which deepened his nature without souring it. Daudet’s genial satire, ‘Tartarin de Tarascon’, appeared in 1872; but with the Parisian romance ‘Fromont jeune et Risler aine’, crowned by the Academy (1874), he suddenly advanced into the foremost rank of French novelists; it was his first great success, or, as he puts it, “the dawn of his popularity.”
How numberless editions of this book were printed, and rights of translations sought from other countries, Daudet has told us with natural pride. The book must be read to be appreciated. “Risler, a self-made, honest man, raises himself socially into a society against the corruptness of which he has no defence and from which he escapes only by suicide. Sidonie Chebe is a peculiarly French type, a vain and heartless woman; Delobelle, the actor, a delectable figure; the domestic simplicity of Desiree Delobelle and her mother quite refreshing.”
Success followed now after success. ‘Jack (1876); Le Nabab (1877); Les Rois en exil (1879); Numa Roumestan (1882); L’Evangeliste (1883); Sapho (1884); Tartarin sur des Alces (1886); L’Immortel (1888); Port Tarascon (1890); Rose et Ninette (1892); La petite Parvisse (1895); and Soutien de Famille (1899)’; such is the long list of the great life-artist. In Le Nabab we find obvious traces of Daudet’s visits to Algiers and Corsica-Mora is the Duc de Morny. Sapho is the most concentrated of his novels, with never a divergence, never a break, in its development. And of the theme—legitimate marriage contra common-law—what need be said except that he handled it in a manner most acceptable to the aesthetic and least offensive to the moral sense?
L’Immortel is a satire springing from personal reasons; L’Evangeliste and Rose et Ninette—the latter on the divorce problem—may be classed as clever novels; but had Daudet never written more than ‘Fromont et Risler’, ‘Tartarin sur les Alces’, and ‘Port Tarascon’, these would keep him in lasting remembrance.
We must not omit to mention also many ‘contes’ and his ‘Trente ans de Paris (A travers ma vie et mes livres), Souvenirs d’un Homme de lettres (1888), and Notes sur la Vie (1899)’.
Alphonse Daudet died in Paris, December 16, 1897
LECONTE DE LISLE
de l’Academie Francaise.
FROMONT AND RISLER
BOOK 1.
CHAPTER I. A WEDDING-PARTY AT THE CAFE VEFOUR
“Madame Chebe!”
“My boy—”
“I am so happy!”
This was the twentieth time that day that the good Risler had said that he was happy, and always with the same emotional and contented manner, in the same low, deep voice-the voice that is held in check by emotion and does not speak too loud for fear of suddenly breaking into violent tears.
Not for the world would Risler have wept at that moment—imagine a newly-made husband giving way to tears in the midst of the wedding-festival! And yet he had a strong inclination to do so. His happiness stifled him, held him by the throat, prevented the words from coming forth. All that he could do was to murmur from time to time, with a slight trembling of the lips, “I am happy; I am happy!”
Indeed, he had reason to be happy.
Since early morning the poor man had fancied that he was being whirled along in one of those magnificent dreams from which one fears lest he may awake suddenly with blinded eyes; but it seemed to him as if this dream would never end. It had begun at five o’clock in the morning, and at ten o’clock at night, exactly ten o’clock by Vefour’s clock, he was still dreaming.
How many things had happened during that day, and how vividly he remembered the most trivial details.
He saw himself, at daybreak, striding up and down his bachelor quarters, delight mingled with impatience, clean-shaven, his coat on, and two pairs of white gloves in his pocket. Then there were the wedding-coaches, and in the foremost one—the one with white horses, white reins, and a yellow damask lining—the bride, in her finery, floated by like a cloud. Then the procession into the church, two by two, the white veil in advance, ethereal, and dazzling to behold. The organ, the verger, the cure’s sermon, the tapers casting their light upon jewels and spring gowns, and the throng of people in the sacristy, the tiny white cloud swallowed up, surrounded, embraced, while the bridegroom distributed hand-shakes among all the leading tradesmen of Paris, who had assembled to do him honor. And the grand crash from the organ at the close, made more solemn by the fact that the church door was thrown wide open, so that the whole street took part in the family ceremony—the music passing through the vestibule at the same time with the procession—the exclamations of the crowd, and a burnisher in an ample lute-string apron remarking in a loud voice, “The groom isn’t handsome, but the bride’s as pretty as a picture.” That is the kind of thing that makes you proud when you happen to be the bridegroom.
And then the breakfast at the factory, in a workroom adorned with hangings and flowers; the drive in the Bois—a concession to the wishes of his mother-in-law, Madame Chebe, who, being the petty Parisian bourgeoise that she was, would not have deemed her daughter legally married without a drive around the lake and a visit to the Cascade. Then the return for dinner, as the lamps were being lighted along the boulevard, where people turned to look after the wedding-party, a typical well-to-do bourgeois wedding-party, as it drove up to the grand entrance at Vefour’s with all the style the livery horses could command.
Risler had reached that point in his dream.
And now the worthy man, dazed with fatigue and well-being, glanced vaguely about that huge table of twenty-four covers, curved in the shape of a horseshoe at the ends, and surrounded by smiling, familiar faces, wherein he seemed to see his happiness reflected in every eye. The dinner was drawing near its close. The wave of private conversation flowed around the table. Faces were turned toward one another, black sleeves stole behind waists adorned with bunches of asclepias, a childish face laughed over a fruit ice, and the dessert at the level of the guests’ lips encompassed the cloth with animation, bright colors, and light.
Ah, yes! Risler was very happy.
Except his brother Frantz, everybody he loved was there. First of all, sitting opposite him, was Sidonie—yesterday little Sidonie, to-day his wife. For the ceremony of dinner she had laid aside her veil; she had emerged from her cloud. Now, above the smooth, white silk gown, appeared a pretty face of a less lustrous and softer white, and the crown of hair-beneath that other crown so carefully bestowed—would have told you of a tendency to rebel against life, of little feathers fluttering for an opportunity to fly away. But husbands do not see such things as those.
Next to Sidonie and Frantz, the person whom Risler loved best in the world was Madame Georges Fromont, whom he called “Madame Chorche,” the wife of his partner and the daughter of the late Fromont, his former employer and his god. He had placed her beside him, and in his manner of speaking to her one could read affection and deference. She was a very young woman, of about the same age as Sidonie, but of a more regular, quiet and placid type of beauty. She talked little, being out of her element in that conglomerate assemblage; but she tried to appear affable.
On Risler’s other side sat Madame Chebe, the