Sentimental Education. Gustave Flaubert
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establishment?” said Frederick.
“Do you know him?”
“Yes! — no! — that is to say, I have seen him — I have met him.”
He carelessly asked Hussonnet if he sometimes saw Arnoux’s wife.
“From time to time,” the Bohemian replied.
Frederick did not venture to follow up his enquiries. This man henceforth would fill up a large space in his life. He paid the lunch-bill without any protest on the other’s part.
There was a bond of mutual sympathy between them; they gave one another their respective addresses, and Hussonnet cordially invited Frederick to accompany him to the Rue de Fleurus.
They had reached the middle of the garden, when Arnoux’s clerk, holding his breath, twisted his features into a hideous grimace, and began to crow like a cock. Thereupon all the cocks in the vicinity responded with prolonged “cock-a-doodle-doos.”
“It is a signal,” explained Hussonnet.
They stopped close to the Théàtre Bobino, in front of a house to which they had to find their way through an alley. In the skylight of a garret, between the nasturtiums and the sweet peas, a young woman showed herself, bareheaded, in her stays, her two arms resting on the edge of the roof-gutter.
“Good-morrow, my angel! good-morrow, ducky!” said Hussonnet, sending her kisses.
He made the barrier fly open with a kick, and disappeared.
Frederick waited for him all the week. He did not venture to call at Hussonnet’s residence, lest it might look as if he were in a hurry to get a lunch in return for the one he had paid for. But he sought the clerk all over the Latin Quarter. He came across him one evening, and brought him to his apartment on the Quai Napoléon.
They had a long chat, and unbosomed themselves to each other. Hussonnet yearned after the glory and the gains of the theatre. He collaborated in the writing of vaudevilles which were not accepted, “had heaps of plans,” could turn a couplet; he sang out for Frederick a few of the verses he had composed. Then, noticing on one of the shelves a volume of Hugo and another of Lamartine, he broke out into sarcastic criticisms of the romantic school. These poets had neither good sense nor correctness, and, above all, were not French! He plumed himself on his knowledge of the language, and analysed the most beautiful phrases with that snarling severity, that academic taste which persons of playful disposition exhibit when they are discussing serious art.
Frederick was wounded in his predilections, and he felt a desire to cut the discussion short. Why not take the risk at once of uttering the word on which his happiness depended? He asked this literary youth whether it would be possible to get an introduction into the Arnoux’s house through his agency.
The thing was declared to be quite easy, and they fixed upon the following day.
Hussonnet failed to keep the appointment, and on three subsequent occasions he did not turn up. One Saturday, about four o’clock, he made his appearance. But, taking advantage of the cab into which they had got, he drew up in front of the Théàtre Français to get a box-ticket, got down at a tailor’s shop, then at a dressmaker’s, and wrote notes in the doorkeeper’s lodge. At last they came to the Boulevard Montmartre. Frederick passed through the shop, and went up the staircase. Arnoux recognised him through the glass-partition in front of his desk, and while continuing to write he stretched out his hand and laid it on Frederick’s shoulder.
Five or six persons, standing up, filled the narrow apartment, which was lighted by a single window looking out on the yard, a sofa of brown damask wool occupying the interior of an alcove between two door-curtains of similar material. Upon the chimney-piece, covered with old papers, there was a bronze Venus. Two candelabra, garnished with rose-coloured wax-tapers, supported it, one at each side. At the right near a cardboard chest of drawers, a man, seated in an armchair, was reading the newspaper, with his hat on. The walls were hidden from view beneath the array of prints and pictures, precious engravings or sketches by contemporary masters, adorned with dedications testifying the most sincere affection for Jacques Arnoux.
“You’re getting on well all this time?” said he, turning round to Frederick.
And, without waiting for an answer, he asked Hussonnet in a low tone:
“What is your friend’s name?” Then, raising his voice:
“Take a cigar out of the box on the cardboard stand.”
The office of L’Art Industriel, situated in a central position in Paris, was a convenient place of resort, a neutral ground wherein rivalries elbowed each other familiarly. On this day might be seen there Anténor Braive, who painted portraits of kings; Jules Burrieu, who by his sketches was beginning to popularise the wars in Algeria; the caricaturist Sombary, the sculptor Vourdat, and others. And not a single one of them corresponded with the student’s preconceived ideas. Their manners were simple, their talk free and easy. The mystic Lovarias told an obscene story; and the inventor of Oriental landscape, the famous Dittmer, wore a knitted shirt under his waistcoat, and went home in the omnibus.
The first topic that came on the carpet was the case of a girl named Apollonie, formerly a model, whom Burrieu alleged that he had seen on the boulevard in a carriage. Hussonnet explained this metamorphosis through the succession of persons who had loved her.
“How well this sly dog knows the girls of Paris!” said Arnoux.
“After you, if there are any of them left, sire,” replied the Bohemian, with a military salute, in imitation of the grenadier offering his flask to Napoléon.
Then they talked about some pictures in which Apollonie had sat for the female figures. They criticised their absent brethren, expressing astonishment at the sums paid for their works; and they were all complaining of not having been sufficiently remunerated themselves, when the conversation was interrupted by the entrance of a man of middle stature, who had his coat fastened by a single button, and whose eyes glittered with a rather wild expression.
“What a lot of shopkeepers you are!” said he. “God bless my soul! what does that signify? The old masters did not trouble their heads about the million — Correggio, Murillo — — “
“Add Pellerin,” said Sombary.
But, without taking the slightest notice of the epigram, he went on talking with such vehemence, that Arnoux was forced to repeat twice to him:
“My wife wants you on Thursday. Don’t forget!”
This remark recalled Madame Arnoux to Frederick’s thoughts. No doubt, one might be able to reach her through the little room near the sofa. Arnoux had just opened the portière leading into it to get a pocket-handkerchief, and Frédéric had seen a washstand at the far end of the apartment.
But at this point a kind of muttering sound came from the corner of the chimney-piece; it was caused by the personage who sat in the armchair reading the newspaper. He was a man of five feet nine inches in height, with rather heavy eyelashes, a head of grey hair, and an imposing appearance; and his name was Regimbart.
“What’s the matter now, citizen?” said Arnoux.
“Another fresh piece of rascality on the part of Government!”
The thing that he was referring to was the dismissal of a schoolmaster.
Pellerin again took up his parallel between Michael Angelo and Shakespeare. Dittmer was taking himself off when Arnoux pulled him back in order to put two bank notes into his hand. Thereupon Hussonnet said, considering this an opportune time:
“Couldn’t you give me an advance, my dear master — — ?”
But Arnoux had resumed his seat, and was administering a severe reprimand to an old man of mean aspect, who wore a pair of blue spectacles.
“Ha! a nice fellow you are, Père Isaac! Here are three works cried down, destroyed! Everybody is laughing at me! People know what they are now! What do you want me to do with them? I’ll