Notre Coeur. Guy de Maupassant
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were the intimates of this young woman.
She lived in a pretty entresol in the Rue du Général-Foy, behind the church of Saint Augustin. There were two rooms with an outlook on the street — the diningroom and a salon, the one in which she received her company indiscriminately — and two others that opened on a handsome garden of which the owner of the property had the enjoyment. Of the latter the first was a second salon of large dimensions, of greater length than width, with three windows opening on the trees, the leaves of which brushed against the awnings, a room which was embellished with furniture and ornaments exceptionally rare and simple, in the purest and soberest taste and of great value. The tables, the chairs, the little cupboards or étagères, the pictures, the fans and the porcelain figures beneath glass covers, the vases, the statuettes, the great clock fixed in the middle of a panel, the entire decoration of this young woman’s apartment attracted and held attention by its shape, its age, or its elegance. To create for herself this home, of which she was almost as proud as she was of her own person, she had laid under contribution the knowledge, the friendship, the good nature, and the rummaging instinct of every artist of her acquaintance. She was rich and willing to pay well, and her friends had discovered for her many things, distinguished by originality, which the mere vulgar amateur would have passed by with contempt. Thus, with their assistance, she had furnished this dwelling, to which access was obtained with difficulty, and where she imagined that her friends received more pleasure and returned more gladly than elsewhere.
If was even a favorite hobby of hers to assert that the colors of the curtains and hangings, the comfort of the seats, the beauty of form, and the gracefulness of general effect are of as much avail to charm, captivate, and acclimatize the eye as are pretty smiles. Sympathetic or antipathetic rooms, she would say, whether rich or poor, attract, hold, or repel, just like the people who live in them. They awake the feelings or stifle them, warm or chill the mind, compel one to talk or be silent, make one sad or cheerful; in a word, they give every visitor an unaccountable desire to remain or to go away.
About the middle of this dimly lighted gallery a grand piano, standing between two jardinières filled with flowers, occupied the place of honor and dominated the room. Beyond this a lofty door with two leaves opened gave access to the bedroom, which in turn communicated with a dressing-room, also very large and elegant, hung with chintz like a drawingroom in summer, where Mme de Burne generally kept herself when she had no company.
Married to a well-mannered good-for-nothing, one of those domestic tyrants before whom everything must bend and yield, she had at first been very unhappy. For five years she had had to endure the unreasonable exactions, the harshness, the jealousy, even the violence of this intolerable master, and terrified, beside herself with astonishment, she had submitted without revolt to this revelation of married life, crushed as she was beneath the despotic and torturing will of the brutal man whose victim she had become.
He died one night, from an aneurism, as he was coming home, and when she saw the body of her husband brought in, covered with a sheet, unable to believe in the reality of this deliverance, she looked at his corpse with a deep feeling of repressed joy and a frightful dread lest she might show it.
Cheerful, independent, even exuberant by nature, very flexible and attractive, with bright flashes of wit such as are shown in some incomprehensible way in the intellects of certain little girls of Paris, who seem to have breathed from their earliest childhood the stimulating air of the boulevards — where every evening, through the open doors of the theaters, the applause or the hisses that greet the plays come forth, borne on the air — she nevertheless retained from her five years of servitude a strange timidity grafted upon her oldtime audacity, a great fear lest she might say too much, do too much, together with a burning desire for emancipation and a stern resolve never again to do anything to imperil her liberty.
Her husband, a man of the world, had trained her to receive like a mute slave, elegant, polite, and well dressed. The despot had numbered among his friends many artists, whom she had received with curiosity and listened to with delight, without ever daring to allow them to see how she understood and appreciated them.
When her period of mourning was ended she invited a few of them to dinner one evening. Two of them sent excuses; three accepted and were astonished to find a young woman of admirable intelligence and charming manners, who immediately put them at their ease and gracefully told them of the pleasure that they had afforded her in former days by coming to her house. From among her old acquaintances who had ignored her or failed to recognize her qualities she thus gradually made a selection according to her inclinations, and as a widow, an enfranchised woman, but one determined to maintain her good name, she began to receive all the most distinguished men of Paris whom she could bring together, with only a few women. The first to be admitted became her intimates, formed a nucleus, attracted others, and gave to the house the air of a small court, to which every habitué contributed either personal merit or a great name, for a few well-selected titles were mingled with the intelligence of the commonalty.
Her father, M. de Pradon, who occupied the apartment over hers, served as her chaperon and “sheep-dog.” An old beau, very elegant and witty, and extremely attentive to his daughter, whom he treated rather as a lady acquaintance than as a daughter, he presided at the Thursday dinners that were quickly known and talked of in Paris, and to which invitations were much sought after. The requests for introductions and invitations came in shoals, were discussed, and very frequently rejected by a sort of vote of the inner council. Witty sayings that had their origin in this circle were quoted and obtained currency in the city. Actors, artists, and young poets made their débuts there, and received, as it were, the baptism of their future greatness. Longhaired geniuses, introduced by Gaston de Lamarthe, seated themselves at the piano and replaced the Hungarian violinists that Massival had presented, and foreign ballet-dancers gave the company a glimpse of their graceful steps before appearing at the Eden or the Folies-Bergères.
Mme de Burne, over whom her friends kept jealous watch and ward and to whom the recollection of her commerce with the world under the auspices of marital authority was loathsome, was sufficiently wise not to enlarge the circle of her acquaintance to too great an extent. Satisfied and at the same time terrified as to what might be said and thought of her, she abandoned herself to her somewhat Bohemian inclinations with consummate prudence. She valued her good name, and was fearful of any rashness that might jeopardize it; she never allowed her fancies to carry her beyond the bounds of propriety, was moderate in her audacity and careful that no liaison or small love affair should ever be imputed to her.
All her friends had made love to her, more or less; none of them had been successful. They confessed it, admitted it to each other with surprise, for men never acknowledge, and perhaps they are right, the power of resistance of a woman who is her own mistress. There was a story current about her. It was said that at the beginning of their married life her husband had exhibited such revolting brutality toward her that she had been forever cured of the love of men. Her friends would often discuss the case at length. They inevitably arrived at the conclusion that a young girl who has been brought up in the dream of future tenderness and the expectation of an awe-inspiring mystery must have all her ideas completely upset when her initiation into the new life is committed to a clown. That worldly philosopher, George de Maltry, would give a gentle sneer and add: “Her hour will strike; it always does for women like her, and the longer it is in coming the louder it strikes. With our friend’s artistic tastes, she will wind up by falling in love with a singer or a pianist.”
Gaston de Lamarthe’s ideas upon the subject were quite different. As a novelist, observer, and psychologist, devoted to the study of the inhabitants of the world of fashion, of whom he drew ironical and lifelike portraits, he claimed to analyze and know women with infallible and unique penetration. He put Mme de Burne down among those flighty creatures of the time, the type of whom he had given in his interesting novel, “Une d’Elles.” He had been the first to diagnose this new race of women, distracted by the nerves of reasoning, hysterical patients, drawn this way and that by a thousand contradictory whims which never ripen into desires, disillusioned of everything, without having enjoyed anything, thanks to the times, to the way of living, and to the modern novel, and who, destitute of all ardor and enthusiasm, seem to combine in their persons the capricious, spoiled child and the old, withered sceptic. But he, like the rest of them,