharp-pointed imperial covered his chin. His cheeks, however, were shaven, Olive color velveteen trousers, a blue blouse, bronzed by the forge smoke, a black cravat, tied carelessly round his muscular neck, a cloth cap with a narrow vizor, composed his dress. The only thing which contrasted singularly with his working habiliments was a handsome purple flower, with silvery pistils, which he held in his hand.
"Good-evening, mother," said he, as he came to kiss Frances immediately.
Then, with a friendly nod, he added, "Good-evening, Mother Bunch."
"You are very late, my child," said Frances, approaching the little stove on which her son's simple meal was simmering; "I was getting very anxious."
"Anxious about me, or about my supper, dear mother?" said Agricola, gayly. "The deuce! you won't excuse me for keeping the nice little supper waiting that you get ready for me, for fear it should be spoilt, eh?"
So saying, the blacksmith tried to kiss his mother again.
"Have done, you naughty boy; you'll make me upset the pan."
"That would be a pity, mother; for it smells delightfully. Let's see what it is."
"Wait half a moment."
"I'll swear, now, you have some of the fried potatoes and bacon I'm so fond of."
"Being Saturday, of course!" said Frances, in a tone of mild reproach.
"True," rejoined Agricola, exchanging a smile of innocent cunning with
Mother Bunch; "but, talking of Saturday, mother, here are my wages."
"Thank ye, child; put the money in the cupboard."
"Yes, mother!"
"Oh, dear!" cried the young sempstress, just as Agricola was about to put away the money, "what a handsome flower you have in your hand, Agricola. I never saw a finer. In winter, too! Do look at it, Mrs. Baudoin."
"See there, mother," said Agricola, taking the flower to her; "look at it, admire it, and especially smell it. You can't have a sweeter perfume; a blending of vanilla and orange blossom."
"Indeed, it does smell nice, child. Goodness! how handsome!" said
Frances, admiringly; "where did you find it?"
"Find it, my good mother!" repeated Agricola, smilingly: "do you think folks pick up such things between the Barriere du Maine and the Rue Brise-Miche?"
"How