S. C. AND J. C.
IN MEMORY OP MANY HAPPY DAYS
THIS TRANSLATION IS DEDICATED.
Cbicaqo, January 1, 1891.
Digitized by the Internet Archive
in 2007 with funding from
if ^ ^ ^ ^ By Ludovic Halevy
Translated by Arthur D. Hall if ^ -g
Chicago and New York ♦ « ♦
Rand, McNally & Company
Copyright, 1891, by Rand, McNally & Co.
It was early in the month of April, 1859. The
school in the Place de la Mairie, of Belleville, had
Just been dismissed, and the little girls came
pouring out in tumultuous disorder, all chatter-
ing and screaming at once. Suddenly a dispute
arose, followed by a skirmish. A big girl threw
down a poor little thing, who cried and struggled.
All the others formed a circle and maliciously
enjoyed the spectacle.
A boy passed along, carrying upon his head an
empty basket. He approached, broke the circle,
placed his basket on the ground, and, snatching
the little girl from the grasp of the big one,
"Let her alone! Don't one of you dare to
touch her again!"
The boy had a determined look about him, and
no one ventured to move.
"Come with me," he said to the little girl.
But she was wild with anger, and she made a
movement to Jump at her big opponent.
"Stop that! Stop that!" cried the boy.
"Come with me, I tell you! "
He dragged her off, and after they had gone a
litlto way down the street, he said:
" Where do you live?"
"Not very far from here; No. 7 Rue de Tour-
"I will take you home. That big coward is
following us, ready to grab you again. Do you
live with your mamma?"
"What does she do?"
"She sells apples at the comer of a street —
apples in winter and flowers in summer. Do you
live with your mamma, too?"
"I have no mamma."
"With your papa, then?"
"I have no papa, either."
" Are they dead? "
" I suppose so; I never had any."
"How old are you?"
"Twelve. How old are youf "
" Ten. Are you a pastry-cook? "
"I am a pastry-cook's boy; the one at the
comer of the Rue de Paris, near the omnibus
"Do you make much money?"
"Oh, not millions. Ten francs a month. But
I get my board and clothes. So, with my ten
francs 1 can buy plays at four sous apiece. When
I grow up, I am going to be an actor."
* * An actor ! They play in theatres, don' t they? ' '
" Yes. Have you ever been to the theatre? "
"I have been seven times in Belleville with my
friends, and once to the Ambigu. I saw tragedies
played. Oh! tragedies are splendid; full of fight-
ing and killing. Ah, here's your house. Good-
' ' What' s your name? ' '
' ' Pascal. What' s yours? ' '
"Mine? Celine. But mamma calls me Cri-
"Criquette is funnier. I like it better than
Celine. Well, good-bye, Criquette!"
"Good-bye, Pascal! Say — do you want to be
friends with me? I don' t go to school on Sundays.
Come and see me, and we will play together."
"Oh, I can't. Sundays I sell cakes for my
master on the boulevards. But when I pass the
school on week-days, I will watch for you. Good-
bye, Criquette! "
She was well named Criquette, for in appear-
ance she was not unlike a cricket — thin, lank, and
pale, but with a healthy, intelligent look. Great
black eyes lighted up her sallow face. Criquette' s
mother, the vender of fruits and flowers, was
very, very poor, although she had once been in
more comfortable circumstances. The father,
Louis Brinquart, was a house-painter, a good
workman, who toiled all day; never went to the
public houses, loved his wife, and adored his little
girl. Three years before, he had been instantly
killed, by a fall from the scaffolding to the pave-
ment. His comrades followed him to the grave,
and after leaving the cemetery, repaired to the
nearest drinking-place. The mother took her
little one by the hand and walked home through
the snow to Belleville.
One morning at daybreak, dnring the winter of
1828, some masons, on their way to their work,
found something wrapped up in an old number of
an illustrated paper at the comer of the Fauborg
Saint-Antoine and the Rue Saint-Maur; they took
this something to the police station; it was a
child of the female sex, a little bundle of human
flesh, all icy and blue with the cold. Why is it
that it is so hard for some children to live, and so
hard for others to die? This something lived and
became the poor woman who, thirty years after,
found herself in exactly the same condition she
had been the first day of her life— alone in the
world, absolutely alone. As a token of those
short years of rest — for the poor, rest is happiness
— there remained to her only a poor, cheap photo-
graph, the portrait of her man^ taken soon after
her marriage, by a traveling photographer at the
fair of Neuilly. And this portrait was already
growing pale, and would soon fade away entirely.
Brinquart left in the savings bank four hun-
dred and fifty francs, which he had laid aside
sou by sou. *' So that thqi little one shall not
starve," he said, "if any incident should hap-
pen." The accident was death. The four hun-
dred and fifty francs were soon eaten up. The
poor woman then tried to establish a little busi-
ne88 in fruit and flowers; she had plenty of
courage, but no strength, no health; her lungs
were weak; she had never recovered from the
terrible cold she took the day she was brought
into the world. The business was a very hard
one; she had to go early every morning to the
market and return to Belleville, bending beneath
the weight of her burden. How many times she
had sat down on the edge of the sidewalk, sore
and weary, before mounting the terrible hill of
Belleville! The people of the neighborhood often
gave her a helping hand. She never complained,
did the best she could, and appealed to the board
of charity only at the last extremity. She was
resigned to her own lot, but she suffered greatly
that she could not do more for her little Criquette.
Bread, soup, and potatoes formed their usual bill
of fare; they almost never had meat. For six
years she lived in this way, aided a little by her
neighbor who dealt in charcoal — an excellent
woman, not rich, but with a tender, compassion-
ate heart. The poor are helped by the poor much
oftener than by the rich.
Such then was the first meeting of Criquette
and Pascal; and the next day, when school was
out, the boy was there, in the Place de la Mairie,
watching for the little girl. She appeared, car-
rying her books and lunch-basket.
"I was waiting for you," said Pascal, "I
wanted to see if that big girl was going to
jump on you again. Do you want to take a
little walk? I have the time. And then, here,
I have brought you a cake. Our master gives us
one sometimes — old ones that are left over. Here,
*' If there is only one, let us divide it."
" No, that is for you. I have already eaten one
this morning. It is still good, isn't it?"
**0h, yes!" replied the little girl, crunching
the cake between her teeth.
'*Our master is a very good man; we have
plenty to eat. Do youl Not too much? Is your
"I don't suppose she makes very much
"I will bring you cakes, sometimes, if you
"And then there is something else that I have
been thinking about since yesterday. There is
no school on Sundays, and you might come with
me. I would sell my cakes, and you flowers.
Your mamma could arrange them for you in a
little basket. You are bright and nice, and you
would please the people, I am sure of it. That
is important in business. We could make lots of
"Oh, but mamma would not let me go like
that, all alone."
" Not all alone — with me! Listen. I am going
to ask your mamma. Day after to-mon*ow is
Sunday. We will begin at once."
Criquette's mother at first made some objections
to the plan, but Pascal was eloquent and finally
succeeded in overcoming them.
"Go to my master," he said, "and inquire
about me in Belleville, wherever you like. Every-
one knows me. And have no fear. I will take
good care of your little girl. We will not go
into Paris, that is forbidden; but around the
suburbs to Saint-Fargeau Lake. You will see
that every Sunday she will bring you home forty
sous, and money that she has made, not begged.
She will have a good walk; it will amuse her and
do her good. It is bad for her to stay every
Sunday in this miserable street. And then," he
added with an air of confidence and authority,
"we shall succeed; Madame Brinquart, we shall
And indeed they did succeed. From the very
first Sunday, Criquette sold all her flowers, and
sold them at good prices. She attracted custom-
ers by her pretty manners, and she kept them by
her bright chatter; her bunches of violets at a sou
apiece disappeared as by enchantment; two or
three brought ten sous. Criquette returned home
with an enormous sum — three francs. The little
firm of Pascal and Criquette very soon became
popular in Belleville; to such a point that at the
end of two months, after nine Sundays all profit-
able, one day the receipts were over five francs,
and Pascal went to have a serious business talk
with Madame Brinquart. He asked her to confide
Criquette to him not only Sunday, but every day
in the week.
"There is no need of her going to school any
more. She knows how to read, write, and cipher.
One day when we got a little mixed up with our
money, Criquette took a bit of paper and added
up two long rows of figures without making a
single mistake. There is no use for a woman
knowing any more than that. We get along so
well together. She helps me to sell my cakes,
and I help her to sell her flowers. And then she
is full of ideas. Why, last Sunday at live o'clock
our stock was all sold out; and it was she,
Criquette, who thought of buying from a grocer
some sticks of barley-sugar and some gingercakes
for a sou apiece, and we sold them for two sous.
That's something like business! And that was
how Criquette had more thali five francs. If you
only knew how clever she is. She doesn't
waste any time. She can tell right away who
will buy and who won't. Don't be cross, Madame
Brinquart; let me have Criquette, and we will
make a fortune; you see if we don't."
Criquette begged and prayed, promised to be
very careful, never to leave Pascal, and always to
return before dark. The mother allowed herself
to be persuaded. A new life began for the two
children— a life happy and free. They were their
own ma-sters; they worked, they supported them-
selves, and every day the number of their custom-
ers increased. Everybody in Belleville and the
suburbs knew them and bore them goodwill.
They felt that they were something more than
mere children when, at night, they figured up their
receipts and counted their money. Pascal was the
head of the firm. He was proud to protect Cri-
quette, and Criquette was happy to be protected.
But Pascal, after all, always yielded to Criquette' s
wishes. When Pascal said, "Let us go to the
left," if Criquette answered, "No, let us go to
the right," there would be a dispute; but the
end of the dispute was always the same: Criquette
always had her way.
For three months the life in the open air, in a
sort of active, hard-working vagabondage, seemed
to them delightful. They started off every morn-
ing, tramped the streets of Belleville, and then
reached the Saint-Gervais meadows.
The surroundings of Paris have changed very
much during the last thirty years. Thirty years
ago, after the fortifications were passed you found
yourself at once in the country. A poor, bar-
ren country, to be sure, but still the country,
with little stunted trees, which gave Pascal and
Criquette the impression of deep, majestic for-
Here they stopped; here, in the heat of the
midday, they found a little coolness and shade;
and here they lunched off a big piece of bread,
four sous' worth of cherries or strawberries, and
the clear water of the fountain, drank from the
hollow of the hand. A meagre fare, but one
which, helped by the fresh air, agreed admirably
with Criquette. She was less pale and thin than
formerly. Sparkling with mischief and gaiety,
her big black eyes blazed merrily in the middle
of her healthy, sunburned face. She walked
from morning till night, and never felt tired.
After lunch they rested for an hour; but it was
an hour well occupied, all the same. Pascal had
promised Madame Brinquart to finish Criquette's
education, and he kept his word. He had l)een
one of the most brilliant pupils of the Belleville
public school. The previous year, when eleven
years of age, he had taken all the prizes — the prize
for reading, the prize for spelling, the prize for
geography, and the prize for arithmetic. Every
day now he gave Criquette a lesson in dictation;
and the words were invariably taken from one
of those play-books which composed the library
of the young professor. Criquette sat down upon
the ground, with her back against the tree, a
block of paper in her lap and a pencil in her
hand; and Pascal, also seated on the ground, dic-
tated to her, for example, this tirade from "The
Man with the Three Faces; or. The Outlaw of
Venice:" "I know that to succeed, there are
many obstacles to be vanquished; I know that
under the name of Vivaldi^ I can not escape the
decree which has set a price upon my head; that,
under the name of Edgar , I am a mark for the
daggers of the conspirators; and, finally, under
that of Ahelino^ I am exposed to an infamous
death!" (With enthusiasm.) And then Pascal
was obliged to explain to Criquette that these last
words must be placed in parentheses, and why.
(With enthusiasm.) " But what matters death
to him who immortalizes himself ! If I fall I carry
with me the consoling thought of having per-
formed a glorious action, and leave behind the
regrets and esteem of my friends."
"A period. That will do," said Pascal; and
he proceeded conscientiously to correct Criquette's
task, which was generally full of bad spelling.
When the dictation was not too bad, the professor
gave a cake to his pupil; and the pupil, in grat-
itude to the professor, offered him a stick of bar-
ley-sugar — for she had added the sale of barley-
sugar to her trade in flowers.
Then came the turn of reading, always from the
theatrical pamphlets; Pascal cared only for dra-
mas, and Criquette was soon imbued with the
same passion. The more sombre, extravagant,
and incomprehensible the dramas were, the more
keen was their enjoyment. They read in a loud
voice, each in turn, frightened, charmed, over-
whelmed with surprise and terror at all these
adventures and atrocities, combats and duels,
kidnapings and assassinations. Sometimes the
scene was a sumptuous Venetian palace and
sometimes a dirty Parisian lodging-house. Some-
times the poison of the Borgias flowed in streams,
and sometimes the rag-picker's bludgeon fell with
They glided into mysterious subterranean cav-
erns, and they heard resound the echoes of the
famous Tower of the North. The dead bodies
disappeared by dozens in the water of the la-
goons. The walls had ears, and they walked
within these walls with ears. It was a fantastic
defile of cniel tyrants, masked spies, rag-pickers,
gagged maidens, noble lords, cabmen, dsiy^ling
princesses, and pretty iiower-girls. Pascal and
Criquette reveled in all these inexplicable and
terrible things, delighted to tremble, delighted
not to understand it all.
It is claimed that the drama is dead; perhaps
that is because it tried to become too sensible,
too reasonable. It flourished once, because
authors were not bothered as to style, proba-
bility, and historical truth. The drama spoke
then a language peculiar to itself, and one which
was the delight of the public.
They applauded when the villain exclaimed:
"Unfortunate mortals, do not envy the prosper-
ity of crime; the pillow of remorse is stuffed
with thorns! "
They applauded when an old sergeant, still
black with powder, cried: " The Cossacks! Bah!
Don't you know that we beat them at Austerlitz,
two hours ago? "
Criquette had written these two speeches under
the dictation of Pascal. He was highly satisfied
with his little pupil. The faults in spelling were
less frequent. But the month of October arrived,
bringing short, chilly, and rainy days. There was
less life in the streets, fewer promenaders in the
Saint-Gervais meadows and at Romain ville. The re-
ceipts diminished. Every evening Pascal brought
home three-quarters of his cakes, and Criquette
half of her barley-sugar; when winter came with
its ice and snow, what would become of them both?
To crown their misfortunes, about the end of
October Madame Brinquart fell ill. She was
attacked with fever, was obliged to give up her
trips to the market, and finally was unable to
leave her bed. She was dependent upon Cri-
quette, and the affairs of the poor child were in
a very bad condition. No more flowers. Noth-
ing but barley-sugar, which cost a sou a stick
and had to be sold for two sous. Criquette
experienced some very miserable days: twelve
sous, fifteen sous, sometimes twenty sous, never
It was poverty — utter, complete poverty. And
one Saturday afternoon, about five o'clock, as
the two children were descending the Rue de
Paris, after a day which had been even worse
than the preceding days, Pascal said to Criquette:
" How much have you made^'
" Only nine sous? "
"Yes; I had eighteen sticks this morning, and
I have nine left, a sou's profit a stick — "
" Yes, that makes only nine sous."
They walked on in silence. Then, after a
moment's reflection, Pascal said:
"Look here, Criquette, this is Saturday, my
pay-day. The master has raised my wages. He
gives me now a hundred sous a week. You come
with me to the shop, wait for me, and I will give
you my hundred sous."
"Oh, no! I won't take them. It is your
*' Now, see here, Criquett-fi; Vif^ten to mo. If I
had u mamma, and if she were poor and Hick, and
if I did not have any money, and if you had a
hundred sons, wouldn't you give them to me?"
*'0f course I would give them to you."
"Well, then, you ought to understand— here
we are at the shop. Waitl I am going to bring
you the hundred sous, and I will give them to
you every Saturday as long as your mamma has
to remain in bed. You will take them; you
" Yes; I promise."
"Thank you, Criquette."
She took the hundred sous. Mamma Brinquart
was affected to tears when Criquette brou^lit her
Pascal's big coin. The same evening she related
to the charcoal-woman what had occurred. Tlie
next morning the charcoal- woman told it to the
butcher's wife, who told it to the cook at No. 22
Rue de Paris, who told it to her master. This
master was the manager of the Belleville theatre,
and a very good man as well. He knew the two
children, who very often stationed themselves on
the sidewalk in front of the stage door, to see the
actors and actresses pass by. Pascal's one i)assion
was the theatre. Not a day passed that he did
not say to Criquette:
"When we grow up, we will go on the stage."
The manager of the Belleville theatre had
noticed Criquette' s brightness and prettiness. He
had stopped many times in the street to buy flowers
of her, and to make her talk. He found means to
come to Criquette's aid without untying his
The next evening, between the first and second
acts of "The Pearl of Savoy," Criquette appeared
at the entrance of the first gallery, and cried out
at the top of her voice:
"Here you are! Cakes piping hot! Who
wants hot cakes? Two sous for a hot cake! "
This was called out so boldly, in such a pierc-
ing and comical voice, that an immense burst of
laughter broke out all over the house. Every-
body turned around. Some gallery boys recog-
"Criquette! It's Criquette!''
At the same time, Pascal made his appearance
at the other entrance to the gallery and repeated
"Here you are! Cakes piping hot! Who
wants hot cakes? Two sous for a hot cake! "
The experiment was a tremendous success.
Everybody wanted to buy cakes from Criquette.
It became the fashion, the rage. Through the
influence of the manager, a little contract in
proper form was drawn up between the two chil-
dren and Pascal's employer, by which they were to
receive two centimes for each cake they sold. At
once their sales amounted to from one hundred
and fifty to two hundred cakes on week-days, and
from three to four hundred on Sundays. United
by the strongest and most innocent affection, the
children made a common purse of their money;
that is to say, all they made from the sale of the
cakes went for food and medicine for Mamma
The good lady recovered the following month,
and resumed her old occupation at the street
comer. The popularity which Criquette had
gained in selling cakes was of advantage to her in
her trade in flowers and barley -candy. The two
children made on an average six or seven francs a
day. They were literally rolling in money.
Pascal added to his library quite a member of
But this was not all. They went every evening
to the theatre free. When the entr'acte was
over, they climbed up to the third gallery, and
there, beside the policeman on duty, with all
their eyes and all their ears, devoured greed-
ily the spectacle.
And what a variety there was in the repertoire!
Always dramas, and a new piece every Saturday.
So, during the course of the winter, Pascal and
Criquette heard seven times each, without losing
a syUable, "The Pearl of Savoy," "The Old Cor-
poral," "The Pirates of the Savanna," "The
Willow Copse," "Don Cffisar de Bazan," " Rich-
ard Arlington," etc., and fourteen times "The
Tower of Nesle," which had an immense
success and obtained the honor — a rare thing at
Belleville — of a second series of representations.
" The Tower of Nesle ' ' was the drama Criquette
and Pascal liked best; their favorite reading, one
of their classic works, and which had served for
many dictations. So it happened that on the
evening of the fourteenth performance the two
children discovered that they knew the entire
piece by heart; and the fancy took them, during
the second tableau of the third act, to go and play
in the corridor the great scene between Buridan
and Margaret of Burgundy. There, before three
or four oumeases^ who abandoned their knitting
to watch them, they attacked resolutely the cele-
brated dialogue in the Orsini tavern.
" It is not the Bohemian."
"No, it is the captain; but if the captain is the
Bohemian, it will come to the same thing."
Et coder a^ et ccetera^ et ccetera.
It did not go badly at all. The oumeuses ap-
plauded and laughed till they cried. The two
children skipped and mutilated many sentences,
but their acting was full of confidence and spirit.
They were absorbed by their parts, and their
audacious variation of the text added to the charm
of their interpretation.
At the moment that Criquette was delivering
the speech, "What do you want of me, then?
Do you want gold? You shall plunge your hands
deep in the treasury of the State" — at that
moment, chance brought toward the corridor the
manager of the theatre, together with Bidache, a
comedian of the Porte-Saint-Martin, who was
interested in an actress of the company, and who,
the preceding month, had come one evening to
Belleville to play at the young lady's benefit.
Bidache and the manager stopped, listened,
and brusquely entering the corridor, interrupted
the tirade of Margaret of Burgundy^ who, red as
a poppy, 8tammei*ed and 8topi>ed short.
"That wasn't bad," said the manager. "Go
on, Criquette, go on."
Go on! Play before a manivgerl Play before
Monsieur Bidache! Criquette resisted but weakly,
and soon regained all her confidence. The
scene was resumed and brought to a close by
the two children, with much spirit and drollery.
"They are very amusing," said the comedian
of the Porte-Saint- Martin, "and they have both
much talent, much talent, especially the little
These last words vexed Pascal; he loved Cri-
quette with all his heart, but he was already an
artist, with all an artist's weakness.
Two weeks afterward, Thursday, March 15,
1860, the following notice was pasted on all the
bill-boards of the Porte- Saint-Martin theatre:
For the rehearsals of
A Fairy i^pectacle in Four Acts and Twenty Tableaux.
On Saturday the first public representation
wiU positively be given.
It was nine o'clock in the evening, and the first
act was just finished; the rehearsal was given
before about twenty persons, seated in the orches-
tra stalls — the manager, the authors, the censor
of plays, and some fifteen journalists. The
authors of the piece were three in number — all
three grave and gray-haired, all three furnished
with a memorandum-book and a pencil, and all
three taking notes. They were grouped about
the manager, all three faces wearing a stern,
threatening expression; and every now and then
they exchanged looks full of meaning. From
time to time, one of the three gentlemen would
half rise, boiling with indignation, and try to
interrupt the rehearsal and address the actors.
"Sit down! Sit down!" exclaimed the man-
ager. ' ' Let the rehearsal go on. ' '
'*But they do not respect the text. Gifflard,
eepecially, gags all the time. Fancy! at rehears-
al, before the first performance! What will it be
"Please sit down. Take notes of everything.
You can speak to Gifflard during the inter-
The curtain fell upon a ballet of giants and
dwarfs, a dance quite original in its way, and
one that appeared to rather please, than other-
wise, the fifteen newspaper men. They even
deigned to applaud. The manager was delighted;
but one of the three authors, the most important,
tapping him dryly upon the shoulder, said to
him in a most tragical tone:
" Let us go down to your ojffice! "
"Yes," repeated the other two. "Let us go
down to your office! "
A^'hen the door of the managerial apartment
was closed upon them, the chief of the coUabora-
teurs — he was decorated — spoke as follows:
" In the first place, let us try to be calm."
This was the beginning of a violent scene.
The three authors declaimed in the most furious
" The actors do not know a word of their parts!
They have missed every point! The scenery is
miserably handled! The electric light is all wrong!
Half of the costumes must be made over! The
chorus sung false! We will not allow our piece to
be product Saturday under such conditions! "
And all three, pale with, anger, repeated:
"No! No! No! You shall not play it on
The manager faced them with a great display
of courage and determination.
"The piece shall be played on Saturday.
Everything is in readiness. The actors know
their lines, but they are too weary to repeat
them. They are worn out with all their rehears-
als; but Saturday, at the public performance,
they will have recovered, and will play admirably.
If I should listen to you, more evenings would
be given up to the rehearsals than to the per-
formances. I am not willing to ruin myself
simply to please you. Do you know what the
twelve nights I have closed my house have cost
mel More than two hundred thousand francs."
"Oh! Oh! Two hundred thousand francs!"
"Yes; more than two hundred thousand
Then, one of the three authors, drawing nearer
the manager, with folded arms and scowling
brows, said portentiously:
"And how about your little Charlotte? What
can you say of your little Charlotte? For three
months we have told you again and again that
she would not do, but you would not listen to us;
and this evening you see what a failure your
little Charlotte is."
" That is the first reasonable remark you have
made," responded the manager. "Yes; I ac-
knowledge that the child is incompetent."
*' Incompetent! No one could hear a word she
said! No one!"
*' Granted. She was frightened, and her voice
failed her; but the part is one of such slight
importance — "
" Slight importance! Slight importance! Why,
you evidently know nothing of the piece you have
been rehearsing for the last three months. You
pay all your attention to the ballets! There is
the play also, the play, you understand, the play,
which should count for something! "
'*The part of the little Princess has not ten
"Yes, but what speeches! The entire piece
centers about Colibri; and the climax is the kick-
ing scene, at the end of the third act."
"And if the kicking scene fails in effect, the
situation, and the end of the act, go for nothing.
The whole piece is a failure. You will see that
presently. Our third act will be ruined ; and there
are newspaper men in front. Your Charlotte
will never make a success of the kicking scene."
The three authors, excited to the highest pitch,
marched up and down the manager's office, gestic-
ulating, and urging each other on; and it was
ever the same cry:
"The kicking scene! Charlotte! The kicking
scene! Charlotte! Never! never!"
The manager had thrown himself down in an
arm-chair, and was reflecting. In spite of his
prejudice in favor of the ballet, he was a good
theatrical man. He knew the piece well; and he
realized that the kicking scene would indeed have
much to do with its success.
At this moment the prompter entered, timidly
followed by a yoang man dressed in a costume of
"Bidache complains of his costume," said the
"Oh! " retorted the manager, "what difference
does it make about Bidache' s costume?"
Then his anger was suddenly turned against
the unfortunate prompter.
"It is all your fault! It was you who recom-
mended that Charlotte to me! These gentlemen
think she is execrable, and they are right. She
"But, Monsieur, we tried all the little girls
connected with the theatre, and Charlotte was
the best of them all; but this evening she saw
the people in the front of the house, and she was
" You should have sought in other theatres, in
"I have done so. Monsieur, but in vain. The
part is not a long one, but it is difficult and im-
" Important! You hear? " exclaimed one of the
" Come, don't let us quarrel any more. Let us
try to find a remedy. There was another one,
named Mathilde, who was better than Charlotte."
"Oh, no, Monsieur. She was very weak, very
At this moment, it occurred to Bidache, the
gentleman in yellow satin who was dissatisfied
with his costume, that he might appropriately
take part in the discussion.
"I beg your pardon, gentlemen, if I interfere,
but it is in the general interest; before the re-
hearsals commenced, I happened one evening to
be at Belleville, and there I heaixi a little girl
recite the r61e of Margaret of Burgundy with so
much intelligence, and aptitude, that just now,
when I saw the failure of Charlotte, I thought of
that little girl. She would be just the one for you. ' *
" Has she ever been on the stage? "
*' I don't know. It was in the corridor of the
theatre that I heard her. She sells cakes during
the intermissions; but there is no question about
"Look here, Bidache," said the manager, "you
are not on in the second act; change your clothes,
take a cab, go to Belleville, and bring the little
girl here. We can hear what she has to say dur-
ing the intermission, and try her this very
" I will go at once, Monsieur. But," remem-
bering what had brought him there, "you will
think about my costume? "
"Yes, mylriend, yes."
"The cloak is too long — much too long. If it
were shorter, every time that I turn I could pro-
duce a comic effect."
"That is an excellent idea," said one of the
three authors, gravely.
"Is it not, Monsieur? And then, you know, I
must have some sort of business to depend upon,
for my part, in itself, is not funny."
*' Not funny, your part? Not funny? "
"Now, don't quarrel," said the manager.
"Keep your temper. Go, Bidache, go! "
Half an hour afterward, Bidache reached Belle-
ville. They were playing "Lazarus the Shep-
herd," and the third act was about to begin.
" I would like," said Bidache to the doorkeeper,
" to speak to that little girl who sells cakes dur-
ing the intermissions."
"Criquette? She is in the gallery, listening
to the play. Don't take the trouble to go up,
Monsieur Bidache! I will send an usher for
The doorkeeper had the deepest respect for
Bidache, who had filled the house the night he
had deigned to play at Belleville.
In a few minutes Criquette appeared, followed
"What is the matter?" she asked.
"Here is Monsieur Bidache, who wants to
speak to you."
The two children regarded Bidache with admir-
ing awe. An actor — an actor from Paris!
Bidache led Criquette a little aside into the
vestibule, and said to her:
"Would you like to act a child's part in a
" Upon a stage — ^upon a real stage? "
" Yes; at the Porte- Saint-Martin."
" The Port^-Snint ISfm tini That is a big thea-
tre, isn't itr'
"A very big theatie."
"Yes, in Paris."
"And there will be a part for Pascal, too?
Here is Pascal — you remember him, don't you?
He acted Buridan the other evening; and he acts
better than I — much better than I. It was he
who taught me all I know. There must be a
part for Pascal."
"We will try to find something for him; but
you are the one I came for. Do you want to take
the part, or don't you? "
"Yes! yes!" cried Pascal, excitedly. "Of
course she does — of course she does! "
" Then I will take her to the manager at once."
"At once! " exclaimed Criquette. "And what
will become of our cakes?"
" Oh, you will be paid for your cakes. Come!
" Not without Pascal! I will never go without
" Is he your brother? "
" Not really, but just like one."
"Well, m take him, too. Come, both of
The doorkeeper looked on in amazement at this
summary carrying off of Criquette by Bidache.
The cab drove rapidly toward Paris, and at last
landed the two children in the Rue de Bondy,
before the stage door of the Porte- Saint- Martin.
They mounted the dark, winding staircase which
led to the theatre proper. Bidache pushed open
with his foot an old canvas-covered door, which
was half off its hinges and gradually falling to
pieces. Suddenly, the children perceived the
immense stage of the Porte- Saint-Martin. They
stopped short in amazement and delight. "Go
on! Go on ! " said Bidache; and with a sort of
terror and religious awe they approached the
However, Criquette and Pascal were already in
a certain sense professionals. Now and then
they had wandered about behind the scenes of the
Belleville theatre, and talked with the actors who
amused themselves by teaching them the terms
and slang of the stage. But what was that poor
little suburban play-house in comparison with
this vast and magnificent theatre, ablaze with
millions of gas-jets, and resounding with a grand,
heroic march, played by a band stationed upon
It was the close of the second act. Labori-
ously, and jerkily, a huge platform rose through
a trap-door in the stage, laden with garlands of
scantily clothed women, supposed to represent
flowers; and who were fastened to the branches
by iron bands. Stiff, cramped, and jolted by the
irregular movement of the ascent, they were
forced to conceal their discomfort, smile idiot-
ically, and wave their arms about with meaning-
less gestures. From the flies descended at the
same time an immense cluster of women, with
even less drapery, who, beneath the glare of the
electric light, moved down to meet their comrades.
You could hear the grinding of the windlasses
and the creaking of the ropes. The flooring of
the stage shook, and the whole building trembled
slightly. Now and then one of the poor girls
uttered a little cry of alarm. " Don't be afraidl
It's all right — there's no dangerl" called out the
head machinist, he himself turning a little pale,
however. Louder and faster played the band.
Bengal lights flashed their green and red flames
on all sides, and enveloped the two children as in
the glare of a conflagration. Revolving suns with
glittering rays whirled on the stage behind the
garlands of women as they hung grouped in
space. And the big red curtain fell slowly,
slowly, slowly, so as to prolong as much as pos-
sible the bewildering spectacle. This transfor-
mation scene was the glory of the piece.
Criquette was wild with excitement. At the
first flash of the Bengal lights, she seized Pascal's
hand and held on to it until the fall of the cur-
tain, digging her little nails into his flesh in her
admiration. Pascal, however, felt nothing, and
it was not until the next day that he found in
the palm of his hand, and laughingly showed to
Criquette, "the marks of her claws."
The act had gone well. The fifteen journalists
had been greatly pleased with the transformation
scene, and the three authors had entirely recov-
ered their good humor. After the act was over,
when they came behind the scenes with the man-
ager, they found Bidache waiting for them, full
of pride at the success of his expedition.
"Here she is," he said, presenting Criquette.
"I must go and dress! I have only just time;
but you will remember my costume? "
"Of course! of course!"
At the very first glance, Criquette captured
the hearts of her judges. One thing struck
them immediately: the bright intelligence of her
expression. "Your face is all eyes," Pascal said
to her one day. And it was true. Criquette' s
beauty was all in her eyes — in her tender, shining
eyes — which spoke, smiled with her lips, and
gave soul and life to her whole countenance.
"Well, so you wish to act, do you?" said the
"Oh, yes, Monsieur; yes, indeed."
Her voice trembled, and she clutched Pascal's
hand, which she still held.
"Are you afraid already? "
"It isn't that, Monsieur, but what I saw just
now was so beautiful — so beautiful! I can not for-
The manager turned to the authors.
' ' Shall we go to the green-room now, during this
intermission, and see what she can do?"
"Yes, of course."
" Send to the green-room," said the manager to
the prompter, ' ' little Edouard, the two ambassa-
dors, and come yourself with the prompt-copy."
In a few minutes they were all gathered
together in the green-room, and Mademoiselle
Bosita, the leading actress of the extravaganza,
with a far cloak thrown over her stage costume,
came, out of curiosity, to witness the rehearsal.
*'Now, pay attention," said the manager to
Criquette, *'and I will explain to you the scene.
You have only one speech to make, but it must
be spoken well; and then there are many things
to be done in pantomime. You are the daughter
of a great king, who is very powerful and very
rich. You are called the Princess Colibri. You
make your entrance preceded by a brilliant pro-
cession of lords, soldiers, and attendants. You
wear a beautiful dress, all of gold, with a crown
on your head, like a queen, and a splendid
mantle of velvet with a long train. There will be
two little negroes behind you to carry your train.
You descend from your carriage — a little carriage
where you sit all alone, drawn by four little
white ponies — you descend with an air of
haughtiness, pride, and dignity. Do you under-
"Yes, Monsieur. Goon! Gk) on!"
" There are, on the stage, two rows of noblemen,
who bow before you very low — very low. You
give them your hand to kiss, but only the tips of
your fingers, and you pass by them almost with-
out glancing at them, with your grand air still;
in fact the grander air you assume, the more
effective it will be, because of what follows. You
stop five or six steps from the place where that
line of gas-jets is, and there Monsieur — you see
that gentleman in a red dress — Monsieur says to
you, ' Princess, this is the young prince, your be-
trothed.' You look at the young prince, that
little fellow there — he is not handsome, with his
red hair, his parrot nose, and the hump on his
back — you look at him and you say — "
Then the manager stopped, and turning to the
"Lombard, give her the exact words."
And the prompter, an old man with eye-glasses
and a patriarchal air — ^it was said in the theatre
that he had been a sub-prefect during the Hun-
dred Days — the prompter, in a deep, sepulchral
voice, read the following sentence:
"Ah! bah! he is too ugly. I won't have such
a clown as that! "
"That is all," said the manager. "Can you
remember that speech, or do you want it written
on a piece of paper? "
" It isn't worth while. I shall remember."
And slowly, without emphasis or expression,
Criquette, to fix the words in her memory,
repeated them softly to herself.
"Ah! bah! he is too ugly. I won't have such
a clown as that!"
Then, addressing the manager, she said:
" I know them now. Is there anything else? "
"Yes; one thing more. As you finish that
speech, and in order that it may have more effect,
you swing about and give a disdainful kick of
your train, with a little gesture, not too much.
Do you understand?"
"Yes; vulgar, without really being so."
This was said so simply and naturally that they
all stored in surprise.
** Ah!" exclaimed the manager, "she will suit.
Let us commence. Let us commence at once. Go
there, to the other end of the room. These three
gentlemen will have the kindness to represent the
noblemen. You find them at your right, as you
descend from the carriage, and you hold out to
them your hand. There, now. You descend — ^"
"Oh, don't tell it to me again; I understand."
Then Criquette, with imperturbable dignity, re-
hearsed the whole scene — haughty, cold, disdain-
ful, insolent — receiving from the height of her
grandeur the congratulations of the three noble-
men, and scarcely allowing them to brush the
tips of her fingers with their lips. She walked
down to the little prince; and while the ambassa-
dor spoke, she regarded her betrothed fixedly,
without a gesture, without a movement, and,
finally, at the exact moment when the speech was
to be made, she burst out with: "Ah! bah!"
etc., with such vivacity, and such drollness, that
all, beginning with the old prompter, laughed
As for the kick, that was a masterpiece. As she
kicked her train, the right arm of the Princess
Colibrij with a marvelous meaning in the gest-
ure, performed the most expressive pantomime.
Then, by one of those instinctive movements
which show a nature made for the stage, Criquette
turned her back and hurriedly marched to the
other end of the room, her arms in the air, all
trembling with fury and indignation. A great
actress could not have done better.
The three authors were in transports.
"Try to do just the same on the stage," said
"You must rehearse at once upon the stage."
" You are a love, do you know it? " said Rosita,
kissing Criquette in a burst of enthusiasm; "a
real love! Come to my dressing-room during
the next intermission and I will give you some
An hour afterward, on the stage, at the end of
the third act, it was quite another thing. The
costumer had tried to dress Criquette in the gown
of the Princess Colihri, but Criquette was much
smaller and thinner than Charlotte. The dress
hung all about her, a shapeless mass; so the
costumer had to be satisfied with placing upon
her head the jeweled crown, and attaching the
big mantle by two clasps to her back. The effect
was very odd when Criquette appeared, the last
in the gorgeous procession, with her train of red
velvet, lined with white satin, over her shabby
dress of well-worn black alpaca, and beneath,
her heavy shoes, all white with the dust of
The three authors were uneasy. "Never,"
they said to themselves, "will she do as well as
she did at first. ' ' They were wrong to be alarmed,
however. Criquette surpassed herself; she re-
peated all her effects with astonishing precision.
spoke the speech with the same confidence, and
gave the kick with the same gusto; but tliere
was also a new effect, unexpected, irresistible,
When Criquette in exasperation turned to dash
up the stage, she dragged violently along the
two little negroes, who, not expecting anything
of the sort — this business was entirely Criquette' s
own creation — were surprised at the sudden move-
ment of the Princess, and fell flat upon their
The spectators were wildly enthusiastic. The
fifteen journalists applauded with might and
main. The mothers of the ballet-girls, crowded
together at the end of the auditorium, doubled
over with laughter. The musicians of the orches-
tra stamped their feet. The three authors with
one accord, which rarely happened, exclaimed:
"That is excellent! The two little negroes
thrown down! We must keep that! They must
fall every evening."
But the poor little things were hurt; not much,
but a little, and they began to yell lustily; at
which all the journalists, the mothers of the
ballet-girls, and the musicians laughed all the
louder. Then one of the three authors said:
"The little negroes must not cry; it is too
" Yes," said another, " it is very funny. They
A violent discussion now broke out between the
two. The thiid author was undecided.
"I don't know," he said, " whetlier they ought
to cry or not; there are reasons for and there are
reasons against it."
"There is no need for them to cry," said the
manager. "They cried well to-night, because
they were hurt, but to-morrow they will not be
hurt, and they will not cry well."
While this grave debate was going on, all the
people on the stage tendered Criquette an ovation.
Rosita was wild with enthusiasm.
"Don't forget," she said to Criquette, "to
come soon to my dressing-room for your bon-
"No, Madame, I will not forget."
But Criquette was looking for Pascal in the
crowd. Was he satisfied with her? That is what
she wanted to know. She perceived him at last,
and, running to him, said:
" Were you in front? "
" Yes, indeed. You must ask a big price from
"Oh! not too much! not too much! Suppose
he should be angry! And it is so nice to act — so
nice — so nice!"
"Don't be afraid. It will be all right. Every-
body about me was saying, ' She is worth money!
She is worth money!' There is the manager.
Leave me to arrange it. He must give you a lot
The manager took the two children into his
oiBoe, and aaid to Criquette, who was still arrayed
in her royal crown and her long train:
*' You were very good, my child, and you shall
play the part. Have you a father living? "
*'No, Monsieur, papa is dead.'*
" And your mother? "
"Yes, I have mamma."
*'But her mamma," interrupted Pascal, "her
mamma does not bother about any of these things.
Criquette and I for a long time have managed our
own business. We have treated directly with
the pastry-cook for the cakes."
"Oh! you have treated directly," laughed the
manager; "but, nevertheless, her mamma must
sign the contract, if I engage her."
"Oh! Mamma Brinquart will sign anything we
want, with closed eyes. I will explain to you the
situation. Criquette and I are partners in the
sale of cakes at the Belleville theatre, and, by the
way, we have lost at least twenty francs worth of
" I will give you your twenty francs."
" We make money, a good deal of money. So,
if you want to engage Criquette, Monsieur, you
must pay for her. She can not come here for less
than— for less than — "
Pascal paused. He recoiled before the enormity
of the sum.
"For less than?"
"For less than ten francs a night."
"Well, I don't wish to beat you down. I will
give her ten francs every evening, so long as we
play the piece."
"Very well, Monsieur, very well."
'* No, it isn't very well, Pascal. You must not
go too quickly. I can not come here alone. We
always go together, Pascal and I."
"Well, I'll engage him, also. I will let him
play a monkey in the second act."
" At ten francs a night? "
"Oh, no! The monkeys have only fifteen
"I receive ten francs, and he fifteen sous!"
exclaimed Criquette; "that isn't fair."
"We must be reasonable," said Pascal; "the
monkeys are probably silent parts."
"It is agreed. Monsieur; Criquette, ten francs,
and I a monkey at fifteen sous."
"But, Pascal, you know we always share.
You must take half of my ten francs, and I will
take half of your fifteen sous."
After these generous words, the manager dis-
missed them. He had no more need of Criquette
to-night — the little Princess simply appeared,
without saying a word, in the last act. The
rehearsal would last till very late, and he advised
Criquette to go to bed as soon as possible and
sleep well, in order not to be fatigued the next
day. She must come to the theatre at noon, with
her mother, to sign the contract, after which
she could rehearse all the afternoon the two little
scenes of the first and second acts.
"And shall I also sign my contract to-morrow?"
" Oh, it is not worth while for you; there is no
contract for the monkeys."
As they were about to go, the manager stopped
them and said to Criquette:
" I forgot to ask you your name."
*' A poor name for the stage."
*'But that is not what I am usually called.
Everyone calls me Criquette."
"Criquette. That is very pretty. We will
put on the programme: Ldlile Oriqueiiey
" Upon the programme! I shall be upon the
"Ah! Pascal, I shall be upon the programme
to-morrow! Upon the programme! "
And she flew, dancing with joy, from the room.
The costumer relieved her of her crown and train.
Her dear crown! Her dear train!
"Ah!" she said, ".I wish I could carry them
home, and take them to bed with me, and sleep
As they were about to leave the theatre, she
remembered that a beautiful lady, all covered
with diamonds, had promised her some bonbons.
She asked the way to Mademoiselle Rosita's
dressing-room, and the two children were shown
into a very pretty little room, all hung with yel-
low cretonne with big red flowers stamped
Rosita was not alone; a man was there, seated
upon a little sofa in a comer of the room — a man
in evening dress with his hat on his head, tall, a
powerful figure, a ruddy face, with long mustache
and side-whiskers, slightly gray. He was a Rus-
sian of lofty birth and immense fortune, Prince
"Oh! Prince," cried Rosita, "there she is,
that little wonder! Come in, my love, come in;
and here are your bonbons! and here! and here! "
As she spoke, she placed three boxes of candied
fruits in Criquette's arms.
"How sorry I am, Prince, that yon did not see
her. She was marvelons! It was all the fault of
those three miserable authors, who would not
allow yon to go in front; but yon can be sure that
such a thing shall not happen again. In my next
contract, I shall have the following article inserted:
' The Prince shall have the right to be present at
all the dress rehearsals.' Good night, my little
angel; come here till I kiss you; and you kiss
her, too. Prince. Good night! Good night! "
"Let us go and eat some of the bonbons,"
said Criquette to Pascal, when they were alone
behind the scenes.
"Yes, indeed," rejoined Pascal.
They had become children again. But, sud-
denly, they heard stifled sobs. A little girl was
weeping, seated at the foot of a flight of stairs,
with her head in her hands.
"What is the matter? What are you crying
about?" asked Criquette.
The little girl raised her head and looked at
Criquette; her grief burst forth with redoubled
violence, and, in the midst of her tears, she fal-
**Iam crying— because— because — because you
have taken — my part^ — away from me."
**0h! you are Charlotte. It is not my fault.
You must not be angry with me. Come, don't
cry any more."
Charlotte had risen, and was trying to escape,
not wishing to be touched by Criquette.
'*No, don't cry. Listen a minute. It is not
right that I should have all — the part and the
bonbons. Here, take the bonbons."
She placed the three boxes in her arms, and ran
"Come, Pascal, come!"
A few minutes afterward, they were walking
side by side along the boulevard, in the direction
of Belleville, when suddenly Criquette said:
''It was a prince who kissed me just now. I
have never been kissed by a prince before. His
mustache pricked me. Princes are great men.
In what piece, Pascal, is there a prince?"
"hi 'The Mysteries of Paris'— Prince Ru-
Criquette's debut was an astounding success,
and the newspapers vied with each other in her
praise. An illustrated journal published a por-
trait of the Princess Colihri in the performance
of the now famous kick. That kick! It set the
audience on fire the evening of the first repre-
sentation. One cry went up from all throats:
Bis! Bis! Bis! It was an outburst of spontane-
ous, irresistible enthusiasm. Criquette, half-be-
wildered by the applause, did not know what to
do. She watched the clapping of that multitude
of hands, and then she heard from the side- scenes
voices calling to her: " Repeat it! " " No! don't
Fresh dissensions were torturing the three
authors of "Gri-Gri."
" She must not repeat it! She must not repeat
it ! " exclaimed the first. ' ' It would kill the situa-
tion. The piece is ruined if that scene is repeated. ' '
"Pooh! The public demand it!" said the
' ' Let her do it over again. An effect is always
The third author was in a quandary. He bit
his mustache, and murmured:
"There are reasons for and there are reasons
Bat the public demanded the repetition of the
kick 80 peniBtently, that Criquette was forced to
go through with the scene and the business once
more. The same enthusiasm was again aroused.
Enormous bunches of roses and white lilacs fell
at the feet of the little actress. The gallery gods
threw oranges, which fell in the orchestra upon
the terrified musicians, who tried to shield them-
selves from the avalanche beneath their music-
This repetition of a kick was an event without
precedent in the history of the French theatre.
It was the occasion of a bitter war in the press.
The critics were divided into camps; one party
full of indulgence, and the other pitiless in its
" See what we have come to! " said the adher-
ents of the latter party. "A kick is encored
upon that stage where once were fought the grand
battles of romanticism! "
Scarcely had the curtain fallen, when Criquette,
escaping from all the hands which were stretched
out to detain her, pushed her way through the
crowds of lords and ladies, and threw herself
into the arms of a hideous yeUow monkey, who
was standing piteously behind the scenes, with
his liead buried in his hands.
"Kiss me, Pascal! Kiss mel I am so happy
— so happy! "
But, in her kind little heart, a little sadness
was soon mingled with her joy; and turning to
one of the authors who happened to be standing
near, she said:
"Ah! Monsieur, promise me that in your next
piece there will be a part for him — not a monkey,
you know, but a real part." /
Madame Brinquart had come to the theatre,
and had witnessed from the front of the house
Criquette's startling success. When she re-
turned to Belleville with the two children after the
performance, she was obliged to take a cab; for
never could the three on foot have carried the
enormous mass of flowers, bonbons, oranges, and
cakes with which Criquette's dressing-room was
packed. She could, however, afford this unheard-
of expense; for, after the third act, the manager
had presented to Criquette a hundred-franc note!
Since the death of her husband, Madame Brin-
quart had not held in her hands a hundred-franc
It was two o'clock in the morning when the
mother and daughter entered their wretched
lodging in the Rue de Tourtille. Two garret
chambers, with whitewashed walls, a brick floor
which crumbled beneath the feet, and two rick-
ety, dusty sky-lights, through which a ray of
sunshine was never known to penetrate.
But to-night hope was a guest in this squalid
place, and in Criquette's dreams unwound again
the procession of Princess Colihri. Her rest
was broken; she threw off the coarse coverlet of
her bed and murmured, in a sleepy voice: "Ah!
bahl he is too ugly! I won't have such a
clown!" And raising her little naked foot, she
drowsily repeated the kick which had given her
that moment of triumph, so haxd to obtain, in
most cases, a second time.
The next day about noon Pascal arrived. He
brought a paper which already spoke of Criquette.
After the young lady had regaled herself with
her first notice, she said, assuming a very grave,
"Let us sit down and talk a little. I did not
sleep much last night, and so I had time to think.
In the first place, mamma, now that I am making
ten f luncs a day, I dou' t want you to get up in
the dark mornings and go to the market. The
day for selling apples and liowers is past; there
is no use in worrying yourself about that any
more. You are not well, and you have been
coughing for the last week. I heard you last
night. You must not do anything more, nothing
at all except look after the little household of us
"Us three?" said Pascal.
"Yes, us three, Pascal, because the manager
said to me last night — he said: 'Now that you
are an actress and are on the stage, and you make
so much money, you must not run about in Belle-
ville with cakes and taffy. You must rest during
the day, so as not to be tired in the evening.' "
"Yes, you can with your ten francs; but I,
with my fifteen sous — "
" It is not ten francs, nor fifteen sous either; it
is ten francs, fifteen sous. What is mine is yours,
"No, Oiquette, nol"
"And your hundred sous — this winter — your
hundred sous! Didn't I take them every Satur-
day? I did not want to at first, but you
explained to me that I must take them, and so I
did. And it's just the same thing now! You are
going to leave your employer to-morrow; I ar-
ranged all that in my head last night. You must
hire a room in this house. There is one to let on
the other side of the entry. The hundred francs
the manager gave us last night ought to be enough
to furnish it for you. It will be, won't it,
mamma? And we will live together, all three of
us. Mamma will have two children to take care
of her. Now, don't be naughty, Pascal, and
make up such cross faces. I won't love you, if
you don't want me to; and yet, I don't know
how I could help loving you."
Pascal finally agreed to the proposition, and
things were arranged as Criquette had suggested.
Two months passed away. The spectacle was a
great success, a success to which Criquette con-
tributed her share. Her photograph, with the
two little negroes behind, bearing her train, was
sold in all the shops.
Criquette had become a person of no little
importance in the theatre. Rosita made a great
pet of her, took her to her dressing-room every
evening after the second act, and loaded her with
fruit and bonbons. Criquette usually found there
a very numerous and brilliant company. It was
like a little club. Usually about ten o'clock the
Prince appeared, accompanied by two or three of
his friends. The gentlemen sat down in the
dressing-room with tlie hair-dresser, the maid,
etc., and all on a footing of the utmost equality.
Bidache came very regularly sinoe the evening
Rosita had said to him:
*' Bidache, the Prince likes yon very much. I
dined with him to-night at the Caf6 Anglais, and
this is what he said — exactly what he said: 'That
Bidache is very amusing, and there is frequently
much sense in what he says.' "
Highly flattered, Bidache had become a con-
stant visitor to Rosita' s dressing-room. The
Prince complacently made room for him by his
side upon a very narrow divan between the win-
dow and the toilet-table, and there they would
sit, the Prince and Bidache, squeezed against one
another, and scarcely able to breathe in the
asphyxiating heat of the room. Above their
heads were hung the tulle skirts of Rosita, and
the thin fabric brushed the Prince's fair hair and
Bidache' s flame-colored wig. The dresser was
sometimes obliged to interrupt the conversation
of Bidache and the Prince. With an "Excuse
me, gentlemen," she would step up on the end of
the divan and carefully unhook tlie skirts desired.
For some moments, then, the Prince and the
comedian would disappear, inundated, submerged
beneath a cascade of perfumed lace. One evening
Bidache' s wig was carried away by the avalanche,
and the Prince had the exquisite kindness to
recover it, and with his own hands replace it on
the head of the comedian, who, confused and
delighted, repeated again and again:
"Oh, Prince! Oh, Prince!"
And then the conversation which this episode
had interrupted was resumed.
"What were we talking about? Oh, of that
very funny conundrum you invented yesterday.
Tell it to me."
" It is snch a trifle, Prince."
" Tell it to me, please. I am very fond of your
conundrums. They are not like those we hear
" You are too good. Prince. Well, this was it.
I asked the Duke of Landry- Raton what was the
warmest letter in the alphabet."
" The warmest letter?"
"Of course he could not gness. Then I told
him: 'A, because it is in the middle of flame.' "
"In the middle of flame?"
The Prince did not understand. The workings
of his mind were a little slow.
"Yes, Prince. F-1-a-m-e — a in the middle, of
"Oh, yes, I see. Charming! charming!"
The conversation then took a graver turn, and
Bidache showed his serious side. They discussed
"France," said the Prince, "will never become
France again, and recover her former position,
except by the return of the legitimate monarchy
and the entrance of its king."
"I am grieved. Prince, not to share your opin-
ion, bnt, next to the empire, I believe in the re-
"So do I," growled the hair-dresser, his comb
between his teeth.
The hair-dresser, Michel Grandin, a dried-up
little man of about fifty years, witli an intelligent
face, had been prominent in a barricade fight in
December, 1861, and had been transported to
Lambessa. Six months after, he obtained his
pardon, without having solicited it himself, at the
request of a Senator who could refuse nothing to
Rosita. Michf 1 at first declared squarely that he
would not leave Lambessa, not knowing whence
this shameful pardon had come to him; but he
ended by yielding to the entreaties of Rosita,
who wrote to him:
Michel, my dear, accept. I don't know what
to do wdthout you. There is no one in Paris who
knows how to dress my hair; besides, you owe no
gratitude to the President. It is not Bonaparte
who pardons you; it is I.
To and fro in the dressing-room, with calm and
measured step, went and came a woman of an
uncertain age, tall, spare, and dark, who appeared
to see nothing, hear nothing, understand nothing,
and yet who was the first to see, hear, and under-
stand all. This was Mademoiselle Aurelie, Ro-
sita' s maid. Her jet-black hair was arranged in
two flat, shining bands. Her dress of a dark
color was very simple, well made, and without
ornament. She wore a linen collar and cuffs of
a dazzling whiteness and stiff with starch. In
Mademoiselle Aurelie' s manners, movements, and
dress there was something that recalled the clois-
ter. She watched everything with a keen eye,
and when anything did not go according to her
taste, when Rosita' s friends appeared to her too
noisy, from her thin, colorless lips, upon which a
smile never appeared, would issue short, biting
"The gentlemen prevent Madame from dress-
"The gentlemen will make Madame late for her
"Madame will miss her entrance, as she did
"I shall be obliged to send the gentlemen
The gentlemen then respectfully drew back into
their corner, making themselves as small as possi-
ble, fearing to be turned out, which had happened
to them more than once. Rosita herself obeyed
in the most docile manner, never revolting against
Aurelie's authority — she who passed her life in
perpetual imprecations against costumes, stage-
managers, and authors.
Then, when all was in order, Mademoiselle
Aurelie would sit down upon a stool in a corner
of the room, open Rosita' s jewel-case, and, with
a slow and regular motion, begin to polish the
two hundred thousand francs' worth of diamonds,
which she carried herself every evening to the
theatre, and would entrust to no one, not even to
It was to this dressing-room of Rosita' s that
Criquette came every evening to take lessons in
Parisian elegance and corruption. She made
rapid progress and soon cjiuglit the tone and
manners of the place. They all smiled at her
prettiness and grace, and the fun and assurance
of her chatter. She had a way of saying "Good
evening, Prince," which highly amused them all;
and she received with imperturbable dignity his
highness' reply: " Good evening, Princess."
Mademoiselle Aur61ie was the only one who
accorded no attention to Criquette; she had even
two or three times sent her away somewhat
roughly. Slight expressions of annoyance, very
quickly suppressed, contracted Mademoiselle Au-
r61ie's enigmatical, passive face when all in the
dressing-room amused themselves by exciting
Criquette, and making her say funny things.
One evening even, when the Prince had made
a speech which possessed less wit than coarse-
ness, Aurelie could not contain herself, and sud-
denly interrupting him, she said, dryly:
*'The Prince ought not to say such things be-
fore that child."
There was a moment of amazed silence, and
Kosita was about to intervene, but the Prince
did not give her time.
"You are right, Aurelie," he said, " and I was
Such were Criquette' s evenings, and in such
familiarity did the daughter of the Belleville
apple-woman live with the most brilliant and
most useless portion of society.
Very different were her mornings. Her mother
grew feebler day by day, and now she could not
even go out for the provisions of the day. About
nine o'clock Criquette herself went to the baker's
and the dairy. Pascal would gladly have spared
her that trouble, but his mornings were no longer
his own. Intelligent, active, and impatient to
render himself useful, he had been able to gain
the good graces of the stage-manager, and he
now served as aid to the messenger of the theatre.
He carried every morning half the notices for
rehearsals; twenty -five sous had been added to his
monkey- salary of fifteen sous; so he now received
forty sous a day; quite a respectable sum.
Often in the morning, with a big loaf of bread
under her arm, a pitcher of milk in one hand,
and a sou's worth of liver for her cat in the
other, with her stuff dress buttoned awry, her
hair mussed and tumbled, her eyes still heavy
with sleep, her shoes unlaced, Criquette would
stop in the Rue de Paris before the window of
a stationer, where were exposed for sale photo-
graphs of the Princess Colihri in the costume of
the last scene, a brilliant costume, all of gold and
silver gauze with a blazing star upon the head.
She found consolation for her shabbiness of the
morning in her magnificence of the evening.
But nothing could console Criquette for her
mother's illness. The last days of May had come,
and the poor woman could only with the greatest
difficulty drag herself in the afternoon to a
bench in the shade of the sorry-looking trees of
the outer boulevard. She was so weak and worn-
out when she returned, that in mounting the five
flights of stairs she was obliged to stop on each
landing and lean, breathless, against the wall.
The two children were her constant companions,
and when they were all three seated on the boule-
vard, Criquette made an effort to distract and
cheer her mother.
*' I am going to tell you all about the theatre.
If you only knew, Mamma, how well the play is
doing — six thousand francs every evening. They
could not make more. You ought to see the
crowd of people waiting to buy tickets when
Pascal and I reach the theatre. The line stretches
way into the Rue de Bondy. The piece will run
two hundred nights at least, perhaps three hun-
dred. And I shall have my ten fi-ancs all the
time, and a hundred-franc note besides, if I do
not miss a night before the hundredth. The
manager told me so, and I shall not miss one.
After "Gri-Gri," they will play another piece, a
drama full of blood, and Pascal and I will both
have parts. The manager told me that, too. The
manager likes me; he never meets me without
stopping to speak to me. And Mademoiselle
Rosita likes me ever so much, too. You know —
you have seen the piece — the tall blonde who
plays the fairy that is always angry. In the
month of July we will take another apartment,
Madame Durand's, the vest-maker's. She is going
away. Then you will have a big room, looking
out on the street, with a fire-place, and there will
be a fire all the winter there, a blazing fire. And
then, when Pascal has a part, we shall make not
twelve francs, but twenty. We will lay some
money aside, and after the winter is over, when
the fine weather comes, we will go to the country,
all three of us. You will see the flowers and
trees, and it will do you good, Mamma, and you
will not cough any more, and you will get well.
Promise me that you will get well. Mamma, and
a little smile for Criquette. Say, will you?"
Criquette embraced the poor woman, who smiled,
softly lulled by these dreams of the future. She
was dying, but she did not realize it. That is a
mercy God grants to consumptives.
On the 30th of May, when Madame Brinquart
tried to rise, she fell back in a fainting-fit, motion-
less, and white as wax. Pascal hastened for a
physician. When the latter arrived the faint-
ness had passed away. The invalid complained
only of great weakness. The doctor made an
"She must remain in bed, and she must not
speak. She needs strength. Give her plenty of
nourishing food, milk, and soup."
Going down the stairs, the charcoal- woman,
who had been present during his call, said to
" She is doomed. I can do nothing."
The next four days were peaceful enough. The
poor woman began to smile again, and to hope.
The two children passed the day with her, and,
in the evening, when they were obliged to go to
the theat3*e, the charcoal -womau took their place,
and sat near the bed with her work.
On Monday, the fourth of June, at eight o'clock,
the stage-manager and call-boys of the Porte-
Saint- Martin were in a state of great excitement.
They skurried about behind the scenes, entered
all the dressing-rooms, and everywhere asked the
"Have you seen Criquette?"
No one had seen Griquette.
No one had seen Pascal.
It was the eightieth representation of "Gri-
Gri." They were already a quarter of an hour
late in beginning; the audience was commencing
to be impatient, and Griquette was in the third
scene of the first act, ten minutes after the rising
of the curtain. What was to be done? Ghar-
lotte was not there; she knew the part and might
at a pinch have taken Griquette' s place.
The stage-manager went down to the sidewalk
opposite the stage entrance on the Rue de Bondy,
and saw Griquette alone come running toward
"Tell them to commence," he cried to one of
the call-boys. " In ten minutes she will be ready.
I will set two women to dress her." Then, as
Griquette reached him:
" Hurry! Hurry, you naughty girll " he said.
" Ah, Monsieur, do not scold me. It is mamma.
She has been spitting blood all day and she is ill,
Out of breath with her long run, and at the
end of her strength, Criquette threw herself into
the arms of the stage-manager, and burst into
" I am not going to scold you, my poor child.
You are a good little girl and always very
prompt; but it is the audience, you know. Come,
come quickly; and don't cry any more. Your
mamma will be better when you return. How
old is she?"
"Oh, at that age it is not hard to get well.
Come, come! "
As he spoke he hurried her up the steps. They
had commenced. The orchestra was playing the
overture. Two dressers seized Criquette. She
allowed them to undress and dress her like a
doll. In a twinkling her poor garments, almost
snatched off her body, lay scattered all about on
the floor. The stage-manager had remained to
hurry the dressers.
Over Criquette' s bare shoulders they passed a
chemisette adorned with lace, while the hair-
dresser placed on her head a curly, yellow wig
crowned with rosebuds. And Criquette, passed
from hand to hand, continued to speak broken
words to the stage-manager.
"Ah, Monsieur, I forgot to tell you; you will
excuse Pascal. He staid behind with mamma."
"All right, my child, all right."
" You will not discharge him? "
"No, no, my child; have no fear, have no fear."
"As there are ten monkeys in the scene of the
monkeys, I thought that one monkey more or
less would not make much differtMice. T came
because I had a part, and it would have put you
in a fix, and then, besides, because the manager
told me that if I did not miss a night before the
hundredth, I should have a hundred francs, and
that will be very useful to us if mamma is sick a
The voice of the call-boy was heard:
''Colibri! (7oZ^^>r^is caUedl "
*'You hear?" said the stage-manager to the
"She is ready, Monsieur, all ready. Just a
pin here. So! You can take her."
The stage-manager almost carried Criquette to
the proper entrance, and a few minutes after
pushed her upon the stage.
" Go, my child, go. That is your cue."
He was a little uneasy, and he watched Cri-
quette through an oi)ening in the scenery.
" Poor little thing! How I have knocked her
But Criquette, although breathing hard, recov-
ered her courage in the presence of the audience,
and spoke in a clear enough voice the ten or
twelve speeches of the scene of the first act.
When she left the stage she found Rosita wait-
ing for her.
"My angel, my little angel, do not worry; I
have sent Aur§lie to your mamma, with the doc-
tor of the theatre. Aurelie wUl see if she wants
anything, and will bring ns news of her. It will
be good news; don't cry."
Aurelie returned in about two hours with the
doctor. The news was not good, far from it.
"I think that she will survive the night," said
the doctor; "but before to-morrow evening she
The news soon spread behind the scenes, and
all hearts were sorry for Criquette, whom every-
one loved. She was so good and sweet. The
week before, a machinist had been killed by a
fall from the flies, and Criquette had taken up a
"Give," she said, "give something for his
poor wife, who will be left all alone."
The poor little girl herself would now be left
all alone. Five or six machinists, grouped on the
stage behind the curtain, were talking in a low
voice. A fireman was listening to them.
" We must take up a collection to-morrow to
bury Criquette's mother," said one of the ma-
"Yes, yes," responded his comrades.
"Criquette? " asked the fireman. " Is not that
the little girl who is so funny, and who made me
laugh so much one evening when I watched her
from the side-scenes? ' '
" And her mother is dead? "
"No; but she can not live through the night."
Then the fireman, producing an old, dilapidated
*'Here; I shall not be on service to-morrow
night. Here are two sous for your collection."
Rosita, as she listened to Aur61ie's recital, wept
real tears. She had a very sincere affection for
Criqaette. Aur61ie preserved her usual com-
"Madame is all marked up," she said, **and
will be obliged to make up her face again."
Aur61ie had delivered her report in a calm,
quiet voice, without the slightest appearance of
emotion. When Criquette entered the dress-
ing-room after the second act, crying, "Mamma?
How is mamma?" Aurelie, in a few brief words,
forced herself to reassure her. And when Rosita
said to her, at the commencement of the 'fourth
'* Aur61ie, that child must not return to Belle-
ville alone to-night. You must go with her, and,
if it seems necessary to you, pass the night
"Very well, Madame," responded Aurelie, in
the same tone in which she would have answered,
"Very well, Madame," had Rosita said to her,
" Go to-morrow to the Palais-Royal and procure
me a box."
But Rosita, suddenly changing her mind, said:
"No; I will go myself. And yet, heaven
knows how afraid I am of death! But I can not
forsake the little girl. Yes, I will go. The Prince
has gone to the Opera, and is to come to the
house after it is over. Explain to him what has
happened, and tell him to wait for me."
Again the same answer:
"Very well, Madame."
That is how, for the first time in her life, Cri-
quette, at half after midnight, entered a little
coupe, lined with cherry satin, upon the box of
which sat an English coachman and a little groom
in knee-breeches and top-boots.
Never, at a like hour, had Rosita's coach-
man ventured into such a quarter; but he was
piloted by C^lestin, the groom, a boy of Paris,
born at Menilmontant, and who knew the Rue
de Tourtille. They approached the house, and
Criquette, putting her head out of the window,
*' There it is! There to the left."
The coupe stopped. Two women were before
the door, standing on the sidewalk of the black
and deserted street — two working -women who
lived in the house. They had heard Criquette' s
"Is that you, Criquette?"
"Yes. And Mammal Mamma?"
"Come quickly. She has been asking for
Criquette was out of the carriage in a moment,
and, followed by one of the women, ran up the
^dark, unlighted stairs. The other woman, in
astonishment, watched Rosita descend from the
coupe. Rosita was very elegantly dressed in
pearl-gray from head to foot; in her ears were
two large pendants of diamonds, worth at least
thirty thousand francs. She put them on every
evening for the fourth act, and, in her hurry, she
had forgotten to remove them.
" Where is it? " asked Rosita. " Show me the
"Do you wish to go up, Madame?"
"The stairs are not lighted. We who are used
to them know the way, but you will find it hard
"Celestin," said Rosita, "take a lantern from
the carriage and lead the way."
They all three started up the stairs, which were
wet and dirty; the day had been rainy. The
groom mounted first, holding the lantern in both
hands and walking sideways to light the way for
his mistress. Then came Rosita, and finally the
working- woman, who scrutinized the pearl-gray
satin boots and pearl-gray silk stockings. She
said to herself , "It must be one of the actresses
from the theatre," and she protected with her
hands Rosita' s skirts, which were too voluminous
for the narrow staircase.
The ascent was laborious, and they had not
reached the first landing when Criquette rushed
into her mother's room and threw herself down
on the bed.
"Here I am! Mamma! Mamma! You are better.
Tell me that you are better! "
The poor woman made an effort to raise herself;
she seized Criquette and kissed her eagerly on the
hair, on the cheeks, on the eyes, while with her
thin hands she feverishly touched the child's
arms, hands, shoulders, and neck, as if to take
and carry away with her into the grave as much
And she repeated:
'*My Criquettel my Criquette! I was so afraid
not to see you again, and here you are. My
Criquettel my Criquette! "
While speaking in a weak voice, she continued
to cover Criquette' s face with kisses. Bathed in
an icy perspiration, feeling already the chill of
death, she found a little life and heat upon Cri-
quette's cheeks, which, burning and inflamed,
were still covered with the rouge and powder of
But the effort soon wearied her. Her arms fell
down, she sighed deeply, and sunk back exhausted
upon the pillows.
At this moment Rosita appeared. The groom
remained upon the landing with his lantern,
whose brilliant reflector threw into the chamber
a very bright light, and made apparent the con-
trast between the poverty-stricken apartments
and Rosita' s costly costume.
"Come, Madame, come! She does not kiss me
any more, she does not speak to me, she does not
Pascal was weeping hot tears in a corner, and
the charcoal-woman, standing at the head of the
bed, was mopping her eyes with her handkerchief.
For two hours she had been there, anxious and
undecided. These words had come again and
again, like a refrain from the lips of the dying
"Criquette — my Criquette! all alone in the
world, without anyone! "
The charcoal- woman said to herself: "We
already have three children, who sleep crowded
together in the back shop. Can they crowd a
little more to make room for Criquette? Yes; but
would my man like it, when I say to him to-mor-
row morning. Do you know, we have another
child? I have taken the little girl from upstairs?' '
The eyes of the dying woman reopened, and
with a fixed gaze, not understanding, she re-
garded Rosita. What struck her especially was
the glittering of the two ear-rings.
"Mamma," said Criquette, "it is Madame
Rosita; you know — Madame Rosita, who gives
"Ah! is it you, Madame? Criquette has told
me very often how good you were to her. Cri-
quette, my poor Criquette, she is going to be
alone, all alone."
Then Rosita, carried away by her emotion, with
a most sincere and generous impulse, exclaimed:
"No, not alone, not alone! Give her to me. I
want her. I will take her! "
"You — ah! — you — my daughter. Yes — yes — I
give her to you — thanks — thanks."
The words were articulated with difficulty. She
had, however, strength enough to take both
Rosita' s ungloved hands, and, kissing them, she
What struck her then were the rings which
sparkled on Rosita' s fingers. She did not ques-
tion who this woman was, and what would be-
come of her child. She had only one idea in her
weak, confused brain:
"This lady is rich, very rich, and she will take
Criquette; and Criquette will be warmly clothed
in winter, and in summer will play in the gar-
dens under the big trees with the children of the
rich. And Criquette will not be cold as I have
been cold, nor hungry as I have been hungry."
So was settled the fate of this poor little thing,
tossed about like a stray leaf in the whirlwind of
the world. Her life would have been different,
and better, perhaps, if the charcoal-woman had
The dying woman released Rosita's hands, and
groping blindly, for her eyes were growing dim,
"Criquette, where are you, my child, and you,
too, Pascal? They are so good, so kind — both.
Thanks, Madame. Good-bye, Criquette — good-
bye, good-bye! "
She died peacefully, without pain, her cheek
pressed against Criquette' s. There was no more
a word, no more a movement, no more anything.
It was finished. Everybody was weeping. Rosita
had sunk down on her knees at the foot of the
bed, and was trying to recall one of the prayers
of her childhood; but she could remember only
the first sentence.
The groom had advanced just across the thresh-
old, the lantern in one hand, his hat in the
other. He had never seen anyone die. He stood
looking at the scene, his eyes round with fear and
curiosity. The silence, the tears, the lack of
movement — this then was death!
Criquette felt her mother's arms fall away from
her, inert and icy. She recoiled in terror.
"Ah, Mamma! Mamma! Speak to me! Speak
Then, glancing at those around her, she asked:
"Is she dead?"
No one replied.
"No, no! she is not dead! Mamma, it is I,
Criquette. Speak, Mamma! say that you are not
A quarter of an hour afterward the poor child
had to be taken from the room. She did not wish
to go; she clung to the furniture, demanding to
remain with her mother as long as she was there,
and she could see her.
"I want to kiss her — once more — only once
more — only once."
And her face, wet with tears, was pressed to the
discolored lips of the dead. At last, however,
she was obliged to allow Rosita to take her away;
but just as they were going she exclaimed:
"Stay here, Pascal! Don't leave her, don't
"No; I promise."
" Perhaps she is not dead! "
Her sobs broke out afresh as they descended
the stairs. "Mamma! Mamma! I want to see
mamma!" Doors on all the landings were
opened, and the lodgers appeared, half -dressed,
and asked Boslta;
'* Is it all over ui)6tair8l "
They watched Criquette descend.
'* Poor little thing! Poor little thing! "
The groom, pale as a ghost, marched ahead
with his lantern.
It was half -past two in the morning when the
coup6 rolled under the portico of a little hotel in
the Rue Trudon. During the entire drive Cri-
quette had not spoken a word. Rosita held the
weeping child in her arms, and from time to time
dried her eyes with a lace handkerchief, which
soon became nothing more than a little wet ball.
A domestic in livery ojjened the door of a vesti-
bule where flamed the gas-jets of two immense
gilded candelabra. Aurelie had heard the car-
riage, and with an unruffled, tranquil air, she
descended the staircase which, between two bal-
ustrades of green marble, led to the upper floor.
"Is it over?" she asked Rosita.
"Yes, it is over, and I have taken Criquette,
and I shall keep her always."
"Yes; always! always! She is my child, my
Then, suddenly changing her tone, she asked:
" Is the Prince here? "
"Yes, Madame, in the smoking-room."
"Take Criquette to my room, I am going to
speak to the Prince, and will be up in a mo-
"Very well, Madame."
Criquette was utterly exhausted, and she let
them do with her as they pleased. She ascended
the stairs, supported, almost carried, by Aurelie.
Rosita entered the smoking-room. The Prince
was asleep in an arm-chair, with an extinguished
cigar held between his fingers. The pages of a
sporting journal lay scattered on the carpet. The
noise of the opening door awoke him.
"Oh, here you are at last!" he said, as he
"It must be late. I have been asleep. Well,
how is that poor woman? "
"She died an hour ago in my arms. And do
you know what I have done? Something that
you will approve of, I am sure. I have taken
" Yes; she is upstairs, and I am obliged — "
"To send me away! "
"Yes. But come to-morrow morning before
ten o'clock; you must attend to the funeral and
the purchase of a lot in the cemetery. I will
explain to you what I want."
"Can not Aurelie see to all that, my dear? "
"No, I shall need Aurelie for something else.
Criquette has nothing to wear, and she must
have a black dress for day after to-morrow.
Aurelie will take her to my dressmaker's. Go,
my friend, go, and come to-morrow."
"Yea, to-morrow morning."
"I have done right, have I not? Say that I
have done right."
** Then kiss me for my good action."
He kissed her, lit a cigar in the vestibule, and
walked slowly away along the Rue de Gramniont.
Rosita ran quickly upstairs. As she opened
the door of her room, she saw Aur^lie coming
*' Hush, Madame! She is worn out with fatigue.
She fell like a log on that sofa, and at once was
" It is better to leave her there."
"I think so."
"But put one of my wraps over her so that
she won't take cold."
"Very well, Madame."
While Aurelie was placing a shawl over Cri-
quette, the child, opening her eyes, murmured:
' ' Mamma! Mamma! ' '
And she gazed sleepily up at the two gilded
cupids which upheld the heavy curtains of blue
brocade draped about Rosita' s bed.
" Sleep, my child, sleep."
She fell asleep again, and the two women stood
looking at her.
At the same moment the Prince was mounting
the steps of one of the boulevard clubs, where
every night a great Turkish lord, enormously
rich, played piquet, and accepted all the beis
A game was Just finished, and another was
about to begin. Saveline said to the Turk:
" Will you take another bet?"
' ' With pleasure. ' '
"A louis the point."
At four o'clock in the morning, the Prince left
the club; he had won fifteen hundred points, that
is, thirty thousand francs.
"Well," he thought to himself, "I shall
have a good profit left after burying Criquette's
mother. Rosita's good action has, perhaps, taken
the spell off me. Before to-night I have had
atrocious luck for six weeks."
The funeral took place the next day at eleven
o'clock in the morning. Criquette, with Pascal,
was the chief mourner. Then came Rosita and
the charcoal- woman; then the manager and one
of the authors, the one who usually represented
the literary firm at interments; then the Prince
and Bidache; then all the personnel of the thea-
tre: artists, dancers, chorus, dressers, machinists.
While the procession was slowly ascending
the Rue de Paris, the author spoke to the mana-
ger of Criquette.
"Poor little thing!" he said. "Poor little
thing! " He repeated five or six times mechan-
ically these words: " Poor little thing! Poor lit-
tle thing! " Then, without any transition:
" When will she play again? "
The next day at two o'clock Kosita went to see
her man of business, whose name was Narcisse
Plan tin, and who was the son of a provincial law-
yer. He had succeeded his father in 1847, and
immediately admonitions and reprimands from
the chamber of advocates inundated the office.
Two years afterward, Plantin was forced to aban-
don the business. His career had been one long
succession of questionable and illegal practices.
There was only one thing for him to do — to
come to Paris, the natural refuge of all shady
personages. He bought for ten thousand francs
a business, the affairs of which were in a lan-
guishing condition. Plantin was active, intelli-
gent, and audacious; he soon brought the business
up, and increased its customers; and he sought
these customers in the world devoted to pleasure;
that is, in that society where flourished protests,
injunctions, seizures, and sheriff's sales. The
former lawyer was an expert in the art of unrav-
eling his clients' affairs, unless it was for his
interest to entangle them still more, in which
case he did not hesitate to do so.
He had no longer anything to fear from the
chamber of advocates, so he launched himself
boldly into the most risky enterprises. There
was, of course, th« imperial prosecutor, who from
time to time summoned him before him; but from
these trying interviews Plantin always departed
without any serious injury, which proved his dex-
terity in gliding through the meshes of the code
and the fissures of the law.
Plantin had made for himself many pleasant
and even brilliant acquaintances; he had found
backers for two or three theatrical managers who
were in difficulties; he had helped out of very
embarrassing circumstances a number of aristo-
cratic young men, who, whether they wished to or
not, were obliged, through gratitude, to speak
to him in public and to shake his hand.
So Plantin began to be seen the first nights
at the theatres and at public funerals, and to
count among the notabilities of that famous all
Paris^ which is composed of a thousand persons.
And all this because he had led the life of a fili-
buster in a little provincial city and been driven
away. His fellow-lawyers, by obliging him to sell
out, had thought to ruin him; but, on the contrary,
they had been the making of him. He had made,
buried in Limousin, a wretched six or seven thou-
sand francs a year, and at Paris his income was
sixty or seventy thousand. Sometimes misfort-
une, even dishonor, in a worldly point of view,
proves a blessing.
"Ah!" said Plantin, as he saw Rosita enter
his office, "another quarrel with your uphol-
sterer? He demands of you fifty-eight thousand
francs, and you offer twenty-three."
This, in fact, was the matter which had first
brought Rosita to Plan tin; but the actress, with
n grave and serious face and a theatrical gesture,
*' No jokes, please, my dear Plan tin! Tliis is
not the moment for that. When you know what
has brought me here, you will see for yourself. I
have a daughter, Plantin; I have a daughter! '*
" For the last three days."
" For the last three days?*"
*• Ah, to be sure; you have taken Criquette. I
read it in the papers. Well! what have I to do
with that? I don't understand."
** You will in a moment. I wish to bind Cri-
quette to myself by the strongest ties. I wish to
make her legally my daughter, to adopt her, in
"Adopt her! Adopt her! How you do goon!
In the first place, are you fifty years old? "
" Fifty! I? No, I am not fifty. What a ques-
"Well, then, it is impossible for you to adopt
her. Return when you are fifty, if you still
have the same fancy."
"Fancy! Ah! I see what you think. You
think that, without reflecting, I have yielded to
an impulse which time will modify. No, Plan-
tin, no! Criquette is my daughter to-day, and
will remain my daughter always, always, always,
always! Do you understand? "
" Yes, yes, I understand."
** And I can't adopt her nntil I am fifty? Does
the law say anything so stupid as that? I have
no right to be good before I am fifty; no right
to have any heart! Come, Plan tin, there must
be some way to do it. Read up your code a
"Very well," taking up a book. "Adoption
of children is scarcely my specialty. WaitI
Adoption. I don't know — oh, yes. Article 343,
and following. Ah! this is what I was looking
for. Yes, there is such a thing as official guardi-
anship, but for that, as well as for adoption, the
necessary age is fifty."
"There might be something else. This child
has no father, nor mother, nor family of any
" She has absolutely no relations. I sent
Aurelie yesterday to Belleville — ^"
"Oh, is AureUe weU? "
" You have a valuable maid there, who knows
your affairs better than you do yourself, and who
looks after your interests."
" I know, I know. She had a long talk with a
charcoal-woman who was a friend of Criquette's
mother. This is the way things stand: Her
mother was a foundling, and, consequently, there
are no relatives on that side. When her father
died, they wrote to the mayor of his village; it
was thought he had some connections there, but
none could be found."
"Oh! when there is no money to receive, rel-
atives are never found. Well, in that case, per-
haps what is called a family council might be
appointed to act as guardians of the child."
" And I could form a part of it."
" How many are there in a family council? "
"Six. When there are no relations, people
who are interested in the child are chosen."
"I, first of all."
"Then my mother. Write down the names."
" I — my mother — the Prince — "
"No, not the Prince."
"Not the Princel Do you think he won't
consent? I should like to see him refuse 1 "
"He would consent, I am sure, but the law
would not allow him."
" The law again! "
" In France, a foreigner can not form part of a
"That's a shame! Here is a foreigner, rich,
very rich, who is all ready to devote himself to a
child's welfare, and the law forbids him. Well,
we will give up the Prince, but I would like some-
one like him, some gentleman. I will ask Jau-
nard, the little Baron Jaunard. Do you know
" Is not there a judgment out against him? "
" No; he discharged that three weeks ago."
" If it still stood, he could not — "
"He has discharged it, I tell you."
"I will write down his name, then."
"Then, Bidache, one of my fellow-actors."
"I know, I know. He is very funny in 'Gri-
"He overacts a little, at times."
"I did not think so."
" Let me see, that is four, is it not? "
"Monnet, our stage-manager. He is a good
fellow, and we want the very best in the council."
" That makes five."
"And you. Will you be one?"
"Why, if you choose."
" There are your six, then. This family council
will be a very good one."
"It will not be bad — a little of everything."
"Now be serious, Plantin, please, and arrange
the matter. I want to assure Criquette's future.
I want to leave all my fortune to her."
"I know that just now my affairs are a little in
"A little! Very much so. We examined your
pecuniary position the other day with Aurelie."
"I know, but I am going to ask the Prince to
arrange matters for me once more; and then I
shall be sensible, and commence to save. Cri-
quette will oblige me to be serious and honest. I
shall be better, thanks to her; I shall be another
woman. Poor, dear child! Do you want to see
her? She is below there in my carriage. Look! "
Rosita raised the shade, and Plantin, standing
at his client's side, looked out. Criquette was
seated in Rosita' s barouche, dressed in deep, but
very elegant, mourning. Rosita had ordered a
black dress, very plain and simple; but even the
plainest and simplest costumes that came from
Rosita' s dressmaker had an indescribable style
Near the carriage-door stood C61estin, the
groom. Out of the comer of his eye he was
regarding his new little mistress. Rosita had
given him tickets one evening for "Gri-Gri," and
Criquette had sent him into convulsions of laugh-
ter. How he did long to talk to her! They
would have understood each other very well.
They were of about the same age, and they came
from neighboring places. Criquette was from
Belleville, and he, Celestin, from Menilmontant.
Rosita was a native of Vaugirard. As /or the
English coachman, who held himself erect in the
most iiTeproachable manner ui)on the box, he
boasted with pride that he was the natural son of
a lord. He only, therefore, of them all, was of
Plantin watched Rosita enter the carriage and
drive away, then he drew down the shade and
returned to his desk, thoroughly resolved not to
bother his head much about Criquette' s family
council. To be sure, he had agreed to form part
of it; but this had been, in the first place, in order
not to disoblige his client, and, secondly, because
he was certain that this brilliant council would
never be formed.
"She will have forgotten all about it in six
weeks! " he said to himself.
Whereupon he returned to his work, and racked
his brains as to how he could induce, without too
much scandal, the dowager Marquise de Chatel-
Benard to pay twenty-five thousand francs to
Mademoiselle Rose Glandier on account of the
young Vicomte de Chatel-Benard, who, being a
minor, did not have the wherewithal to satisfy
those young persons who amused themselves by
making him sign his name on bits of stamped
paper. Plantin did not like scandal, on princi-
|)le, and never resorted to it except in the last
There was some exaggeration in Plantin' s pre-
diction. At the end of six weeks, Rosita still
thought of becoming the adopted mother of Cri-
quette. She thought a little less of it, but still
she thought of it.
Rosita' s maternal exaltation was maintained,
during the first month, at the very highest pitch.
The child breakfasted with her every morning
and dined with her every evening. Criquette had
returned to her duties at the theatre, but she had
not resumed her place in the dressing-room in
the flies, where she had dressed with the four
little girls who attended her as maids of honor
in the procession. There was a sort of closet
communicating with Rosita' s dressing-room. In
twenty-four hours this had been transformed into
a very elegant little room for Criquette. So she
lived absolutely the same life that Rosita did,
going with her every day to take a drive in the
Bois. At first, during these drives, Criquette
felt awkward and ill at ease; she held herself
erect, not daring to lean back; but very quickly
she became accustomed to all the luxury that
surrounded her, and she assumed in her corner of
the carriage an easy, nonchalant attitude, disjilay-
ing a sort of immature grace.
Rosita made Criquette walk every day in the
Bois for half an hour. And then she delivered
the same ready-made speeches to everyone she
"This is my child! my daughter! and I am so
happy! The sentiment of duty, you know. I
have always wanted to have children, a daughter
especially; and you shall see how well I will
bring her up. Just now, her work at the theatre
is enough for her, and I don't dare to have her do
anything more. But, after 'Gri-Gri' is over, I
want her to receive a thorough education. I shall
give her a governess. The Prince has already
written for one to England," etc.
Meanwhile, Criquette' s list of acquaintances
was extending. She had known for a long time
how to say "Prince." She learned one evening
in Rosita' s dressing-room to say "Monseigneur"
and "Your Highness." She was destined to
learn more still.
It was about a month after the death of her
mother. Passing through Paris was a young
monarch who, plying conscientiously his trade of
king, desired to be informed on all points, and to
see everything for himself. He was curious to
visit the hotel of one of the most beautiful women
in Paris, whom he had noticed the evening before
in a spectacular piece at the Porte- Saint-Martin
theatre. Afterward he was to be present at a
session of the Legislative Assembly, where about
four o'clock a speech was expected from Jules
Pavre, in opposition to the official candidates.
His engagements for the day and evening were
thus entered upon the memorandum-book of his
Three o'clock — Mademoiselle Rosita.
Four o'clock — Palais-Bourbon.
Six o'clock — Audience to the Austrian ambas-
sador. Question of tariff customs.
Half -past eight o' clock — Palais-Royal Theatre.
*' Mimi's Memories." Boxes 2 and 4 in one.
So at three o'clock in the afternoon, as Cri-
quette was seated in the dining-room near a win-
dow, looking over a picture-book, she saw Aurelie
enter, and rose. The appearance of the woman
always inspired her with a certain emotion which
was akin to fear; she did not know exactly why,
but it was so.
" Listen, my child," said Aurelie.
" And pay strict attention to my words. There
is in Madame' s room a person who desires to see
you. This person was at the theatre last night,
and thought you very nice. You must not speak
to this person as you would to ordinary people.
You must say to him Sire, and Your Majesty, and
you most pat all yonr sentences in the third per-
son. Do you understand)"
** I think so, Mademoiselle."
'* Let us see. For example: To an ordinary per-
son you would say, * How do you dol ' but what
would you say to this person? "
" How does Your Majesty dol "
" Exactly. Go, my child, gol '*
Criquette entered the room, and the personage
who was there said to her:
"Good-day, my child.'*
"I have the honor to salute Your Majesty."
* ' Approach. Do not be afraid. ' '
" I am not afraid. Sire."
*' Can you repeat for me your kick of last even-
"I should be very glad to, Sire; but Your
Majesty understands that it is a little difficult —
without the excitement and the words."
Rosita then rose and gave her the cue. Th^
kick was assuredly not so well done as it was in
the evening on the stage, but it was very good,
however. The august visitor deigned to be
pleased, and placed two louis in Criquette's hand,
" Here; that is to buy you a doll."
Such was the beginning of that thorough edu-
cation Criquette was to receive from Rosita.
Criquette carefully placed the two louis she had
received from the young king in a twelve-sou
porte-monnaie Pascal had given her for a birth-
day present; but she had the misfortune to lose
this porte-monnaie the next day. This was a
great grief to her; but, to do her justice, it was not
the two louis she regretted most, but Pascal's
Criquette was destined to recover one day, and
at a very opportune moment, both the porte-mon-
naie and the two louis.
One forgets quickly at eleven years old. A
month at that age counts for many months. Cri-
quette, however, stUl thought of her mother, and
tears would mount to her eyes at the remem-
brance. Rosita resigned herself to a separation
from Criquette at night, and the child slept in a
room next to that occupied by Aurelie. One
night she awoke with a start, crying out:
" Mamma! Mamma! " and looked about her in
astonishment not to see the attic-room in Belle-
ville. Then she heard Aurelie' s voice saying:
" Go to sleep, my child; go to sleep."
Another night Criquette had a horrible night-
mare. She thought she felt upon her lips the
chill of her mother's last kisses. She commenced
to cry. Aurelie rose hurriedly, and had much
difficulty in calming the child, who, however, at
last became quiet. Aurelie watched her closely,
and when she had fallen asleep again, kissed her
— for the first time.
Thus passed the first weeks in the new abode.
Wus Criquette unhappy? No, certainly not; she
was only a child, and of course she liked to live in
this pretty house, to go to the Bois in magnificent
carriages, to wear fine dresses, «nd to eat good
things; but still she was not exactly happy, for
she had a great trial to l)ear. She saw Pascal
only in the evenings at the theatre, and then but
for a few minutes at a time. He was her only
friend on earth, her comrade, her brother. She
almost reproached herself for being so well-housed,
well-fed, and well-dressed; for being rich, in short
(for she thought that she was rich and would
always be so), while Pascal had remained poor.
She longed to be able to share everything with
him. She never forgot to place aside for him the
half of her dessert, watching for the moment
when Rosita was not looking, and then hiding in
her pocket little cakes and candies. One evening,
Rosita caught her.
"Oh! j'^ou greedy little thing! " she said.
"It isn't for me," answered Criquette, blushing
scarlet. " It is for Pascal."
"Poor little thing, how sweet of you I Take
them, my angel; take all that you want."
From that day, Pascal had every evening a
princely dessert. He came to the theatre early,
put on his monkey-skin, and went to the side-
scenes to watch for Criquette; not for the bon-
bons and the cakes, but for Criquette herself,
whom he loved with all his heart, and whom he
longed to see again. The two would go and sit
down in a little dark comer where no one could
disturb them, and there they talked for a quarter
of an hour or so. These were the happiest mo-
ments of Criquette' s life.
"Come, eat, eat! It is good, isn't it? It is
one of the same kind tliat you liked so much the
They formed plans for the future. The theatre,
always the theatre! They would enter the Con-
servatory; they would take all the prizes; they
would be engaged by the same manager, and they
would live together always!
At the end of the first month, an incident oc-
curred which brought about a great change iK
Criquette's life. Lying flat on the carpet of the
salon, she was playing one afternoon with Rosita's
little dog. From time to time she stopped to
listen, thinking that she heard loud voices and
the sound of a quarrel in the next room. Then
she began to play with the dog again.
It was indeed a quarrel, and a violent one,
which had broken out between the Prince and
the actress. Rosita, after much hesitation, for
she knew it was a dangerous subject to broach,
had asked Saveline, for the sake of Criquette,
her daughter, to once more pay her debts. She
had thought to soften the Prince by mentioning,
in the very beginning, Criquette's name. But
the result was disastrous.
"For Criquette's sake!" exclaimed the Prince.
"Well, yes, let us speak of Criquette, my dear,
if you like. To have taken that child was folly."
"Ah! There you go, just like Plantin, the
other day, reproaching me for being charitable,
for having some heart."
" No, I do not reproach you. The little girl is
very nice and interesting. If you sent her to
school and paid the expenses of her education,
very well. I should be quite ready for that.
But to have installed the child here with you,
and to exhibit her every day in the Bois — "
*'0h! Exhibit her!"
" Yes; exhibit her. I say that it is absurd and
bad, in the interest of the child herself. That is
my opinion. As for paying your debts, no! I
give you ten thousand francs a month, and that
ought to be sufficient for you. Besides this
hundred and twenty thousand francs a year, I
have twice, in the last five years, paid your
debts, which each time amounted to two or tliree
hundred thousand francs. You ai*e too extrava-
gant. I can not aflford it. Then, besides, I have
been very unlucky at cards lately, and have lost
a large sum. So, what has happened? I have
been obliged to make my property yield me more
money than it did formerly — to force my stewards
to more severity. I did not like to do that. 1
am not naturally cruel, and it annoys me to be
obliged to squeeze my people because of you."
** Say, rather, because of gambling."
"Because of gambling and because of you.
Both things, if you like; but especially because
of you. You cost me much more than gambling
'• Yes, mwch more."
"And that is not all. Our czar is surrounded
by a miserable set of advisers, and they have filled
his head with extravagant liberal ideas. They
counsel a mad act — emancipation of the serfs;
and such a piece of folly would make a great
change in my affairs. It would reduce my income
by at least one-third. For all these reasons, I
will not pay your debts."
The discussion went on, and finally became so
heated that Saveline, in exasperation, seized his
hat and abruptly left the room.
Criquette was still on the carpet, making the
little dog play with a paper ball attached to a
The Prince's movement to depart was so vio-
lent that he could not stop himself, and he
stepped on one of Criquette' s hands. The child
uttered a loud cry, and sprung trembling to her
"It is unbearable having this child always in
one's way! "
And, taking her by the arm, he flung her across
the room upon a divan. The Cossack reappeared I
Then Criquette, frightened and hanging on to the
edge of the divan, faltered:
"I beg your pardon. I ought not to have been
Rosita threw herself down on her knees beside
Criquette, and encircled her with her arms to pro-
tect her. Attracted by the child's cry of pain,
Aurelie appeared in one of the doorways.
Saveline recovered himself. He was not bad-
hearted, and his act of cruelty suddenly horrified
''It \b I," he said to Oriqaette, "it is I who
should ask your pardon. I was wrong. Did I
"No, Prince, no."
" Show me your little hand."
"It is nothing. It is nothing at all. I was
frightened. I ought not to have screamed."
** Don't cry. I will send you a beautiful toy.
Would you like a beautiful toy?"
" Yes, indeed," answered Criquette, smiling
through her tears.
Before leaving, Saveline turned to Rosita
"Yes, I was wrong; but she ought not to have
been there. She said it heraelf, not I."
An hour afterward, in the boudoir, a servant
turned the handle of a parlor organ, upon the
cover of which was a monkey playing a violin,
with winkings and grinnings that showed his
Criquette sat on a low chair and watched it;
but there was no joy on her face at the possession
of this marvelous plaything; on the contrary,
there was a shade of sadness. A monkey! She
thought of Pascal.
Meanwhile, Aurelie and Rosita were discussing
the situation. In serious matters, Rosita always
consulted Aurelie, and usually followed her
advice. Aurelie was very calm, sensible, and
prudent. Her manners and education were much
above her station. She spoke slowly and cor-
rectly, in short, crisp sentences. A hundred times
people had said to Rosita: "Your maid is really
a well-bred person." Aurelie' s spelling was the
admiration of Rosita; she never made a mistake;
and thanks to this, Rosita passed, among her
acquaintance, for a person who wrote very well,
the greater part of her letters being written and
composed by Aurelie.
Despite all these merits, Aurelie remained
strictly in her place, never sought to become
familiar, and always addressed her mistress, even
when they were alone, with the utmost deference.
She had been fifteen years in the house, and no
one, not even Rosita herself, had succeeded in
drawing from her the slightest information in
regard to her former life. She never received
either letters or visitors. She never went out,
except to go about once in three months to see a
broker who had once been intimate in Rosita's
Curious and piqued at all this mystery, Rosita
had one day tried to confess Aur^lie; but the
latter answered very decidedly:
*' I shall be grateful to Madame not to ask me
any questions as to my past. My early life waa a
very hard one, and I had many sorrows. I don't
like to think of it all. Do not force me to recall
painful memories. I serve you faithfully, and
that is the essential thing. Let the past sleep in
However, during the first part of 1860, Aur61ie
appeared to feel a certain friendship for a Madame
Guarena, who came for two or three weeks to give
Rosita lessons in Spanish, but lessons of a rather
peculiar sort. Rosita had been cast for a part in
which there were eight or ten Spanish sentences
to be spoken, and it was Madame Guarena' s task
to make the actress repeat these sentences over
and over again. Madame Guarena was a woman
of about sixty, thin and sickly-looking, but with
very distinguished manners. She arrived very
promptly at the hour appointed for the lesson,
and Rosita, whose time was always very much
occupied, would send Aurelie to ask her to have
the kindness to wait a little. This little usually
absorbed three-quarters of the hour which was to
have been devoted to the lesson.
To Rosita' 8 great surprise, Aurelie fell into the
habit of keeping Madame Guarena company. A
sort of friendship had evidently sprung up be-
tween the two women, and the end of the lessons
did not put an end to the friendship. During the
five months that followed, Madame Guarena came
CEIQUETTE. ' 96
very often to see Anrelie, and they had long con-
ferences together. Finally, toward the end of
April, Aurelie informed Rosita that she desired to
have one or two days' leave of absence each month.
She left early in the morning, and always returned
in the evening in time for the theatre.
One morning, early in July, the servants sent
the groom to follow Aurelie. He returned an
hour later and reported that she had gone to
the Northern Station, where she had purchased a
ticket, but for what destination Celestin could
not tell, as he was naturally obliged to keep at a
distance. But after Aurelie' s departure, he
copied the names of the stations on the bulletin
board: Beaumont, Meru, Beauvais, Saint-Omer,
Amiens, Le Treport. They never knew anything
As we have said, Rosita and Aurelie discussed
the situation. The maid squarely declared that
the Prince was in the right.
"But what is to be done?" asked Rosita.
"Abandon Criquette? Never! "
"There is no question of that, Madame. If we
could at once take the child from the theatre, and
place her in school, it would be the best thing to
do; but Criquette has a contract, and the mana-
ger will not release her so long as ' Gri-Grri ' is on
"What is to be done, then? What is to be
"Criquette passes the night upstairs with me.
She might pass the day there also. The Prince
will not see her uuy more, aud all annoyance will
*' I had thought of that, but I did not want to
speak to you about it. I was afraid of disturbing
** Nothing disturbs me when I can oblige
"And then, it is not that only. I thought I
had noticed that you did not like Criquette."
"Oh, yes, Madame," responded Aur61ie, in her
chilly tones, " I like Criquette; I like her as much
as I can like anyone. Madame knows very well
that I am not demonstrative."
"Then you will take her with you? "
"Yes, that would be best for the child. It
is not good for her to be mixed up in Madame' s
life. I will give her lessons in writing, spelling,
and geography. I am capable of teaching her."
"I know, I know. Well, let us try that."
A new life began for Criquette, a very monoto-
nous and colorless life. She had now only one
pleasure — the theatre; that is to say, her part and
Pascal. But how long the day seemed to herl
Aurelie made her work for two hours every morn-
ing. The lesson always commenced with a dicta-
tion, invariably taken from the Scriptures.
And while Criquette wrote, leaning over the
little table, she thought of Pascal's dictations,
mingled with jokes and laughter. Work was a
pleasure then! And the speeches of their dear
melodramas returned to her memory, so that the
poor little thing, one day, instead of writing that
"the spirit of the Lord descended upon David,"
wrote that " the spirit of the Lord descended upon
When Aurelie took the dictation to read it over
and correct it, Criquette was scolded; not too
much, however, for Aurelie was never harsh or
severe. She even did her best to be gentle; but
habit was too strong for her. One can not learn
to be tender with children; one must be so nat-
urally, by inclination. To love is the surest
means to make oneself loved. Now, Aurelie did
not love Criquette, and yet, coldly and calculat-
ingly, she devoted much of her time to the child.
That evening Pascal said to Criquette:
" You look sad. Is Mademoiselle Aurelie cross
" No, she is not cross. I should be ungrateful
if I said that. She is kind. Yes, she is kind.
She kisses me every morning and every evening;
but — it is silly what I am going to say, it is silly,
but it is true — it seems to me that she does not
know how to kiss. Mamma knew. Ah, she is
not mamma! And then, you see, Pascal, I think
that no one else could be mamma."
Gradually the talks of Criquette with Pascal
at the theatre became shorter and less frequent.
Aurelie watched Criquette very closely; she
would not allow her to run about behind the
scenes, but obliged her to remain in the dressing-
room until it was time for her to go on the stage,
and to return there when she had finished, Pascal
was forced to roam about and catch glimpses of
Criqaette, who, every evening at the end of the
play, perched upon a platform during the trans-
formation scene, threw with both her hands to
Pascal, crouched behind the scenes, the kisses
which the authors had told her to throw to the
Soon there were no more talks at all, for there
was no more going to the theatre. Early in
August "Gri-Gri" disappeared from the bill,
killed by the heat, after a very respectable run of
one hundred and thirty nights. It waa followed
by a drama, in which there was no part for Rosita
or Criquette, but which served as a debut for Pas-
cal. He had one sentence to speak, a sentence of
five words, uttered by a boy in the midst of an
Pascal's debut! Rosita was to be present at
the first representation, and Criquette, the evening
before, said to her:
"Oh! please take me with you to the theatre
to-morrow evening. I would so like to see Pas-
cal make his debut."
Rosita was touched, and promised to take her;
but after a long conversation with Aurelie, she
changed her mind and told Criquette that she was
not to go. It was a terrible blow to the child,
and she wept bitter tears. The next evening it
was impossible for her to sleep. Pascal was
making his debut, and she was not there to
applaud him with all the strength of her little
hands. She turned back and forward restlessly
in bed. The door into the next room was open,
and when midnight sounded Criquette saw Aure-
lie methodically lay aside her work, rise and
leave the room; not, however, without casting a
glance at the child, who pretended to be sound
asleep. Aurelie went down-stairs to read the
evening paper while waiting for her mistress.
Then Criquette had an idea. An hour after-
ward, when she heard Kosita's carriage stop in
the courtyard, she slipped out of bed, and in her
bare feet, her black hair floating over her shoul-
ders, she looked down over the balusters. She
was about to call out, "Madame, Madame, did
Pascal do well? " when she saw the Prince slowly
mounting the stairs after Rosita. Then she
jumped backward, trembling and alarmed,
remembering the Prince's anger the day when
she was playing in the salon with the little dog.
All she heard were these words, spoken by the
" That play was a terrible bore! "
The next morning Criquette watched for Pascal;
but Pascal did not come. The whole day passed,
and still Pascal did not appear. Criquette could
not speak to Rosita, as the latter was very busy.
The Prince was to depart that evening for Saint
Petersburg. As marshal of the nobility, he was
obliged to go home to Saratov and look into
that terrible question of the emancipation of the
serfs. Rosita was to leave the next day for
Dieppe, with Aurelie and Criquette.
About five o'clock Criquette was alone in her
room, pretending to study her geography, but
her thonghts were elsewhere. Suddenly she saw
the door open and the^groom cautiously appear.
*' Is there anyone here* " he whispered.
"No; no one."
" Take that, then, quickly. It comes from a
little actor you know; but take care and don't let
Mademoiselle Aui-elie see it. The little actor is
waiting in the street. If there is an answer, I
will take it to him. You can give it to me with-
out anyone seeing you. I shall be below in the
He placed in Criquette's hands a folded piece of
paper, and hurried away.
It was a letter from Pascal, and this is what he
Mv speech went very well. It made them
laugh, and that was all right, for it is a comic
speech. Sometimes, there are speeches which
make them laugh when they ouglit not to, but
my speech was meant to be funny. The author
was pleased. He told me that I did well. I
came this morning to tell you about it, but they
would not let me m; they had orders from Made-
moiselle Aurelie. The groom told me this. A
good fellow, the groom. He will take you my
letter. They want to separate us, Criquette. It
is that wicked woman; but she can not do it;
we shall see each other again, Criquette, and I
shall love you always, always; remember, always.
I kiss you, Criquette, and I am very glad that I
did well, and I am sure that you are glad, too,
Yes, she was glad, the dear little thing, and yet
her eyes filled with tears. They wanted to sepa-
rate her from Pascal! He was waiting for her
answer in the street, and, as the house was built
between a courtyard and a garden, there was not
a window that looked out on the street. Cri-
quette's first impulse was to run out to see Pascal.
But would the congierge let her pass? All the
servants were afraid of Aurelie. Criquette knew
that, and they were not all as brave as the little
groom. The poor child, already condemned to
stratagem and deceit, thought it all over, and
finally concluded that it would be better to write
and not expose herself to the wrath of Made-
moiselle Aurelie, who might then forbid her ever
to see Pascal again. And then, too, she might
discharge the groom. This last thought decided
Criquette; she took a piece of paper and wrote:
Yes, I am glad, but very unhapy to. So will
I, Pascal, luv you allwaze, allwaze, allwaze.
At this point, she heard Mademoiselle Aurelie
enter the room, and she hurried away, carrying
her letter. The groom was alone in the hall, and
Criquette, not knowing how to show her grati-
tude, kissed him on both cheeks, saying:
" Thank you! Thank you! "
She felt that, like herself, he was of the people,
and kind, like herself.
The next day, at ten o'clock in the morning,
Rosita said to Aurelie:
"Take a cab and go at once to see Plantin. I
have not had a minute to myself lately, and this
morning I am worn out."
*' What am I to ask Monsieur Plantin? ''
"Ask him how the family council for Criquette
is progressing. He will know what that means.
It was very wrong of me to have neglected it, but
the Prince's departure has completely upset me."
"Is there uny need to huny? We shall return
in a month."
Aur6lie spoke this last sentence very slowly and
deliberately, like a person who has in her head
something different from that on her lips. Then,
suddenly, she continued:
" Yes, Madame, I will go to Monsieur Plantin's.
I will go at once."
And, in fact, without losing a moment, she
started off. When she arrived at Plantin's office,
she said to him:
"What is this guardianship, this family coun-
cil for that little girl Madame has taken in? "
"Nothing serious. I mentioned the thing to
your mistress to quiet her. Has she still such
a plan in her head? "
" It seems so, since she has sent me here. What
is it that Madame wishes?"
" To be appointed guardian of the child."
" And that is difficult? "
" It is impossible."
" Because, in the first place, she is not yet fifty."
"Ah! that is essential? "
"You said in the first place. Is there any
"Yes; a very serious one. No judge would
give a child to the guardianship of a woman who
lives the life your mistress does. You under-
stand me, I think."
"Perfectly. Then, if Madame' s life were dif-
ferent — "
"Ah! if she were a respected person."
"Respected and more than fifty. Could you
show the articles of the law in which this is
"Why do you wish to see them? "
"Because of Madame. To prove to her that I
have interested myself in the matter. Show them
to me, please."
"Willingly. Look! Article 361, and follow-
ing, on official guardianship. But it is a little long
and complicated. There are a dozen articles."
Aurelie read only the first two articles; then,
handiifg the book back to Plantin, she said:
"It is, indeed, a little complicated for me. I
will simply say to Madame that it is impossible."
And that is what she did say to Rosita on her
return; but what she did not say to her was that
she had bought a code at a bookstore, on her way
home; and she took this code in her bag with her
A week afterward, at Dieppe, Rosita received
the following letter from Saveline:
My Dear Rosita: I have found my affairs here
in very bad shape. I intended to remain only
two weeks, but I shall be forced to stay three
months, perhaps six. I can not live without you.
Come and join me at once, at once. On this con-
dition only will I pay your debts. And come
without the little girl, of course. Put her at
school. I will pay tlie bills. Our czar is resolved
to proclaim this ruinous emancipation. I love
you. God bless youl Sa valine.
The czar was to emancipatis Saveline's serfs.
That was in his power; but it was not in his
power to emancipate their master, who lived in a
slavery harsher and more humiliating still.
Rosita received this letter in the morning at
nine o^ clock. She at once sent for Aurelie and
said to her:
"We leave at noon for Paris, and this evening
for Baint Petersburg. Here is what the Prince
writes me. On this condition, he will pay my
Aur61ie read the letter attentively, and, hand-
ing it back to Rosita, replied:
" Madame can not hesitate. Madame must go;
but I can not go."
"You can not go!"
"No; I regret to be obliged to leave Madame' s
"To leave my service! You are not serious,
" Very serious, Madame. I am worn out and
far from well. I might have remained, and even
desired to remain, some time with Madame in
Paris; but I do not feel that I have the strength
to go to Saint Petersburg."
"You are rich, it seems, to be able to retire."
"I am not rich, Madame. I have enough to
live upon, it is true, but I am not rich. The
money I have made with you the last fifteen
years I think I have earned. My profits have
been large, doubtless. Why should I deny it?
But if it had not been for me, you would have
been robbed worse than you have been. I have
always considered your interests."
"I believe that; but why leave me so ab-
"I should not have left Madame abruptly, if
Madame had not announced abruptly that it was
necessary to go to Russia."
"Well, then, don't go this evening. I will go
alone. Take your time. Take a rest, if you are
tired. You can join me in a week, or in two
" No, not in a week, nor in two weeks. I shall
not go to Russia."
"That is decisive?"
"I am very sorry, Madame, but it can not
"And that is not all. There is Criquette.
What shall I do with Criquette? Aurelie, render
me one service, at least. It gives me great pain
to separate from Criquette, but I must do so. I
am going to place her in a school in Paris.
Promise me to go and see her several times a
week, and write me after each visit."
" Even that is impossible. I do not intend to
remain in Paris."
"If you will do me this favor, I will continue
your wages during my absence. It is fifteen hun-
dred francs a year, I think, that I have given
"Yes; but fifteen hundred francs would not
induce me to remain in Paris."
** Ahl you must be rich, certainly."
"But I can do more and better than what
Miidame asks me."
"More and better?"
"Yes; I am willing to take entire charge of
Criquette, and for nothing, without accepting a
sou from Madame; but the child must be mine,
and mine alone."
" I intend to live in the provinces."
" In Lyons. I have friends there. I will will-
ingly devote myself to the child. It will give
me something to do. I will bring her up well^
give her a taste for work, marry her to an honest
man, and she will be an honest woman."
Rosita ended by yielding, but not without a
tearful struggle. She had thought for a moment
of confiding Criquette to the care of her mother,
but she knew how she herself had been brought
up by that mother, and sold by her after a long
bargaining, to a banker, for the sum of twelve
hundred francs a year. "I will marry her to an
honest man and she will be an honest woman."
Words of this sort always appeal strongly to
women like Rosita, when they have any heart,
and Rosita was not without that commodity. She
thought that she would be doing her duty if she
gave Criquette to Aurelie,
Three hours afterward, in the Dieppe station,
Rosita smothered Criquette with kisses.
"My angel, my love! Yon will write to me,
will you not? And I will write to you. Auerlie,
when do you intend to go away?"
"In a fortnight."
"And you will live in Lyons?"
" With the friends I spoke to you about."
" What is their address? "
"No. 11 Quai des Celestins."
The train moved away, and Rosita leaned out
of the window as long as she could see Criquette.
The poor child did not understand anything of
what was happening. Naturally, she had not
That same evening Aurelie addressed the fol-
lowing letter to Madame Pinglet, Congierge^ 11
Quai des Celestins, Lyons:
If you receive at Lyons any letters addressed
to me, send them under a second envelope to
Mademoiselle Aurelie Richard, Poste Restante,
Beaavais. From Beauvais, I will send you from
time to time letters, which you will simply mail at
Lyons. If anyone comes to ask for me at your
house, say that I live there, but that I am away
for a month or two. If they speak of a little girl,
twelve years old, who is now with me, say that she
Some years previous, this Madame Pinglet, who
was then Louise Rimblot, came to work by the
day for Rosita; and Aurelie had found in the
working- woman's pocket a ring belonging to her
mistress, which she had looked everywhere for.
She could have had the woman arrested; she had
spared her, but hud airiuiged uever to lose sight
The evening of Rosita's departure, when Cri-
quette was asleep, Aur61ie read over carefully the
ten articles of the code relating to official guard-
It may be well to explain into what hands Cri-
qnette had fallen.
Aurelie Richard was bom the seventeenth of
September, 1810, in Burgundy, at the Chateau de
Marigny, the home of the Count de Lustrac;
her mother, although very young, was the sole
housekeeper of that great house, and managed
things with a skillful hand; her father was head
gardener of the chateau; both were excellent serv-
ants and possessed the esteem, confidence, and
almost affection, of their employers.
Three days after Aurelie was born, Madame de
Lustrac gave birth to a daughter. The two
children were brought up together, absolutely
together, until they were seventeen. Valentine
de Lustrac was amiable, bright, laughing, and
affectionate, but turbulent, undisciplined, and
idle. Aurelie, on the contrary, cold, serious, and
of a reflective mind, showed from her earliest
years extreme application and an eager desire to
learn. For this reason she was given as a com-
panion- to Valentine. Aurelie was easily the
master-mind of the two, and the result was that
at seventeen she knew all that Valentine ought to
have known, and that, in her position, she herself
had no need to know.
Very intelligent and very well educated, Aur6-
lie, on the day of Valentine's marria^, found
herself little better than a servant. She was con-
fined to the linen-room, and passed all her time
in sewing and embroidering. She was religious,
went often to church, and even spoke sometimes
of becoming a nun. She was nineteen when
Madame de Lustrac proposed that she should
marry the son of a neighboring farmer. Aur^lie
refused. She did not want a peasant; she wished
to marry a shopkeeper or a clerk, to become a
lady, and go to live at Dijon. Valentine, on her
wedding-day, had told her that she would give
her a dowry of ten thousand francs. Tliis sum,
which is nothing to-day, even for a waiting-maid,
was considerable in 1829.
Two years after, Aurelie lost her mother, and
took her place as housekeeper. Firm, severe, and
honest, she had the gift of command; in spite of
her youth, she knew how to make herself
respected and obeyed. This did not prevent her,
however, from being extremely unhappy. There
is nothing harder than to feel above one's posi-
In 1834, Aurelie was twenty-four; she was thin
and sharp-featured. Two or three other offers of
marriage had been refused by her disdainfully
and without discussion. Always people of no
account — gardeners and farm laborers.
It was in the spring of that year that a cele-
brated sculptor was summoned from Paris by
Count de Lustrac to direct the work of repairing
the stonework of the chateau, which was an
example of the purest art of the Renaissance.
This sculptor did not come alone; he brought
with him a tall fellow of about thirty, with black
hair and white teeth, half workman, half artist,
very skillful in his profession, a fine talker, and
a Parisian. His name was Pierre Grassou. His
master came and went between Paris and Mar-
tigny; but Pierre installed himself at the cha-
teau, and stayed there six months.
The work was ended in the beginning of the
autumn. Pierre left on the seventeenth of No-
vember. The next day Aurelie disappeared. She
had followed him to Paris. Nothing burns like
dry wood when it takes fire, and Aurelie had
taken lire. One evening she had thrown herself
into the arms of this man and given herself to
him without conditions. He did not love her,
but he was a Parisian, and the country bored him.
When Aurelie arrived at Pierre's house in
Paris, he was angry and tried to drive her away.
He did not wish to be encumbered with a woman.
He had promised her nothing, nor had she even
asked anything. Aurelie, throwing herself at his
feet, begged and prayed to remain. She asked
only one thing, that he would keep her, no matter
where, in any corner. She would keep house for
him, prepare his meals, and look after his linen.
A word, a look from him now and then, would be
all she asked, and would repay her for everything.
He yielded, annoyed, but flattered at the same
time to be loved with such violence.
Then began for Aurelie four years of a verita-
ble martyrdom. Pierre beat her, and twenty
times brutally cast her out, tired of her love. She
always returned, humble and submissive, passing
entire nights upon the landing, and weeping —
seated on the floor near the door — she who had
never wept, not even when she lost her mother.
And yet, she had loved her mother and regretted
her; but there were no tears in her eyes the day of
One morning Pierre said to her:
" I am going to be married."
She leaned against the wall so as not to fall.
He collected her garments and packed them in a
trunk. She watched him with dry eyes. She had
wept her last tear. She hesitated between these
three things: to kill heraelf, to kill him, or to kill
her. She did neither. She lived, if it can be
called living. Her heart was dead.
She had expended on one person all that there
was in her of warmth and passion. Henceforth,
she was inspired with a profound disgust of all
that resembled love. Insults and blows were what
love had meant for her. She was destined to
find love again, or something that passed for it,
and to study it at her leisure in Rosita's house;
and there was nothing there to give her a very
high idea of it. Anrelie was twenty-nine wh^'U
she was turned out forever by Pierre Grassou,
and from that day man counted for nothing in
She went to a second-class employment office,
accepted what was offered her, and for twenty
francs a month went to live with a clerk of the
ministry of finance, who wanted a maid-of -all-
work. During six or seven years she lived in at
least twenty places. No one cared to keep her.
Everyone gave her excellent recommendations,
for she did her work well, but they all found her
She was not, however, very unhappy. She felt
a certain relief in being no longer that woman
who had suffered so much, in being no longer
herself, in being a thing belonging to her employ-
ers; they commanded, she obeyed mechanically.
She rarely spoke, never laughed.
Early in October, 1845, Aurelie was seated on
a bench in the employment office — how many
hours she had passed upon that bench! — when,
smart and dapper, there entered Mademoiselle
Julie, Rosita's waiting-maid. She was in need
of a good seamstress. She engaged Aurelie, and
from morning to night for three months the lat-
ter passed her time in sewing near a window, with
no other distraction than to watch the coachmen
water their horses in the courtyard. Aurelie
was very clever with her needle, and from time to
time Rosita complimented her on her work.
"Julie is pleased with you," she said one day;
" very much pleased with you; but why do you
look so sad? Shall I send you to the theatre this
evening? You will see me play."
Aurelie thanked her, but refused. She received
forty francs a month, and began to save with that
savage economy which was one day to bring her
to fortune. During the meals Aur^lie did not
open her lips, but she heard the servants talk.
What a frightful system of stealing went on in
the house! Everyone stole whatever he or she
could, and the thought came at times to the former
housekeeper that she would soon bring about a
change if she had these people under her.
And all of a sudden that really came to pass.
Rosita in a fit of anger turned her maid away,
and sending for Aurelie, said to her:
" I have discharged Julie. Take her place as
ivell as you can until I obtain another maid."
" I will try to please Madame."
A week after, Rosita said to Aurelie:
"I shall not look for another maid. I will
keep you. You are a very intelligent person."
Aurelie bowed. In six months she was sover-
eign mistress of the household. She had stopped
the thieving and reduced the servants to obedi-
ence. She herself was the only one to steal.
And yet was it stealing? She received from all
the tradesmen a percentage, which is the general
custom in Paris. She accepted, without ever
soliciting them, presents from Rosita' s friends
and acquaintances. She sold back every year to
a dry-goods house large pieces of satin, velvet,
and lace. These were Aurelie' s ordinary reve-
nues; but she had extraordinary ones also, and
very important at that. A veritable fury for
speculation broke out in France immediately
after the proclamation of the Empire. To make
money was easy. All one had to do was to buy,
and after a time to sell again. Everything
increased in value. Well advised by a prominent
financier, who had taken a violent fancy to
Rosita, Aurelie, from 1852 to 1856, amassed a
hundred thousand francs. Half this sum was
made by a single operation. She bought at par
thirty shares of Credit Mobilier and sold them at
the highest figure; the profit was fifteen hundred
francs a share.
It would not be uninteresting to enter into the
details of Aurelie' s makings and savings, with
the accumulated interest for fifteen years; but,
after all, but one thing is of importance, the
result, which was most brilliant. When Aurelie
made up her accounts the first of January, 1860,
she had for her own — her very own — more than
three hundred thousand francs, represented by
first-class property. It was just about- what
Rosita owed at the same time.
So for fifteen years the establishment had paid
its expenses, nothing more. The savings of the
maid balanced the debts of the mistress. It was
for this that Rosita, who had, to be sure, begun
very young, was already in her eighteenth year
of a life of glittering vice.
It was for this that for eighteen years the poor
girl had lied so much, eaten so much without
hunger, drank so much without thirst, loved so
much without love.
It was for this that a young man, dismissed by
her, had blown out his brains, and that the
mother of this young man had died of grief six
It was for this that a woman had boen forced to
separate from her husband, had gone insane, was
confined in a mad-house, and struggled furiously
in the embrace of a straight-jacket, while three
little children were without a mother.
It was for this that a man — almost an old man
— of a great and ancient family, after thirty years
of an irreproachable life, had one evening, because
Rosita had pressing need of fifty thousand francs,
cheated at play, been driven from his club, and
had stolen away to hide himself in an American
It was for this that a young man, ruined to his
last sou, had enlisted at twenty-six in a line regi-
ment and been killed under the walls of Sebas-
topol, redeeming, at least, his life by his death.
It was for this that in the government of Sara-
tov, at nine hundred leagues from that chamber
where flew the Cupids with gilded wings, the
serfs of Prince Saveline (five thousand souls)
worked harder than in the past and suffered more
cruelly from hunger and cold.
Yes, for this! — that Mademoiselle Aurolie
might become rich and could go to live at Beau-
vais, a respected member of society; for that was
her dream, and it was a dream that was about to
Yes, for this, and also for the unhappiness of
For some time Aurelie had been haunted by
projects of a peaceful retreat. But where? And
how? To remain in Paris was not to be thought
of. She wished to live somewhere quietly and
respectably. After being for fifteen years the
introducer to her mistress of pleasure-seekers,
Aurelie was exposed to be saluted at every step
in Paris by imperceptible nods of the head,
accompanied by a slight smile, in which were
mingled, in equal doses, gratitude and disdain.
These smiles meant: "It is I! I was your mas-
ter for a year, for six months^ or for less, much
less, than that. Do you recognize me?" And
sometimes she did not recognize them — in which
there was nothing very extraordinary, for that
had happened two or three times to Eosita her-
Aurelie' s father had died, a broken-down man,
a few years after his daughter's flight. Dead also
was a brother, who had sailed for America, and
been carried ofi, almost immediately after land-
ing, by yellow fever. All her family were gone,
and she alone remained. She had a revenge to
take upon life;' she wished it, and she would
Clearly, to end her days with her gray hairs
held in honor, she must leave Paris. But what
difficulties stood in her way! Provincial society
is narrow and exclusive. It is easier to enter the
first circles of Paris than those of a little city
like Bruges or Perpignan.
It was about this time that Rosita was obliged
to learn eight or ten Spanish sentences, and one
of her friends said to her:
*'My piano teacher is just the person you
"Does she know Spanish?"
"Quite well enough for your purpose. She is
a Fi-enchwoman, but the widow of a Spanish
" A Spanish count! "
*' Yes; the poor woman has met with misfort-
une. I will send her to you."
"How much must I pay her?"
" She charges a hundred sous an hour for music
lessons. It ought not to be more for Spanish."
"Well, send her to me. I am curious to see
your countess at a hundred sous an hour."
Rosita began to laugh. She did not believe in
the Spanish countess. But she was mistaken;
although Madame Guarena did not use her title,
she was a real, authentic countess.
Count Guarena, although more than sixty years
of age, had joined the bands of Cabrera in the
Carlist uprising of 1838. After the defeat of the
celebrated chieftain, the Count succeeded in pass-
ing the frontier, and took refuge in France. He
had some resources — four or five thousand francs a
year. He went to Beauvais, and hired a first-floor
apartment in the Rue de la Taillerie. Three
months after, he married Mademoiselle Celestine
Ragonnet, daughter of one of the prefects, who
lived in the same house, on the third floor. She
was a person of about forty, insignificant and
gentle, who had long since abandoned all thoughts
of marriage. Guarena was old and in feeble
health, and he needed a nurse.
Madame Guarena lost her father in 1849, and
her husband in 1852. After the Count's death,
his affairs were examined, and, when all his debts
had been paid, the notary handed to the widow
three or four bank-notes for a thousand francs
each. All scarred, shattered and shaky, as he
was, the old Carlist had been still tormented by
memories of his youth, and the grisettes of Beau-
vais had a very pronounced taste for rings,
brooches, and ear-rings. It is in vain to be covered
with honorable wounds; a man is not loved for
himself after he has passed sixty, even in the
Poor Madame Guarena came to Paris to tempt
fortune; she managed to obtain a few scholars in
music and Spanish, which kept her from starva-
tion; but she regretted Beauvais, her former life,
her old friends, the quiet, slow provincial society
with its games of whist at a sou a corner. The
life she led in Paris was very painful to her. At
first she had accepted pupils only in respectable
houses; but she had to live, and so she finally
became the teacher of Rosita's friend, and then
of Rosita herself.
She was glad to talk of her misfortunes, and
one day she made a confidant of Aurelie. The
latter, who was busy with her needle, listened
at first in an absent manner, but soon she let her
work fall, raised her head, looked at the teacher
of Spanish, and began to think that the recital of
her troubles was not devoid of interest.
All at once, she saw the possibility of a strange
partnership; MatlanieGuarenafurnisliing respect-
ability and an entrance into provincial society,
and she, Aurelie, advancing the funds for the
enterprise — honor on one side and money on the
But she must be careful not to embark lightly
in such a venture. Was this fine story told by
the Carlist's widow entirely true? After ques-
tioning Madame Guarena very closely, she pro-
posed to her one day to go to Beauvais. Madame
Guarena consented, and Aur61ie accompanied her
in her calls on her old friends. Her reception
everywhere was full of warmth and respect.
Aurelie discreetly took part in the conversation;
she said that she was weary of Parisian life, and
she thought very seriously of retiring to Beauvais,
with her dear friend^ the Countess Chmrena. At
these words, no one betrayed any astonishment.
Madame Guarena had spoken the truth. She
was a countess, and perfectly respectable houses
were open to her in Beauvais.
These calls, where the conversation was made
up of commonplace platitudes, appeared delight-
ful to Aurelie.
At Madame Rigaud's, the doctor's wife, Aure-
lie did not lose a word of a long discussion upon
the new priests of Saint Stephen s Church.
"After you went away," said Madame Rigaud,
"we had the misfortune to lose that excellent
Abbe Clairget. His place was taken by a young
priest, Abbe Maigrin, whose sermons are very
good. He preached all during Lent."
' ' And Abbe Martillon?' '
*' Still at the cathedral. I had the pleasure of
dining with him last Saturday, at Madame Rib-
let' s. We played whist in the evening. Whist,
you know, is his one little weakness."
" Yes, indeed, I know. Did he revoke?"
*'Ah! you remember! Yes, he revoked in
spades, and it was inexcusable, for he had three
of them. I played the king — " and Madame
Rigaud related the details of the hand. Aurelie
did not understand whist, but she was interested,
nevertheless, and she listened. The voices were
well modulated and the words measured. She
suddenly felt transported a thousand leagues
from Paris and the Rue Trudon. What a con-
trast to Rosita's explosions of anger, with her
violent denunciations of men in general and cred-
itors in particular.
Aurelie felt herself leading a regular, tranquil
life. She thought of her early ambition, to live
respectably in Dijon. Beauvais and Dijon — they
seemed very like.
And then, in all these houses, they showed her
consideration, they offered her the place of honor,
they saluted her politely, they conducted her to
the door with extreme deference.
The pact was concluded, not without some
resistance on Madame Guarena's part. She felt
that she was selling herself; but Aurelie easily
quieted this last qualm of conscience. Besides,
Madame Guarena was broken down by poverty,
and tlie sentiments of pride and honor were
Early in June, 1860, Aur61ie hired at Beauvais,
in the name of Madame Guarena, a little house
with a garden, situated near the railway station,
in a street which bore this singular name, Rue du
Bout-du-Mur. An upholsterer agreed to furnish
the house very simply, but comfortably, in six
weeks. It was therefore arranged that on the
fifteenth of July the two women should install
themselves at Beauvais; but on the tenth of July,
as the house was ready, Aurelie said to Madame
"Go alone, and renew your old ties; take up
the thread of your former life. I will come and
join you in a fortnight. That will be the best
A new combination had suggested itself to Aure-
lie' s fertile brain. She wished to take Criquette.
She was struck with the child's intelligence, grace,
and gentleness, as well as by her promise of rare
beauty. Criquette would be charming; and no
one understood better than Mademoiselle Rosita's
stew^ardess that beauty is one o€ the greatest forces
with which to rule the world. Criquette could
give consequence and a future to Aurelie' s plans.
She would bring her up well, make her a culti-
vated woman, and marry her honorably in Beau-
vais. The pretty girl would easily find a suitor,
if suitably dowered.
And this was not all. Aurelie was not pre-
cisely tormented by remorse — that was scarcely
in her nature — but for some time, since she had
felt that she was sufficiently rich, a certain vague
uneasiness was mingled with her pleasure at
having made all that money. She intended to
become religious again — seriously religious; this
was part of her programme, where nothing was left
to chance. She thought that a good action would
dispel those slight qualms which astonished and
annoyed her. She had supposed that she had
ended forever with any struggle with conscience,
but she was mistaken; there was still something
of it left, as when a limb has been lost, left on a
field of battle or a hospital table, still its former
owner will suffer at times, and exclaim:
"Accursed limb! I have it no more and yet it
This is why, on the third of October, 1860, after
the vacation, Aurelie confided to Mother Marie-
Josephe, the superior of the Convent of Sainte-
Marie, at Beauvais, the child who, on the seven-
teenth of March of the same year, played on the
stage of the Porte- Saint-Martin theatre the r61e
of the Princess Colibri.
Rosita had been gone about two months, when
Criquette entered the convent; for, in order to
preserve clearness in this recital, we shall con-
tinue to call her Criquette, although she became
CS^line Brinquart when she entered for the first
time the little house in the Rue du Bout-du-
It was a Monday when Rosita left Dieppe, and
the next day Aurelie took Criquette directly to
Beauvais, by the way of Rouen and Amiens.
Aurelie remained there five or six days, then she
told the child that she was obliged to return to
Paris for a short time.
" Oh, godmother, take me with you! "
Godmother was the name by which Criquette
was henceforth to caU Aurelie.
'* Take you? No. I am going to leave you here
with Madame Guarena."
"Take me, please. I want so much to see
This boy of thirteen was decidedly Aur61ie's
most dangerous enemy, and the adversary which
she must promptly rid herself of.
She showed some faint signs of irritation, but,
at once recovering herself, said:
"I promise you that you shall see Pascal
again. I will send for him to come here at New
"When is New Year's?"
"In four or five months."
"Oh! that is too long. Before that, god-
mother, before that! "
"No, not before New Year's; and then only
if you are good up to that time."
"Oh! I will be good."
" Yes; but you must understand what I mean
by being good. You will probably go to school
in a convent, and there you will be with children
whose parents are rich, who have not been obliged,
like you, to sell flowers in the street and act in a
theatre. These little girls have only one thing to
do — obey their mammas; and I am your mamma
" I have explained to you that it was no longer
" Yes, you told me that."
Poor Criquette! This was her third mother in
"You must listen attentively to what I say,
"I will obey."
"In the first place, I am going to explain some-
thing that you will understand, because you
understand very quickly. If the little girls with
whom you will be should learn that you had been
very poor, running after passers-by for sous, they
would sneer at you."
'*Why1 It is unfortunate to be poor, but it
isn't wicked. And then, what I did was to make
money for mamma when she was sick. That
*'No, it wasn't bad."
"I worked, I did not beg; and yet if it had
been necessary for mamma I would have begged.
I did so once — only once, one day when I hadn't
made anything at all. It was of an old gentle-
man who was so kind. I said to him: 'Mamma
is sick,' and I cried. He saw that it was true,
and he gave me ten sons. Was it wrong to take
"No; but I assure you that those little girls
would sneer at you."
* ' They would be wrong. ' '
" Possibly, but still they would do so; besides,"
and Aurelie's voice became harsher, "pay strict
attention to what I am going to say. You want to
see Pascal again?"
"Well, if I hear that you have spoken of those
things you must not mention, for instance, that
you have been a little actress in a Parisian the-
atre, you shall never, do you understand, never
see Pascal again."
"I will say nothing, godmother, I vnll say
"Yes, I promise."
And as she longed with all her heart to see
Pascal, she kept her word. She would have kept
it, however, even without that great longing, for
she was an honest, loyal little creature, who
never in her life had broken a promise.
She asked and received permission to write to
Pascal, and she wrote a letter four pages long,
full of affection and mistakes in spelling. Aure-
lie took charge of it to send to Pascal, but he
was destined never to receive it.
At Paris, Aurelie attended to a vast amount of
business in a very short space of time. Soon
after her arrival she received a visit from Pascal,
who had been watching for her. She was very
clever, and conquered the boy by her kindness.
She knew that he loved Criquette, and so she
spoke to him only in Criquette's interest. She
was about to enter a convent, work hard, and
become an educated and cultivated woman.
" If you want to write to her," she said to Pas-
cal, "you may; but write her a very sensible
letter; give her good advice, and then, if you do
what I wish, at the New Year you shall spend a
week with us in Lyons."
And as Pascal found some difficulty in writing
this letter, in which he was to give good advice
to Criquette, Aurelie was kind enough to dictate
it to him:
My Dear Criquette: Mademoiselle Aurelie
has told me what she is going to do with you.
She is ^ood; you must love her and obey her in
Then Aurelie, who was fond of brevity, said:
*' That is very good as it is. Now sign it."
But Pascal was very anxious to add a few lines
of his own:
Write me, and I will answer. I love you,
Criquette, and I shall think of you all the time.
I send you, bv Mademoiselle Aur61ie, a paper
which speaks of m v d6but. There is a whole Ime
about me. Don' t lose it, for I want to keep it.
This paper, like Criquette' s letter, never
reached its destination. When Criquette de-
manded it, Aui*61ie replied that she had lost it.
Pascal went away resigned; he had Aurelie's
address at Lyons; she gave it to him without hes-
itation, for she wanted him to write and receive
no answer, so that he might believe himself for-
gotten, and forget himself.
An hour after Pascal's departure, Aurelie re-
ceived a letter from Rosita, who wrote as follows:
Aurelie: Since you have kindly consented to
attend to my affaii*s in Paris, these are my in-
structions. In a few days. Plan tin will have the
money to pay what I owe. Pay off everybody.
Sell the horses and carriages at private sale, not
by auction; I do not care to seem to be ruined
when quite the contrary is the case. The Prince
is perfect, but how I shall be bored in Russia!
and I am afraid I shall have to remain here a
long time. With the money from the horses and
carriages, pay off the servants and send them
away. I owe you some money; you lent me
some five or six thousand francs, I think; you
must know the exact sum. Pay youi-self, and
take five hundred francs more for etiquette's
wardrobe. Kiss her for me, and write me about
her. Poor little thing, how I would have loved
her, if it had been possible and I had had the
time! I took only my jewels with me. Send me
here my dresses, hats, linen, in fact everything.
Oh, if you would only change your mind, and
come, Aurelie! But still, for Criquette's sake, it
is better that you should stay. Take good care
of her. The two bay horses are very handsome.
They cost ten thousand francs; don't sell them
for less than five.
Aurelie had not changed her mind. She paid
off all the bills very rapidly, in four or five days,
and with the strictest honesty. She was rich
enough now. There was something left over,
three thousand francs, which she placed in Plan-
tin's hands; told him that she was about to go to
Lyons, and tranquilly gave him her address: No.
11 Quai des Celestins. She was careful to have
the appearance of hiding nothing.
That same day, an omnibus from the Lyons
railway waited before the door of the house in
the Rue Trudon, loaded with five or six large
trunks, containing all that belonged to Aurelie
and all that belonged to Criquette. Nothing
more. Aurelie was accustoming herself to hon-
esty. The whole Rue Trudon saw her depart for
When the omnibus reached the boulevard, and
was opposite the Fauborg Poissoniere, she or-
dered the driver to take her to the northern sta-
tion. Three hours after, she arrived at Beauvais,
perfectly easy in her mind. Who would come to
seek her at Lyons and Beauvais? She owed no
one any money. She could begin a new life.
Criquette was hers — solely hers.
Nearly five months passed away. Aur61ie,
under Madame Guarena's patronage, slowly and
prudently obtained a foothold in a score of houses
in Beauvais. Everywhere she succeeded. Cri-
quette at the convent won all hearts, she was so
gentle and sweet; but she was very sad and anx-
ious. Since her arrival in Beauvais she had, with
Aurelie's permission, written seven times- to Pas-
cal; she had received two answers, and then noth-
ing more. To Pascal went only the first two
letters, which Aurelie allowed to go, as there was
nothing said in them of Beauvais.
The children continued to write to each other,
with mutual reproaches for their silence, but
their poor little letters were stopped on the way,
and burned into ashes in Aurelie's grate. The
word tJieatre occurred in every line of Pascal's
letters, and that was the very word that Criquette
was not to hear; and when she spoke of Pascal to
her godmother, the latter answered:
"He has forgotten you; forget him."
Pascal had not forgotten. His letters arrived
constantly at Beauvais from Paris, by the way of
Lyons. Imagine an affection so faithful, so perse-
vering, in a child of thirteen! Was it to wear
itself out? Was it to fall asleep, like Rosita's?
During these five months Aurelie received from
Russia only one letter; it was delivered about the
last of September, and was a model of brevity:
Aurelie: Send me news of Criquette. The
Prince married me last week.
Princess Sa valine.
Aurelie answered that Criquette was well, con-
gratulated the new princess, and that was all.
This is what had taken place at Saratov. The
Prince's affairs were in a very tangled condition,
and he found that he would be obliged to re-
main in Russia to look after them. Rosita said to
" I can not sacrifice for you my situation at the
theatre. Marry me, or I return to France."
The Prince then summoned a very humble,
filthy, old priest, and said something to him in
Russian. All the servants of the castle were sum-
moned. A number had already been present at a
like ceremony. Ten years before the Prince had
married, under the same conditions, a dancer from
the Vienna Opera; he knew well how such knots
could be tied and untied.
The old priest, in his turn, muttered something
in Russian, and then the Prince said to Rosita:
" It is done! You are a princess."
Rosita had strong suspicions that the marriage
was not entirely correct, but everybody in the
castle called her "Princess," she could write to
Bidache and her other Paris friends letters signed
"Princess Saveline," and that was sufficient for
the time being.
Saveline was no longer a young man — he was
forty -eight; he drank too much champagne, and
he was growing fat and red in the face. In July,
1861, he received a warning in the shape of a slight
stroke of apoplexy, but he paid no attention to it,
and continued to be too fond of champagne.
Rosita then imperiously demanded a more solid
marriage before a better priest. She obtained it.
Sav^line died six months after, and Rosita inher-
ited a million of roubles.
The first of January, 1861, arrived, and Pascal
heard nothing from either Criquette or Aur^lie.
For two months and a half he had been saving
up his money, laying aside each day one out of
the three francs he made at the theatre. He went
to the Lyons station, and they told him that the
fare to Lyons and back, third-class, was sixty-two
francs. The thirty-first of December he had sev-
enty-two francs. He bought for Mademoiselle
Aurelie a bouquet for three francs, and for Cri-
quette a beautiful book, bound in red, with gilt
edges, for four francs; total, seven francs. He
added up the figures on a little bit of paper: six-
ty-two and seven — sixty-nine. Three francs for
his meals on the way would be enough. He
would stay in Lyons with Mademoiselle Aurelie —
she had invited him; so he started at noon, in an
The next day, January first, he arrived at Lyons
early in the morning. The weather was frightful;
the snow fell in heavy flakes. He hid his book
under his jacket, but his bouquet would be
spoiled. He inquired the way to the Quai des
Celestins, but as he was about to enter the court-
yard, a woman who was sweeping off the side-
walk stopped him and inquired in a harsh voice:
" Where are you going? Whom do you want
" Mademoiselle Auerlie."
" She is not here."
*'Has she left already?"
" She is away on a journey."
" Will she be gone long?"
" And Criquette? "
"A little girl who lives with Mademoiselle
" Oh, the little girl! She is away, too."
*' Where have they gone? Very far? "
*' I don't know; I haven't the address."
"And I have come all the way from Paris to
bring them their New Year's presents — ^this bou-
quet for Mademoiselle Aur§lie and this book
The disappointment was too cruel. His heart
was broken, and bitter tears filled his eyes. At
that very moment Criquette was crying, too, a
hundred leagues from there. It was New Year's
Day, the day on which it had been promised her
that she should see Pascal, and her first thought
as she awoke was:
" I shall not see Pascal again. He has forgot-
ten me. He does not love me any more. While
I — I shall love him always."
Meanwhile, Pascal, at Lyons, was asking
Madame Pinglet for news of Criquette. Madame
Pinglet was not ordinarily very sympathetic, but
she was a little touched at Pascal's distress, and
she tried to comfort him.
"The little girl is well— very well. I will try
to send your bouquet and book."
**0h, it is no matter about the bouquet. It
would be faded; keep it for yourself; but let
me write a little letter to Criquette."
And, in the congierg^s room, Pascal wrote the
My Dear Criquette: I am so unhappy. I have
come from Paris with a bouquet for Mademoiselle
Aurelie and a book for you. They say that you
will not return for two months. I can not wait
till then; they have only given me a week's
absence at the theatre, and I have only twenty-six
sous left. I wish you a happy New Year, Cri-
quette, and I kiss you in my heart.
Pascal returned to Paris, and his life for the
next six years may be summed up in a dozen
lines. He had really considerable talent for the
stage. In 1864, after an examination, he entered
the Conservatory as a pupil. In 1866 he obtained
a second prize for tragedy and a first prixe for
comedy. He was only nineteen, and they said to
him: "Stay another year at the Conservatory;
next year you will receive the highest honors,
and that will mean the Frangais or the Od6on."
He hesitated, for he longed to begin at once in
the provinces, and he ended by accepting a posi-
tion to play the juveniles with a company at
August 7, 1866, at noon, Pascal was rehears-
ing, on the Casino stage at Vichy, the part
of Octave in Murger's "Olden Times." The same
day, at the same hour, Criquette was asking
Mother Marie-Josephe, the superior of the con-
vent of Sainte-Marie, to grant her a private
audience. Criquette had finished her studies,
and at four o'clock was to leave the convent to
return no more, and to go and live with Aurelie
and Madame Guarena in their little house.
A sister came for Criquette.
"Our mother superior will see you," she said.
A few moments after, Criquette, casting herself
at the superior's feet and seizing both her hands,
" I do not want to go. Mother; I do not want to
leave you! Keep me, I implore you. I want to
become a nun, and to live and die here. You
have been so good to me. Mother, the last six
years — you and all the other sisters — everybody!
Here only do I feel that I am loved — loved by you,
and also, I hope, by the good God. Keep me,
Mother, keep me! "
Thus spoke Criquette, who was no longer a
child, but a charming young girl of seventeen;
still Criquette, however, with her great, deep,
tender dark eyes, her white, slender hands, and
her delicate beauty, full of grace and distinction.
And, nevertheless, she was the daughter of a
house-painter and an apple-woman. Chance plays
strange freaks at times.
The superior raised Criquette. She was a very
intelligent woman, who had for a long time read
the child's heart. She knew that alone, of all the
pupils of the convent, this girl looked forward to
the arrival of the vacations with a sort of sadness,
amounting almost to terror. She knew that it
Tsus not a real vocation which would cast her into
the amis of Gk)d. The house of the Lord would
be to her only an asylum, a plac43 of refuge.
Ought she to grant this aaylum to her? And,
moreover, could she? Criquette had been placed,
three years before, under the legal guardianship
of Aur61ie. The thing was done without the lejiat
difficulty. Aur^lie was held in the highest
respect at Beauvais.
Her life for the past six years had been irre-
proachable. She devoted considerable time to
the poor, was a member of several charitable
societies, visited the prisoners, and displayed
great activity and zeal. Her hair had grown
white, which gave her a highly respectable air;
she had changed her manner of dressing it; instead
of the two flat bands, large puffs framed in her
face — in fact, she was almost unrecognizable.
One Sunday, however, in the spring of 1866,
Aurelie had a moment of terrible uneasiness. A
young captain of hussars had come from Paris
to pass the afternoon at Beauvais with one
of his friends, the lieutenant-colonel of the regi-
ment of infantry stationed in the town. The
band was playing in the public square. All
Beauvais was there. The two officers strolled
about in the crowd. Suddenly the captain saw
coming toward him an old lady, grave and digni-
fied, with a prayer-book in her hand. The hus-
sar started with surprise. There flashed l)efore
him the three months of his life in which he had
spent the most money. It was not Aur§lie he
saw again, but Rosita, and, consequently, much
else. He looked attentively at Aurelie, who at
the first glance had recognized him. She con-
tinued on her way, however, not turning aside a
hair's breadth, and passed him, apparently im-
movable, sustaining his gaze without the slight-
est change in her face. The captain resumed the
conversation with his friend. This was the only
danger Aur§lie ever incurred.
The interview between Mother Marie- Josephe
and Criquette was a very long one. The young
girl was peculiarly frank and straightforward.
She did not utter any high-flown phrases express-
ive of her desire to devote herself to God, and
to renounce the pleasures of this world. She
would not have disdained these pleasures, per-
haps. She loved the convent because she was
loved there, and that is the reason she wished to
remain. She had only one desire in the world —
to be loved. Her mother had loved her; Pascal
had loved her. So she still held close in her mem-
ory her mother and Pascal.
And Mademoiselle Aurelie! Criquette re-
proached herself very often for her coldness to
her godmother. She even accused herself of
harshness and ingratitude. Mademoiselle Aure-
lie had received her and paid all the expenses of
her education; she came to see her at the convent
twice every week. During the Easter and New
Year's vacations, she did her best to interest and
amuse her. All this was a great deal, and yet it
was nothing. Criquette did not feel that she was
On the other hand, at the convent slie was
surrounded with tenderness and sympathy. The
little cake-seller of Belleville found some diffi-
culty at first in adapting herself to such a reg-
ular, orderly, monotonous existence; but little
by little she grew to love it. She was delighted
with the brilliantly decorated chapel and the
somewhat theatrical services; the procession of
the pupils with their voluminous white muslin
veils, while the organ thundered loudly or mur-
mured sweetly. The odor of the incense mounted
to her brain, and the harmony of the psalms filled
her with ecstatic emotion. Every Sunday, at
mass, one of the sisters sung alone; she had a
superb voice, ardent and full of expression, a real
stage voice; as she listened, Criquette often felt
the tears run down her cheeks.
There remained a little of the Princess Colibri
in the school-girl of Sainte-Marie; there were so
many confused memories troubling her brain.
At eleven years of age, in Rosita's dressing-room,
she said Monseigneur to an Imperial Highness
who had come to see her act, and at thirteen
years of age, in the convent garden, she also said
Monseigneur to the bishop, who that morning
had administered to her her first communion.
At first, Criquette was often assailed in chapel
by singular visions. Above the altar was a statue
of the Virgin, with arms outstretched, and all
covered with votive offerings: necklaces and brace-
lets of sparkling stones. Placed in a deep niche
in the wall, the statue was bathed in light, which
fell on it from above. In contrast with the ob-
scurity of the chapel, this produced a most start-
ling effect. And often it was no longer the music
of the organ that Criquette heard, but the crash
of the orchestra in the transformation scene of
" Gri-Gri." It was no longer the Holy Virgin
that she saw, but Rosita on the stage, in the
glare of the calcium light, and adorned with dia-
monds and pearls.
But this vision soon faded away, and Criquette
saw only the Virgin, with outstretched arms, smil-
ing down upon her. She even ended by fancy-
ing she heard her speak, and to her ears came
very distinctly the words:
' ' Remain with me, my child. I will be thy
friend, if thou hast no friend, and thy mother, if
thou hast no mother."
To the convent was attached an orphan asylum
for little girls, which was also under the direction
of the sisterhood. The children came to the serv-
ices in the chapel, and sat on benches opposite
One day during Lent, the almoner of the con-
vent, an old priest without any eloquence, but
gentle and simple, took for the text of his sermon
this verse from the Psalms:
"Yea, the sparrow hath found an house, and
the swallow a nest for herself, where she may lay
her young, even Thine altars, O Lord of Hosts, my
King and my God."
And the old priest said to the orphans:
"Come to the God of the poor and the for-
saken, to the God of those who have no inherit-
ance of love. He is the family of those who
have no family, the support of those who have
no support, the hope of those who have no hope.
Come to God, you who are alone, and you will
be no longer lonely. Come to God, you who are
not loved, and you will be loved."
Criquette applied these words to herself. She
remembered that she had once been as poor as
were those little girls who sat there, squeezed
together, in their humble black frocks; and,
although she was seated in the ranks of the rich
pupils — the pupils who had a family — Criquette
felt herself an orphan, alone, and abandoned.
God offered himself, and the poor girl who had
known once, but knew no longer, the sweetness of
being loved, accepted him. And yet she was no
angel, but a thorough woman. If Pascal had
been there, she would have preferred him, per-
haps; but Pascal was not there.
The superior questioned Criquette, and said to
"She is not called by God; life frightens her;
I ought not to keep this child."
Still, Criquette' s emotion was so great, her sup-
plications so touching, that the superior promised
to speak to Mademoiselle Aurelie, who was to
come herself at four o'clock to take the girl away.
"You are a minor," she said to Criquette,
"and I can not keep you here without the consent
of your guardian. And, besides, I should not be
disposed, even with her consent, to allow you to
begin to-day your two years' novitiate. I am not
sure enough of your vocation. But I will ask
Mademoiselle Aur^lie to allow you to return after
the vacation and remain a year longer."
"That is better than nothing. Mother; but no
vacation ! no vacation ! ' '
" That is all that I can do. Go, my child, go."
The interview between Mother Marie-Josephe
and Aurelie was not so long. The only answer
the superior obtained was a short, distinct re-
"The child," said Aurelie, "has no vocation
whatever. You know my sentiments. Mother,
and you know how gladly, were it otherwise, I
would allow her to embrace religion. I desire
only her happiness — and her happiness does not
lie in that direction."
She took Criquette away, and they went on foot
along the boulevard, walking side by side in
silence for some time.
Then Mademoiselle Aurelie, suddenly turning
to Criquette, said:
" Where did you get such a foolish idea as to
remain in the convent and become a nun?"
And as Criquette was slow to answer, she
" I have other plans for you, I assure you."
"You shall know soon."
Mademoiselle Aurelie, for six years, had offered
to the world the most edifying spectacle. She
went to church assiduously, and her Prie-Diea
bore her name engraved upon a copper plate.
Hour after hour she passetl there, kneeling upon
that low chair and trying to force herself to
fervent prayer; but neither love nor prayer can
be attained by an effort of the will. Real prayer
mounts natui'ally from the heart to the lips.
Mademoiselle Aurolie continued, however, to
perform punctiliously her duties to God, as to a
very influential person, and one quite capable of
rendering her very useful services in this world,
if not in the next. God to her was not an end,
but a means.
Doubtless it would have been well to give Cri-
quette to the church — that would have had an ex-
cellent effect in Beauvais — but it appeared to Au-
relie to be much more advantageous to give her
to some husband in comfortable circumstances
and of good family. Aurelie's social relations
would be thus heightened and extended, and her
The doors of Beauvais first! The doors of heaven
could be considered later. There was a time for
From the time of her entrance into the convent,
Criquette had never worn anything, even during
the vacations, but the very simple and rather unbe-
coming dress of the school-girls. The best-born
girls of Beauvais were given to the charge of the
ladies of Sainte-Marie, and it pleased Aur^lie to
walk the streets of the town with Criquette, wear-
ing the conventual garb, at her side; it was a sort
of hall-mark, so to speak.
But for two or three months Aurelie had been
preparing a coup de theatre which should reveal
to all the young girl's grace and beauty, hitherto
concealed. She became once more the lady's
maid she had been for fifteen years, in the employ
of a woman whose business it was to be beautiful,
and never beautiful in the same way two days in
succession. Aurelie disinterred her former talents.
She had made Rosita a success, and it was now
her task to make Criquette an equal one; but this
time the circumstances were vastly different. It
was done for a good motive, for an honorable
Criquette left the convent on a Wednesday, and
the next morning the young girl who, the pre-
vious evening, had spoken of consecrating her
life to God, was examining, with evident curi-
osity, five or six dresses, real masterpieces,
created by Aur61ie, and in which were happily
blended Parisian elegance and provincial simplic-
ity. Criquette waa to make her d6but that
evening, at Madame Rigaud's, who gave enter-
tainments every Thursday, consisting of music
During the day Aur61ie devoted herself to the
arrangement of Criquette' s hair, which was very
beautiful. This was a tremendous task, which
lasted three hours. After many trials and many
experiments, Aurelie exclaimed, triumphantly:
"That is exactly right!" and so it was. But
while Aur61ie was brushing, smoothing, and curl-
ing Criquette' s hair, the latter was thinking of
how, when a little girl, she had seen Rosita's
blonde locks brushed, smoothed, and curled by
those same hands.
Very proud of the result obtained, Aurelie
called down from the top of the stairs:
"Madame Guarena! Come up, Madame Guar-
And when that lady entered the chamber, she
"Look, my dear, look! The prettiest girl in
Aurelie was confident that she was not mistaken
the day she said that Criquette would be charm-
ing, but the reality surj^assed her anticipations.
She felt the pride of the general who sees his fore-
sight justified, and who scents victory in the air.
That evening, at Madame Rigaud's, there waa
only one opinion:
"The prettiest girl in Beauvais! "
Criquette was showered with attentions, feted
and petted; and yet she was bored to death,
this prettiest girl in Beauvais! What a life,
alone with those two women!
Madame Guarena did not count. She was
neither good nor bad — a mere nonentity. After
so many years of poverty and privation, she
became torpid in this life of comfort which had
come to her as if by a miracle. She passed entire
days playing solitaire, three kinds of solitaire,
always the same — Napoleon's Favorite, The
Monks, and Mr. Smith. She kept an exact ac-
count of her games. In the evening she wrote
upon a little memorandum-book: "To-day,
August 22, 1866, played seventy-nine games of
solitaire; succeeded in doing The Monks twelve
times, Mr. Smith eleven times, and Napoleon's
Favorite fourteen times." And so it went on the
the whole year through.
Madame Guarena dragged herself away from
her dear solitaire only to make Criquette practice
on the piano two hours a day. To this lesson
succeeded two hours of reading aloud by Cri-
quette to the two women — always novels, and
always moral novels, taken from the circulating
library of Madame Pingat, who guaranteed all
the works in her catalogue to be pure in tone.
Then an hour's walk beside Mademoiselle Aurelie
down the boulevards of the town, which were
very handsome, but very gloomy. After dinner
they paid visits, except on Tuesday, which was
AnrfiUe's reception-day. Thus passed dully
enough for Criquette the first six weeks after her
return from the convent.
In the chilly, silent house Criquette had only
one friend, a big black Newfoundland dog named
Pierrot. From the first day, Pierrot and Cri-
quette understood and loved one another. The
sweetest moments in the young girPs life were
those she passed seated upon a bench in the gar-
den, with Pierrot's head in her lap. Never mov-
ing, Pierrot regarded his mistress fixedly with
his kind, sympathetic eyes.
In these hours of reverie Criquette' s conscience
was at times troubled. She would say to herself:
"Where am I? What is my guardian? What
does she want of me?" It is of no avail to have
been brought up in a convent, it is in vain to
have been fed only on moral stories, when one is
seventeen and very intelligent, and when to girl-
ish impressions are added the memories of a child
who had roamed freely about the streets of Paris,
explored the regions behind the curtain of a thea-
tre, and lived in the house of a noted actress.
One day when Criquette was seated upon the
bench with Pierrot, she suddenly heard Made-
moiselle Aurelie's voice within the house. She
was roundly scolding Therdse, their little maid.
Why was she so severe with that poor girl? She
must remember that she herself — Criquette
remembered. No, she was not mistaken, Aurelie
had been Rosita's maid; but then how, all of a
sudden, had she become rich? For she was rich,
since she spoke of giving her — Criquette — a
dowry. Where did this money come from which
Criquette would bring to her husband? That was
what constantly perplexed and worried her.
The great match-maker of Beauvais was Ma-
dame Rigaud. The wife of a physician, and
therefore knowing all grades of society, she was
in an admirable position to ply her useful trade.
On two occasions during the last six weeks she
had made overtures to Aurelie, facts of which
Criquette was unaware. The first time it was a
captain, young, distinguished, not without fort-
une. Aurelie formally refused him. A soldier?
A garrison life? By no means. The second time
it was a doctor whose family lived in Beauvais,
but who himself resided in Paris, and who already
had a very respectable practice. The answer was
the same. When her ward married, she must
live near her at Beauvais.
But one day about the middle of September, in
the midst of the reading of a novel in which the
word love was everywhere replaced by the word
sympathy^ Madame Rigaud arrived, highly ex-
cited and all out of breath:
"I want to speak to you — to you alone," she
said to Aurelie.
They went out together to take a walk in the
garden, and when they were twenty paces or so
from the house, Madame Rigaud exclaimed:
"Ah, my dear, if you only knew! if you only
knew! You will not say no this time! A young
man is in love with your ward, and that young
mauls — "
** Stanislas Mennier, the son of Monsieur Jean
Meunier." Tlies© three words, Monsieur Jean
Mennier, were of extraordinary importance, and
this is why:
From 1810 to 18.32 Pierre Mennier manufact-
ured bone buttons of all styles at Beauvais; he
employed a score of workmen. Then came the
turn of Louis Meunier, with fifty workmen, from
1832 to 1850; and since 1850 Jean Meunier had
been at the head of one hundred workmen in that
same button factory, founded by his grandfather
and increased by his father. He had two chil-
dren: A daughter, married to a judge of Douai,
and a son, Stanislas, a tall, light-haired young
man of twenty-three, who was studying law in
Paris, but in the most desultory manner, for he
had begun in 1862, and as yet had passed only
To the great chagrin of his father, Stanislas
appeared determined not to manufacture bone
buttons of any sort. Perhaps this was a little
the fault of Jean Meunier himself. The three
first Meuniers had been brought up in the follow-
ing manner: At school until they were thirteen
or fourteen, when they knew how to read, write,
aud cipher, to ajyeU. well enougli, and with a little
history and geogi-aphy in their heads ^o boot.
Their apprenticeship then commenced; they
passed successively through all the workshops,
studying all the details of the trade, so that later,
when a workman appeared to him awkward, any
one of the three Meimiers could say to him, roll-
ing Tip his sleeves:
" Stop, my boy, and watch me; I will show you
how to do it."
But Jean Meunier, the third of the dynasty,
wished to give his heir presump,tive a complete
liberal education — the whole layout, as he ex-
pressed it. Stanislas passed ten years in one of
the biggest Parisian colleges, where he was taught
rhetoric, astronomy, geology, ethics, logic, and
psychology. He learned nothing of all this, but
still he was taught it. He had all the difficulty
in the world to obtain his degree as bachelor of
arts. He had to try three times, and, after leav-
ing college, to pass a year at one of those hideous
establishments where they cram candidates with
all the notions exacted for a degree^ Just as
poultry-raisers cram fowls with the most indigest-
ible of food. And it is absolutely necessary that
this food should be indigestible, for otherwise
they would digest it and not grow fat; but still
their fat is unnatural and the flesh tasteless and
flabby; it is bloat, not health.
Stanislas obtained his degree and returned to
Beauvais. That was a great day! He was the
first bachelor of arts in the family. They were
all waiting for him at the station. His father
embraced him warmly, and said to him:
"Now to the factory! "
"Oh, no, papa, not yet. I wish to study law;
not to practice, but simply to have the title of
Father Meunier was not a lawyer, which did
not prevent him, however, being esteemed one of
the most sensible and judicious membera of the
Beaavais Chamber of Commerce. And yet he was
tempted, the imbecilel His son a lawyerl
"Very well,, then, go and study law; but
immediately after that you must go to the fac-
** I promise faithfully, papa."
Stanislas had been in Paris four years, and had
worked very hard. He had become a first-class
billiard player. He was already spoken of as in
the first rank of amateurs, and he was only
twenty- three I
Statisticians are agreed, it seems, upon this
point, that France has made considerable progress
in the art of billiards. The great improvement
commenced under the Empire, and has never
stopped since. There are very skillful, clever,
and learned professors of the art; and, in all
probability, there will one day spring up in the
heart of Paris a sumptuous and costly university
of billiards — laical, of course.
Stanislas engaged a professor, quite a young
man, and a bachelor of arts, like himself. Who
is not a bachelor of arts in France? This young
professor was the son of one of the masters of
billiards, who, like Monsieur Meunier, wished to
give his son a grand liberal education. The
young man was an excellent student, took prizes
at college, an accessit for Latin verses at the gen-
eral competition, and easily passed the examina-
tions for his degree. When his father was
congratulated, the day after this success, he
" Yes, all that is very nice, but serious matters
must be thought of now. George must devote
himself to billiards."
George did devote himself to billiards, and suc-
ceeded admirably; there is such a thing as
hereditary talent. Stanislas, by dint of unremit-
ting labor, became one of his most brilliant pupils.
He worked, or played, from seven to eight hours
a day. Bat the mind can not be devoted to seri-
ous things all the time. Stanislas amused himself
a little, and pleasure is anything but cheap in
Paris. His follies, however, were not ruinous.
He had an allowance of four thousand francs, and
generally arrived at Beauvais, in the month of
August, during the vacation, in debt from five to
six thousand francs. Jean Meunier raved and
stormed, but his wife intervened, and he always
paid — always for the last time.
Stanislas passed two months at Beauvais. He
astonished the frequenters of the Cafe Potard
and the Cafe Velut, the two great cafes of Beau-
vais, in the Place de 1' Hotel de Ville. While
declaring "he would do much better to enter the
factory," his father was flattered to know that his
son could give fifty points in a game of a hundred
to the best player in Beauvais. And one day the
best player in Amiens came expressly to play
with Stanislas a game of a thousand points, five
hundred at a time, at the Cafe Potard, The gen-
tieman from Amiens sustained a shameful defeat.
This caused quite an excitement in the two cities.
A wordy battle was engaged in between the news-
imi)ers of the Somme and the Oise. The editor
of the Somme Watchdog said:
Our champion would not have been beaten if he
had been familiar with the billiard- table of the
Caf6 Potard; but he was not familiar with it,
while Monsieur Stanislas Meunier has been
brought up on that billiard-table.
The Propagator of the Oise^ a liberal organ,
found these quarrels deplorable:
A polemic about a game of billiards! That is
what we are reduced to in this great stagnation
of the Empire!
The first of September, 1866, Stanislas had not
yet reappeared in Beauvais. His father was
obliged to go for him and bring him back by
force. Stanislas obeyed, but with a tragical air.
The situation was, in fact, more serious than
usual. Six months before, he had had the
pleasure and misfortune to encounter a rather
pretty young person who had very black eyes
and very yellow hair. This was a rare combi-
nation once, but is now very common, thanks
to the improvements in chemistry; but love has
nothing to do with these details. In short, Stan-
islas' debts amounted to twenty thousand francs;
he was frightfully dunned by his creditors, and
two or three of them had the indelicacy to appeal
directly to his rich father. Those who estimated
the fortune of the elder Meunier at a million
were somewhat below the truth; and the piofits
of the factory averaged, good and bad years taken
together, about sixty thousand francs.
But to pay, in one lump, twenty thousand
francs! And it would probably be forty thousand
francs the next year! Never! Then young Stan-
" I am dishonored; there is nothing left for me
to do except to blow out my brains. Six thousand
francs of my debts are debts of honor."
Debts of honor are gambling debts; that is to
say, the least honorable in the world. A man is
not dishonored when he does not pay the six thou-
sand francs he owes his tailor, but he is dishonored
when he does not pay the six thousand francs he
owes an adventurer who knows how to turn the
king at ecarte. Such are the morals of this world!
Father Meunier ended by softening. He agreed
to pay the money, but on condition that Stanislas
should marry at once and settle down with his
wife at Beauvais. This was precisely the suitor
There were in Beauvais exactly three young
girls who would be a suitable match for Stanislas;
between them they represented, in dowries and
hopes, between two hundred and fifty and three
hundred thousand francs. Stanislas consented to
see the three young girls. They were all of them
remarkably ugly. Stanislas refused. He pre-
Things were in this state when one day, as the
father and son were crossing the Place de 1' Hotel
de Ville, they met, close to the statue of Jeanne
Hachette, Mademoiselle Aar61ie and her wacd.
Scarcely had they passed when Stanislas said to
"Did you see, papa? Did you seel**
" That young girl! How pretty she wasl '*
"I did not notice."
" Her eyes! Didn't yon see her eyes? "
" I saw nothing, I tell you."
"Ahl if I could marry her, I would. Let us
follow her, papa; let us follow her."
And Monsieur Meunier, the respected mer-
chant, member of the Chamber of Commerce, did
at ftfty-eight years what he had never done in his
life at Beauvais — he followed a woman.
"But you know, papa, to follow a woman
prox)erly you should go in front of her."
Stanislas evidently had not entirely wasted his
time in Paris. He had brought back pretty cor-
rect ideas on the art of following a woman.
The father and son passed the two ladies, and
immediately after Stanislas asked:
"Do you know them?"
"I have met them occasionally, but I do not
"Ah, papa, they are stopping; they have met
Doctor Rigaud. They are talking with him.
Come, let us take a little turn in the Rue des
Jacobins, and when Doctor Rigaud has quitted
them we will join him. He will tell us who she
ORIQUETTE. ■ 156
Vanquished and docile, Father Meunier took a
little turn in the Rue des Jacobins, and an hour
afterward there was a great conference with Ma-
dame Rigaud, who bore enthusiastic witness to
the virtues of Mademoiselle Aurelie. There was
not a large dowry, fifty thousand francs, but a
hundred thousand crowns in expectations.
After this, bubbling over with excitement,
Madame Rigaud hastened to see Aurelie. Every-
thing appeared to conspire to bring about Cri-
quette's prompt happiness. It was a Thursday,
Madame Rigaud' s reception-day, and the inter-
view could take place at her house that very
Aurelie considered that she ought to inform
Criquette of the situation of affairs. That young
lady received the news graciously enough. She
could not be angry with the young man for fall-
ing in love with her at first sight; besides, mar-
riage would be in every way quite a different
thing from the existence to which she was con-
demned, and anything rather than that — any-
In the evening, while dressing, she looked at
herself in the glass with a little more attention
"Am I really so pretty," she thought, "as to
have turned the head of that gentleman? ' '
When Aurelie and Criquette arrived at the
Rigauds, all the Meuniers were already there —
father, mother, and son. The entertainment at
once began. A gentleman recited some verses.
Another gentleman — a mortgage clerk in the city
hall— sung with a lady the duet from " Favorita."
Criquette herself played, without requiring to be
urged, one of Beethoven's sonatas, neither well
nor ill, but prettily and naturally.
Aur61ie departed from her usual gravity; smiles
wandered over her lips; she was enacting the rCle
of a mother — a real mother — and she was happy.
She had never felt more respectable and re-
Stanislas looked at Criquette, and thought her
much prettier than the young person who had
made him spend so much money in Paris. He
reflected that, with the aid of this charming
girl, he could resign himself to live at Beauvais.
Tea was served; and Madame Rigaud very
adroitly arranged it so as to leave Criquette and
Stanislas together in a comer. They sat there
side by side, now and then raising the cups of hot
tea to their lips to keep themselves in counte-
Criquette was thinking, "It is his place to
si^eak first," and Stanislas was thinking, "How
shall I begin?"
This sentence was in his mind:
" How pretty you are, and how I would like to
marry you! "
If he had said this, who knows, perhaps things
would have turned out quite differently; but it is
scarcely proper to conduct matters so bluntly.
Stanislas at last summoned up his courage and,
¥dth evident effort, said to Criquette:
" This tea is very hot, Mademoiselle."
"Oh, yes. Monsieur, very hot."
"I think we shall be obliged to let it cool a
"I think so, Monsieur."
And this was all. With the same regular
movement, they commenced to stir their little
spoons about their cups, appearing absorbed in
this interesting occupation, which, however, could
not be prolonged indefinitely. After a few min-
utes, Stanislas, without raising his head, said to
the young girl:
" It is not long since you left the convent, is it,
"About six weeks, Monsieur."
"And you are not to return there again. Made-
The conversation for the second time came to
a dead stop. Stanislas was profoundly discour-
aged, and he thought: " It is all over. I am lost.
I shall never find anything else to say."
The tea had cooled somewhat, and they each
took a little sip. Then Stanislas had a sudden
"It has been very pleasant to-day. Mademoi-
" Yes, Monsieur."
" I had the pleasure of meeting you this after-
"Yes, I know it. Monsieur."
This "I know it, Monsieur," was a slip. She
perceived at once that she had said something she
ought not to have said. She should have pre-
tended to know nothing. She should have an-
swered. "Ah, really, Monsieur! And where was
that?" So would have spoken a young girl of
pure provincial birth, born with the instinct of mid-
dle-class propriety, but such was not Criquette.
Her unfortunate frankness had betrayed her.
They were both greatly embarrassed. Stanislas
mechanically moved his little spoon about his cup,
and Criquette mechanically followed his example.
Father Meunier was watching them, and he
whispered to Madame Rigaud:
"They are not getting on."
"No, they are not getting on. I think I shall
be forced to go to their aid; but let us wait a
little longer. The breaking the ice is always a
Criquette felt that she had made a mistake, and
she knew that she ought to repair it. At all costs
she must start the conversational ball rolling
again, and so she asked, heroicaUy:
" Do you usually live in Paris, Monsieur? "
" Yes, Mademoiselle, I have lived there for four
years; but I come to Beauvais every summer for
" Beauvais is less gay than Paris? "
*' A little less."
" Are there many pleasures in Paris? "
"Yes, certainly. The races, the theatres — "
" The theatres 1 Do you go often to the theatre
in Paris? "
This word theatre aroused Criquette to some-
thing approaching animation. Then Stanislas,
delighted to have found at last a subject for con-
"Yes, very often, Mademoiselle. Why, the
evening before I left I went to the Porte- Saint-
" The Porte-Saint-Martin! " repeated Criquette,
looking up for the first time.
"And what were they playing there? "
"A fairy piece."
"What was the name of it^'
" ' The White Fawn.' "
"Was it pretty?"
" Tell me about it, will you? "
Their embarrassment had disappeared. They
both simultaneously placed their cui)s upon a
small table, and approached a little nearer.
Madame Rigaud said to Aurelie:
" The ice is broken. Look!"
"Yes, I see — I see."
Stanislas proceeded to tell Criquette the plot of
"There is a young princess, who has been
changed into a fawn while she was crossing the
forest of sycamores; then. Prince Charming is
obliged to go to the bottom of the sea to recover
a talisman which he has lost and which has been
swallowed by the queen of the fishes. He ad-
dresses himself to the .king of the fishes, the
salmon; and this part was played by a very funny
actor — Bidache. ' *
Oriquette, half-unconscioosly. repeated the
" A queer name, is it not? "
"Yes, very queer — very queer," she answered,
slowly and gravely.
"Then the scene changes to the kingdom of
vegetables. Cantelope LXVI. gives the prince a
marvelous herb, specially adapted to cure the
wounds of fawns — for I have not told you the
fawn has been wounded — and the prince delivers
the fawn at the very moment she is about to be-
come the prey of lions at the court of an African
At this moment, Stanislas perceived that Cri-
quette was no longer listening. Her thoughts were
elsewhere. The memories of her childhood sud-
denly came back to her, evoked by this name of
Bidache. The Porte-Saint-Martin! "Gri-Gri!"
Those four months during which she had lived
beneath skies of painted canvas, and in palaces
of pasteboard, those four months became to her
the luminous point of her life. Mignon regretted
Once more very nervous, Stanislas, to awaken
Criquette' 8 attention, repeated:"
"At the court of an African princess — at tlie
court of an African princess."
*'Ali, yes, pardon me; you said 'at the court
of an African princess.' "
A question had been burning on her lips for
some instants. She could not resist the tempta-
tion, and lowering her voice, she said:
" Among the actors, was there not one named
"Pascal? No, Mademoiselle, I do not think
so. But why do you ask me that? "
She was embarrassed, and saw that she would
be forced to lie, which was a terrible thing to her.
"Why," she said, "when I was quite a little
girl they took me to see a play at the Porte- Saint-
Martin, and there was an actor in it named Pas-
cal who amused me very much, and so I asked
you — "
"Pascal? No, I certainly do not remember
Criquette had become very serious, and Stanis-
las found nothing more to say. He looked at
Criquette, and the more he looked at her the
more pretty and charming he thought her. Cri-
quette' s eyes were fixed on vacancy. She saw
Madame Rigaud never lost sight of them. ' ' For
a first interview," she said to herself, "things
have gone admirably; but the conversation seems
to be languishing just now. I must inteiTupt
This was not difficult, for they were not t^Ik-
ing now; beflidQB, it was eleven o'clock, and it was
time to go. The two young people could meet
the next evening at another bouse.
Anr61ie, Madame Guarena, and Criquette re-
turned home on foot. The distance was short.
The mortgage clerk asked the ladies for permis-
sion to escort them to their door. During the
walk he bore all the burden of the conversation.
He was thinking of turning his voice to account
and studying for the stage. His father was
opposed to it, and had obtained him a position in
the municipal government. It was more respecta-
ble, of coui*se, but still if he could enter the Paris
Opera, which was subventioned by the govern-
ment, it was almost like being a functionary.
Madame Guarena was the only one who listened
to him with interest. Criquette was absorbed in
very serious thoughts. Aurelie was impatient
to hear from the young girl what had been said in
that conversation which for the time being had
been so animated; so she accompanied Criquette
to her room, and when they were alone, with the
door closed, she said to her:
"Well, how did you like that young man? "
"Why, I can scarcely form an opinion of a
person whom I saw this evening for the first time,
and with whom I talked for only a quarter of an
"You appeared to get along wonderfully well
together. What were you talking about?"
" What were we talking about? "
"Well, I will tell you very frankly. I must
speak the truth. I lied to him, and it was very
painful to me."
" You lied to him? "
"Yes, lied. He told me that he went some
two or three weeks ago to the Porte- Saint-Martin
" The Porte-Saint-Martin theatre!"
"Yes; and he saw there a fairy-piece. Then I
could not help asking him if among the actors
who played, in the piece there was one named
"Yes, Pascal. But do not be alarmed. I
repaired it all by a very clever little lie. Monsieur
Meunier was surprised, and wanted to know why
I asked him such a question, and I told him that
I had once seen a play at that theatre, and had
been very much amused by an actor named
"It would have been better to have avoided
any necessity for falsehood."
" I shall not place myself in such a position
again. I shall not lie. I am resolved upon that;
so strongly resolved that, if I see that young
man again, I am determined to tell him that I
acted, when I was a little girl, a child's part in
a fairy-piece at the Porte- Saint-Martin."
"You are mad! "
"No, I am not mad. Let me speak, please.
What I am about to say to you, I have wanted
to say for a long time, and it must be said sooner
or later. Yon ordered me to be silent at the
convent in regard to my past, in order not to
expose myself to the jests of my school-fellows."
"And I still order you to be silent. You would
eicpose yourself now to the jests of the world,
which are more cruel still."
"I have kept my promise np to the present
moment; but to-day the situation is no longer
the same. I find myself introduced to a young
man who, it seems, wishes to marry me. It
seems to me that I have no longer the right to be
silent, and that I ought to tell him the truth."
" You can tell your husband whatever you like
after your marriage, but not before. Afterward,
he can not escape."
These last words, which unmasked the true Aur§-
lie, were like a knife-thrust in Criquette's heart.
Aurelie immediately regretted having allowed
them to escape her, but she was unstrung and
nervous — she who was ordinarily so calm, so com-
pletely mistress of herself. She was surprised to
find, all at once, before her a woman instead of a
There was a moment of silence. Criquette was
reflecting, and it was some little time before she
"What you have said to me does not change
my resolution. I have done nothing bad, it seems
to me, when I was a child; so why should I be
*'If you have done nothing bad, why speak?"
*' For a yery simple reason. I am no longer a
little girl; I am seventeen years old. You have
given me a good education. I have been brought
up, thanks to you, by excellent women who have
taught me what was meant by duty; and I am
convinced that it is my duty to speak. To-mor-
row, then, for I understand that I am to see this
young man again to-morrow evening — "
"Yes, you were to see him again to-morrow
evening," answered Aurelie, who had her eyes
fixed on Criquette, and was listening to her very
"To-morrow evening I will go to this young
man, or, if you prefer it, and that is what I
should prefer myself, to his mother, and tell
all there is to tell concerning myself. Of you, I
shall say nothing. It is I that he is going to
marry, not you."
"One moment, my child; I do not understand
those last words. You promise not to say any-
thing of me. What is there that can be said of
me? What have you to reproach me with?"
"Nothing. On the contrary, I owe you grati-
tude — much gratitude. But — and I beg you
to pardon me — explain to me why my gratitude
weighs upon me, why I know you so little, you
whom I ought to know so well; why you have
never spoken to me of your father or your mother.
Pardon me, I implore, but I feel that I am sur-
rounded by things I do not understand, and that
I would like to understand."
" Go on, if you have not said all; I will answer
"No, I have not said all; and what remains
to be said is the most diiiicult of all. You wish
me to marry, and I do not refuse to marry, if this
young man loves me, and if I, in my turn, can
love him a little. You acknowledge, I suppose,
that that is necessary. One should not marry
without love. If I marry, it is you who will give
me my dowry, and a very large one. But — my
memory deceives me, perhaps, I wa« so young;
and besides, there is nothing wrong in occupying
a very humble position — but when you were with
Mademoiselle Rosita — "
At this, all Aur^lie's apparent composure for-
"You wretched child, never dare to pronounce
that name again; do you understand? Never!"
She seized Criquette violently by both hands,
"Never that namel Do you understand?
She was very strong, and her graap bruised
Criquette' 8 hands. The girl turned frightfully
Aurelie brusquely released her.
" I was wrong," she said. " It is foolish to lose
one's temper; it does no good."
For some minutes she walked in silence up
and down the chamber. Criquette looked at her
hands, which were beginning to turn black and
Aurelie stopped at last before Criquette' s dress-
ing-table, bathed her face with a little water, and
then continued for some minutes her promenade.
Then, addressing Criquette at a little distance —
she did not dare to come near her, for fear she
should lose control of herself again — she said:
" You shall not leave this room until you have
promised me to marry that young man, if he
really wishes you for a wife, and never to say a
word of your past — of our past, you understand
— either before or after your marriage."
"I will never promise that."
"We shall see. Mght brings counsel. Good-
Aurelie took out the key, left the room, and
Criquette heard her lock the door on the outside.
Criqnette slept well, like a brave little woman
who has done her duty and whose heart is at
peace. She had tasted to the full the pleasure of
asserting herself, after a long oppression, and of
freely expressing her real sentiments.
Anrelie did not sleep. Such resistance, such
obstinacy! And why? She did not understand,
she could not understand. She had wished to
save the child from the theatrical life whose
dangers she knew so well. Rosita was considered
to be one of the fortunate and brilliant ones of
her profession; but how many deceptions, mis-
eries, and troubles she had to cope with. PVom
all that, she had wished to preserve this young
girl. She was on the eve of attaining her end.
She offered her x)eace and fortune, and Criquette,
instead of thanking her, rebelled, threatened to
ruin her, and to overthrow the scaffolding, so
laboriously erected, of a respected life, recon-
quered at the cost of so many calculations, so
And those romantic ideas in the head of that
child! That need of loving and being loved!
Criquette had said to her: " You acknowledge, I
suppose, that to marry, love is necessary." No,
she did not acknowledge that. Love to mnk above
the proprieties? Never! The proprieties first, and
then love, if there remains a little place for it in
a corner. Such had been nine-tenths of the mar-
riages Anrelie had seen arranged at Beauvais
during the last six years. The greater part had
turned out tolerably well; but the marriages of
love had almost all resulted badly, for they
almost all began in poverty, which is the worst of
evils. Besides, Aurelie had had some experience
in love. She remembered Pierre Grassou and
that long martyrdom of four years.
In the middle of the night, Aurelie rose and
walked up and down her chamber. In all proba-
bility she would soon find Criquette resigned and
obedient; but if she found the same obstinacy,
she knew what she would do. She would never
submit to be conquered by that child. Just be-
fore day-break, worn out with fatigue, she closed
her eyes, and for two or three hours slept an
She was awakened by Therese, the little maid,
who entered her chamber to open the shutters.
"Mademoiselle Celine is not very well this
morning, ' ' said Aurelie. ' ' She will not be able to
go down to breakfast. Bring me her chocolate at
once upon a waiter. I will take it to her myself. ' '
" Very well. Mademoiselle."
A few minutes after, Aurelie entered Cri-
quette' s chamber. Criquette was sound asleep.
Aurelie placed the waiter upon a table, and ap-
proaching the bed, scrutinized the sleeping girl.
"So!" she muttered; "does that child think
herself stronger than I? We shall see."
She toached Criqaette lightly on the shoulder.
The girl stirred and awoke, fresh and rosy, her
little head on the white pillow half-buried in its
masses of disheveled black hair. As she caught
sight of Aur61ie, she sat up in bed and with both
hands threw back her hair.
" You have slept well, it seems?"
"Yes; very well."
" And did you sleep well all night?"
"Then you have had no time to reflect on what
passed between us last evening."
"This morning, no; but last night, yes, a little
before I went to sleep."
As she spoke, Criquette leaped out of bed,
thrust her little naked feet into her slippers, and
threw a dressing-gown over her shoulders.
"And have you changed your resolution?"
"Not in the least."
"You are quite sure? "
"Do you care to think it over a little more this
"It would be quite useless."
"For my part, I have not slept. I spent the
night in reflection. You did considerable talking
last evening; I, very little. Do you remember
all that you said? "
"Yes, very well."
"Try, then, to remember equally well what I
am about to say to you in my turn. You will
have plenty of time to reflect on it. You have
been frank, and I will be equally so. Your
memory has not deceived you. Yes, we both,
lived in the house of Mademoiselle Rosita, who
was an actress and a woman of no character. You
passed several months there, and I long years. I
was her maid, and it was in that way I made a
fortune. Are you satisfied? Is there anything else
that you desire to know? "
" Yes, there is one thing."
" Speak! I will answer you."
"Was Mademoiselle Rosita the one who first
took care of me?"
" Yes, I recollect. It is a little confused in my
mind, but still I recollect. The night of mamma's
death. Mademoiselle Rosita took me away in her
carriage, and I slept that night in her room upon
"Why have I never heard anything of her? Is
" What has become of Her? "
"Do you remember a Russian prince?"
"Yes, who stepped on my hand one day when
I was playing with a little dog."
"Exactly. Well, this prince — he was called
Prince Saveline; you see I tell you all — this
prince married Mademoiselle Rosita, and died
soon after. She is therefore a rich widow and a
"Has Mademoiselle Rosita ever tried to know
what has become of me since you took charge
"Yes; but I iirranged it so that all relations
between us should be broken."
'* It was easy, however. She must have known
that you were at Beauvais."
"She did not know it. She thought I was at
"I ask you if Pascal knew where I was?"
" He did not know."
" And he thought me at Lyons? "
" You deceived him, then? "
"And he also tried to know what had become
" Yes, at first; but not for the last four years."
" Do you know where Pascal is? "
" Not even if he is alive? "
" No. I have not troubled myself about him."
"But how do you know that Mademoiselle
Rosita is living? "
" Because I read not long ago, in a Paris paper,
that she was building a villa at Nice."
" And she was not a good woman?"
" Yet she was good to me."
" It was her whim to be so."
" That makes no difference. If I should meet
her some day, even were I on the arm of my hus-
band, and if she recognized me and came to me
and recalled what she once did for me — she received
me when I was poor and alone in the world, and I
owe her gratitude — it would be my duty to thank
her. You see that I must tell all, before mar-
riage, to the man who wishes to make me his wife.
Afterward, he might reproach me for having de-
ceived him, and I am not willing that that should
"Ah I yon insist upon that? "
"I will tell no more lies. And, by the way, I
can understand and appreciate why you separated
me from Mademoiselle Rosita. But Pascal — why
"Because Pascal and Rosita were both con-
nected with theatrical life — Bohemian life. I
suppose that is what you would like! Well, you
shall not have it. That I have not led a perfect
life myself is possible; but in all that concerns
you I have acted wisely and well. I wish you to
lead, near me, a tranquil, honored life, sheltered
from need and trouble. Is it culpable to wish
" To wish to bring it about by a lie — yes."
"And so you would proclaim through Beau-
vais — "
" I would proclaim nothing through Beauvais;
and stay — that I do not speak, that I never
speak, may be easily arranged. Let there be no
more question of my marriage. Let me become a
nun. That is not theatrical life; that is not Bo-
hernia. And at the convent I swear to yon that
I will never say anything, not even to my con-
fessor. If that is wrong, Qod will pardon it."
" You shall not enter the convent. I will pre-
vent it. I have the same control of you that a
mother would have."
"And I will force you to marry this young
*' Without speaking, no."
"Ahl you said yesterday that you did not
know me; nor did I know you. You have
strength of character; so have I. We shall see
who will yield the first."
"It will not be I."
" Nor I. At noon, I will bring you your break-
fast. Reflect! You will not be disturbed in your
reflections, I promise you."
She left the room, locking the door behind her.
"Well," thought Criquette, "I asked for the
convent, and I have it. I am going to live here
all alone, in a cell. I shall not be bored. All
alone? I have Pierrot, and I will talk with him
through the window."
She had heard Pierrot bark outside. He was
calling her. He was always there, beneath her
window, when she awoke. She breakfasted with
a very good appetite, throwing Pierrot half of
her bread. She had never felt freer or more
Aurelie sought Madame Guarena and sum-
"Celine is not well this morning," she said to
them; " I alone will enter her room and bring her
her meals. If anyone asks for her, say that she
is ill; and that is not all, you will both take care
not to go into that part of the garden which is
beneath Celine's window. I insist upon that."
They both bowed. It was well. What Aurelie
said was always well. When she had spoken, no
one in the house held a contrary opinion. Aurelie
had been a servant, and she knew how to rule
Four days passed. Aurelie brought Criquette
her chocolate in the morning, her breakfast at
noon, and her dinner at night.
Every evening as she was about to go, she said:
Criquette was not unhappy. She had some
embroidery, and from morning till night she
worked. She had also Pierrot, who passed
entire hours under her window, seated with his
nose in the air, looking at her, and seeming to
"Why don't you come down? What are you
doing up there? Come out! Go and sit on your
bench; I will put my head on your knees, and we
will be happy."
But on the afternoon of the third day Aurelie
discovered that Pierrot was Criquette' s faithful
companion. That was a distraction for the pris-
oner and must be removed; so, before Criquette' s
eyes, she herself took Pierrot away. The dog
resisted, but had to obey; and Criquette heard
Aar6Ue say to Th6rdse:
'*Keep Pierrot chained np through the day,
and release him only at night."
And, moreover, Aur§lie had seen Criquette at
the window. The garden was not large, and from
the adjoining houses other persons could see the
young girl, who, a little out of bravado, showed a
merry, laughing face. These persons would not
believe in Criquette's illness, and it was necessary
that they should believe in it.
Madame Rigaud came every day to inquire for
Criquette; young Stanislas wanted to see her
again — spoke only of her, thought only of her.
Aurelie answered that Criquette was unwell.
"Nothing serious," she added; "it is needless
for Doctor Rigaud to call for so slight a matter."
But she must take all precautions to prevent Cri-
quette being seen; so she made an additional call
on her ward in the afternoon. She appeared car-
rying a chain and padlock. She passed the chain
through the slats of the shutters and fastened it
with the padlock, which was a very strong one.
Criquette could open the window, but not the
shutters. She would not be seen any more.
The sixth day Criquette' s supply of embroid-
ery silk was exhausted. She was of an active
temperament, and while she had no fear of soli-
tude, she shuddered at the thought of idleness.
No more work possible! She summoned up
courage in the evening to say very humbly to
"I have no more silks. If you could give me
some I should be very grateful."
Aurelie had not thought of that — to prevent
" You shall have no more silks."
She seized Criquette's work-basket, containing
the embroidery, and carried away everything —
scissors, needles, and all.
What was to become of Criquette? Anxiety
took possession of her for the first time. She no
longer had her poor embroidery, no longer her
poor dog. Fortunately, she found in one of the
bureau drawers two books, both masterpieces:
" The Imitation of Christ" and "Paul and Vir-
ginia." She had placed the two volumes there
during the Easter vacation, and thought she had
returned them to the little book-case in the salon.
She kissed the two books over and over again.
She was saved, for she had something to read.
But she must not allow her godmother to suspect
that she had the books, or they would share the
fate of the embroidery.
Criquette had no watch, and her clock was out
of order, but she could hear the big clock of the
cathedral sound the hours, the halves, and the
quarters; that gratification Aurelie could not de-
prive her of — she could not stop the cathedral
clock. Half an hour before Aurelie' s visits, Cri-
quette hid the two volumes.
Those two volumes, both so ardent, so passion-
ate! Both speaking of love, but not of the same
This is what the young girl read in '*The Imi-
tation of Christ:" ** Nothing is sweeter than
love, nothing is stronger, more elevating, more
satisfying; there is nothing better, nothing so
perfect on earth or in heaven, because love is
bom of God and should be given to God beyond
all other creatures. When one loves, he runs, he
flies; he is in ecstasy; he is free, and nothing can
curb him. The ardor of a soul on fire with love
rises to God, as with a great cry: My God! My
lovel Thou art all mine, and I am all thine! "
Everywhere was the same language, the same
enthusiasm, the same exaltation, "There is no
love except in me, thy Lord and thy God! Seek
death before death, and thou wilt find life. Come
to me! Be all mine! "
And so, on the eighth day of her captivity,
Criquette, after having lived in that book from
morning till evening, said to Aurelie, when she
came to extinguish her candle:
*' I beg you, let me enter the convent."
But the next day, the ninth day, Criquette
opened " Paul and Virginia." She was suddenly
brought down from heaven to earth; she read and
re-read it; she learned by heart Paul's burning
declaration to Virginia:
*' When I am weary, the sight of you refreshes
me. When, from the top of the mountain, I see
you at the bottom of this valley, you appear to
me like a rosebud among the vines. Although I
lose sight of you among the trees, I do not need
to see you to find you again; something of you,
which I can not explain, remains in the air where
you have passed, upon the grass where you have
sat. When I approach you, you delight my
senses. If I touch you only with the tip of my
finger, all my being trembles with pleasure."
Then Criquette longed to live, longed to love.
She thought no more of God. She thought of
Pascal. She remembered that he had said to her:
" When we grow up we will love each other and be
married." To have separated her from Pascal —
from Pascal, who had not forgotten her! That is
what she could not pardon Aurelie, that is what
gave her firmness and courage. She would never
If Pascal were only there! How old must Pas-
cal be? He was older than she — not much, but a
little; so, if he is not dead, he is a man to-day.
And if he were there, perhaps to touch her with
the tip of his finger would —
It was thus that the poor child fluttered be
tween heaven and earth. Moreover, her thoughts
were beginning to be vague and undecided. It
was now eight days that she had been impris-
oned. She no longer ate. She had nightmares
in her sleep. To-day at about four o'clock she
felt frightfully weary. She could read no more.
She let the book fall into her lap and fell asleep,
just as the cathedral clock was striking four.
Half -past four! Five! Criquette did not wake.
Half -past five! She was still asleep. Six! Au-
relie came to bring the dinner; she saw the two
books and seized them, while Criquette in dismay
** Oh, nol Let me have them. Think! I shall
have nothing — nothing at all! "
But Criquette had already recovered her cour-
*'No, no, no!*'
She had nothing now, nothing at all. The
ninth day passed, and the tenth, and the eleventh,
and the twelfth. Sustained by a nervous strength,
Criquette for hours at a time paced up and down
her chamber like an imprisoned animal. Then
she fell exhausted into an arm-chair; and then, to
occupy her mind, she counted the little roses pro-
fusely strewn over the wall-paper. There were
four hundred and forty, or fifty, or sixty; she
never arrived at the same total.
Through the slats of the blinds, she took care
to cast after each meal little pellets of bread for
the birds. That at least brought something liv-
ing beneath her window.
The thirteenth day, Aurelie came in the morn-
ing, and found Criquette so pale and listless that
she could not repress a feeling of pity.
"Are you ill?"
Criquette raised her head.
" m? No, no. I am very well.'
After Aurelie had departed, Criquette rose.
She could scarcely walk. What was to be done?
Then she discovered that by mounting upon a
chair she could see, through the slats of the
blinds, into the court of a factory which was to
the left, on the other side of the wall. The wind
blew to and fro the smoke of the big brick chim-
ney. Criquette watched this smoke; it was a sort
of occupation. Then came workmen and girls,
who proceeded to hang, on posts in the court, im-
mense pieces of red cloth. Their task completed,
one of the men tried to kiss one of the girls, who
defended herself. Their comrades formed a cir-
cle around this little battle, which had nothing of
the tragic in it. The man was the stronger; he
seized the girl in his arms and planted a big kiss
on her cheek. They all laughed, beginning with
Her position on the chair was very fatiguing,
and Criquette descended. What should she do?
What should she do? Count the little roses? She
could not do it any more. It seemed to her that
her eyesight was dim. She opened mechanically,
without knowing why, the door of a little closet
filled with dresses and trunks. About the height
of one's head there were shelves, with boxes of
all sorts upon them.
One of these boxes attracted Criquette' s atten-
tion, recalled something to her. What? She did
not know. At last she remembered. The box
contained a doll given her, the evening of the
hundredth representation, by the authors of
" Gri-Gri." If the doll was there, she would play
with it, dress it and undress it. Her head was so
weak. She had become a child again, and the
idea of having a doll delighted her. She was
about to mount upon a chair to take down the
box, when she heaixl twelve o'clock strike. Her
godmother would be there presently. She closed
the door of the closet. It waa better to wait.
And when Aurelie had gone, without touching
her breakfast, Criquette mounted upon the chair
again and took down the box. How heavy it
wasl She could scarcely caiTy it. It was not
the doll, the box would not be so heavy.
But it was the doll, all the same, and with the
doll a crowd of little playthings which, the eve
of her departure, Aurelie had thrown in by
chance; for most part, broken remnants of toys,
puppets, a game of loto, jack-straws, dominos,
For two hours Criquette, seated upon the floor,
played with the doll. She dressed and undressed
it, she arranged its hair, she made it walk, dance,
and bow. Then she examined the other toys,
first the dominos, which were all in disorder in
their wooden box. She took them out one by
one, counted them, and suddenly, at the bottom
of the box, she perceived a little porte-monnaie.
Ahl the porte-monnaie; she recognized it at
once, and her heart leaped for joy. It was that
cheap little porte-monnaie Pascal had given her,
which she had lost and grieved over so. Dear
porte-monnaie 1 She kissed it again and again!
But her joy was followed by despair. The tears
rolled down her cheeks as she thought of Pascal.
The fit of weeping, however, did her good —
relieved her brain. Her head felt lighter, her
thoughts were clearer, and suddenly she remem-
bered there was money in that porte-monnaie!
Much money, given her by a king. She opened
it, and there were the two pieces of money which
had slept there for six years. Money! She had
money! She rose; all her strength of mind and
body returned to her. If she could escape, take the
railroad, and reach Paris!
In the early days of her captivity, she had
thought much of escaping. It did not appear to
her impossible; but without money what could
she do. Paris was twenty leagues away, and it
was impossible to walk; but now she could take
It was beginning to grow dark, and Aurelie
would come soon. Criquette put the doll and
toys back in the box and hid the box itself in the
closet. Pascal's porte-monnaie and the money
were in her pocket. She had eaten nothing since
morning, but with the dawn of hope her appetite
returned. She had just finished -her breakfast
when Aurelie appeared with her dinner.
The regular question was asked, "Still no?"
and the usual answer given, " Still no."
At last she was alone. When her godmother
should return, to-morrow morning at eight
o'clock, she must be gone. She did not doubt
the success of her undertaking. She commenced
by going to bed at seven o'clock. She suspected
Aurelie of coming at times to spy through the
keyhole. She went to bed, but she did not sleep.
She calmly reviewed all the details of her pro-
posed escape. She heard the cathedral clock
strike the hours; how slowly they i>aHsedI
Finally, at three o'clock in the morning, she
rose and listened. Not a sound in the house.
Everyone was asleep. She put on a plain gray
dress and stout shoes, so as to be able to walk
oomfortably. There were nearly two leagues to
be traveled on foot that night. The brilliant
moonlight gave her sufficient light.
The chain and padlock amounted to nothing.
With her table-knife, she quickly cut through
the slat around which the chain was passed, and
could open the shutters. She threw a wrap over
her shoulders, and fastened her hat to her head
with two strong pins. She was perfectly calm
To descend from the window was nothing,
either. Her room was on the first floor, and close
to the window grew an enormous tree a hundred
years old. She remembered playing ' ' Hide and Go
Seek" in the garden with Madame Rigaud's little
girl and hiding in the leafy branches.
She crawled out of the window, and seizing a
bough, found that it would bear her weight per-
fectly. The bright moonlight made her uneasy.
If anyone should be at the window of the neigh-
boring houses, she would be seen. But then, who
was awake in Beauvais at that hour? Before
descending, she fortunately remembered to close
She descended very easily, but just as she was
close to the ground she slipped and fell into a
mass of rose-bushes which was just below the
There was a slight noise of breaking branches,
which was answered by the barking of a dog on
the other side of the house. It was Pierrot, who
had heard the noise and ran barking in that direc-
tion. He recognized Criquette, and continued to
bark more furiously still, in his delight at seeing
her again after so long a separation. He threw
himself upon the young girl, whose skirts were
caught by the long thorns of the roses. She suc-
ceeded at length in disentangling herself, but
then she heard the noise of a window opening in
her guardian's room. She was lost!
Fortunately, a few steps away was a very thick
alley of lindens, which ran along the wall and
led to the little gate through which Criquette
intended to go. Before Aurelie had opened her
blinds and appeared at the window, Criquette,
followed by Pierrot, was able to reach this alley.
She was completely hidden in the shade, but it
was necessary to silence Pierrot. She leaned
against the trunk of one of the lindens, the dog
placed his two front paws upon her shoulders,
and she put both her hands over his mouth to
prevent his barking. They remained thus per-
fectly still, with their heads close together. Cri-
quette whispered low in his ear:
"Be still, Pierrot, be still! "
Aurelie leaned out of the window and looked
down into the garden, but she could neither see
nor hear anything. Criquette thanked her lucky
stars that she had thought to close the blinds.
Criquette pressed with all her strength Pierrot's
head in her hands, whispering:
*' Be still, Pierrot, be still! "
And Pierrot was still. He was happy in the
arms of his dear little mistress. Two or three
minutes passed, which seemed an eternity to Cri-
quette. The cathedral clock struck four. Aure-
lie closed her window, but Criquette remained
for five or six minutes hidden behind the tree,
with Pierrot's paws upon her shoulders.
Finally, she decided to continue her way, but
bending over, with one hand still holding the dog.
She had only one anxiety now. She knew that
the key of the garden gate was kept hidden be-
neath a mat at the end of the alley. If the key
should not be there! She raised the mat and,
groping in the darkness, found the key.
All that remained now was to open the gate
and separate from Pierrot. At the thought of
leaving the dog, Criquette' s eyes filled with tears.
She would have taken him with her if he had not
been so big, but under the circumstances it was
not to be thought of. She kissed Pierrot ten or
twelve times, as one would kiss a child, then she
put the key in the lock and opened the door; but
Pierrot struggled in his desire to go with her. It
took all her courage to repulse the poor animal.
At last Criquette is free; but behind the closed
gate she can hear the complaints of the only
friend she leaves in that house.
The theatrical agency, under the direction of
Monsieur Carmelle, has been installed for half a
century in an old, gloomy house of the Rue de
How many sopranos and tenors, how many
comedians and tragediennes, have ascended the
damp, dark staircase which leads to the office of
the agency! How many Ruy Bias and Lucrezia
Borgias! How many Fernandos and Leonoras!
How many old colonels and young widows of
Scribe's comedies! How many Giboyers and
Dalilas! How many Perrichons and Marguerite
Gauthiers! How many Adrienne Lecouvreurs
and Marquises de la Seigliere! How many Indi-
anas and Charlemagnes!
It is from here that have been sent in great
haste, and without being warranted, to all pro-
vincial directors in embarrassment, tenors and
baritones, singers of grand opera and singers of
opera-bo off e, leading men, juveniles, first old men
and first old women, low comedians, utility men,
comic old men and old women no less comic, and
ingenues of all degrees.
And all these, spreading themselves over the
surface of France, Europe, and the two Americas,
under the form of dramas, operas, vaudevilles,
and operettas, have let loose upon the world
screams, displays of anger, assassinations, buf-
fooneries, poisonings, punning burlesques, lies,
marriages of inclination and marriages of con-
venience, suicides, family quarrels, prayers,
threats, anathemas, frights, practical jokes, ecsta-
sies, drunken scenes, mad scenes, paternal curses,
feminine coquetries, serenades, balcony-scalings,
ambuscades, sword- thrusts, pistol-shots, Platonic
passions and those that are anything but Platonic,
vows to die rather than be unfaithful, farewells to
life and happiness, quarrels and reconciliations,
lost wills, thefts, reveries under the starry skies,
invocations to love, glory and honor; in short, all
that can be sung, all that can be declaimed, all
that can be danced, all that is pathetic, all that is
humorous, all that deserves to be applauded, all
that deserves to be hissed, all that can give rise to
burning declarations, tender barcarolles, comio
songs, tirades, and dialogues of every description
This great commission -house of dramatic ex
portation has its offices on the first floor; you
enter a large room where a clerk is seated before
a table covered with letters, telegrams, photo-
graphs, and theatrical journals.
Behind the clerk's desk are two lithographs, one
representing Talma as Augtisttts, with these
words from "Cinna" below:
Sit, Cinna, sit, and listen carefully to the
commands I place upon thee.
The other representing Grassot as Punch, with
these two words beneath:
Lithographs and inscriptions fall of eloquence!
How much in a few words! A whole lecture on
history and dramatic literature! For the patrons
of the agency, here is the choice between two
branches, the way open to all talents, all ambi-
tions. One can follow in the footsteps of Talma,
or in those of Grassot.
A case, divided into twenty little compart-
ments, bears these inscriptions: " Leading come-
dians, juveniles, soubrettes," etc. On each side
of the case are advertisements of perfumery,
rouge, theatrical materials, wardrobes to sell,
It was at the door of this theatrical agency that
Criquette knocked the morning of September
29, 1866. Her journey had been a roundabout
one, and full of complications; but she had con-
ducted her enterprise with the cool calculation
of an old criminal accustomed to escapes. She
never once dreamed of taking the seven o'clock
train at Beauvais; she might be recognized, stop-
ped, and taken back to Aurelie. She therefore
walked three miles to Rochy-Conde, the first sta-
tion on the line to Paris.
She knew the country, and alone on the high-
way she walked with a firm step, knowing neither
fear nor fatigue. The moon had disappeared, but
the stars still spangled the sky. Criquette drank
in the fresh air with delight; she was born again,
she lived again, she had free space before her, and
hope at the end of the road. One by one the
stars grew dim and disappeared; it was day, and
abont six o'clock Criquette amved at Rochy-
She bonght a ticket for the last station this side
of Paris — Saint-Denis. At eight o'clock Aurelie
would enter her room and her flight would be dis-
covered; the train was not due in Paris until half-
past nine, therefore there would be time for a
telegram to overtake her, and she would run a
serious danger at the Paris station; but at Saint-
Denis there was nothing to fear.
The fare, third-class, was only four francs, so
she had left thirty-six francs, with which amount
she could go, third-class, to the limits of France
to find Pascal; that was her chief desire, her chief
At Saint-Denis she took an omnibus which
brought her to Paris. The passengers laughed
and talked, and after the long silence to which she
had been condemned, the sound of human voices
was delightful to her. She recognized the fan-
borgs of Paris, and the streets where she had
rambled with Pascal. She saw the posters of the
theatres, and read, in colossal letters, "The
White Fawn," which recalled to her mind her
conversation with young Stanislas.
The omnibus stopped in the Rue Saint- Denis,
near the boulevard. In the crowd of people and
carriages Criquette was for a moment dismayed;
but, like the little Parisian she was, she tried to
find her way for herself. She did not succeed,
however, and being forced to inquire, she chose
a respectable-looking old gentleman; but one can
not be too careful in Paris, and respectable-look-
ing old gentlemen are no better than anyone else.
' ' Would you have the kindness, Monsieur, to
tell me the way to the Porte- Saint-Martin
"It is only a step or two, and if you will come
with me I will show you."
"No, please; just tell me how to get there."
"Turn to your left, and you will see the
She no longer walks; she runs. She knows
where she is now. There is the Rue de Bondy
and the stage door. She enters the room of the
congierge, and finds that good dame resting in a
"I beg your pardon, Madame."
The congierge turned, looked at her — ^looked
again, with evident surprise, and then suddenly
" Why, it is Criquette! "
" You recognize me, and yet I should not have
"Ah! but I have not your eyes. Could one
forget those eyes? It is so queer, too, that you
should turn up this morning, for there was some-
one here yesterday who was speaking of you."
"Of me! Who was it?"
"Your old friend Pascal. Don't you remem-
Remember! Pascal was here yesterday! And
he had not forgotten her! She threw her arms
about the neck of the congierge and kissed her, a
little for her own sake, to be sure, but more —
much more — for Pascal.
Questions poured forth from Criquette's lips.
Yes, Pascal was there yesterday, and he had
talked to the stage- manager about her. Tlie ad-
dress — Pascal's address? The converge did not
know it, but as he went away he said tliat he
¥ras going to sign an engagement for Mans at the
Carmelle agency; and the concierge knew the ad-
dress of the agency — 28 Rue de Louvois.
Criquette hastened away. As she came out of
the theatre she almost ran into the respectable-
looking old gentleman, who was walking up and
down in front of the stage door; she stepped
quickly aside and hastened away. In half an
hour she was seated upon a sofa of frayed velvet,
beside a woman of about forty, with a painted,
faded face, dressed in an old soiled dress of gray
silk. The clerk of the agency had said to Cri-
" Have the kindness to wait a minute. After I
have done with Monsieur and Madame, I am at
Monsieur was a tall, pale, thin young man.
His interview with the clerk was drawing to a
"So," said the clerk, "you failed at Beziers?"
"Yes, I failed; but I must tell you why. I had
come from Nancy, where I was engaged last sea-
son as second tenor. They have taste in the
North, so I got into the habit of singing with
taste, and that is what killed me at Beziers.
Those Southerners are all squallers, and to please
them, you must squall. Now, as I had taste, I
did not squall, and they hissed me the first night.
They might have had a little patience. I could
have learned to squall as well as anyone. The
habit of singing with taste is lost as easily as
"In short, you failed at Beziers?" said the
clerk, who went straight to the point in question,
and appeared little disposed to listen to the
tenor's disquisition on taste.
"WeU, yes, I failed."
" And you want a position as light tenor? "
"Return at four o'clock. There is a place
open at Rennes, and the manager will be here
"I should rather like Rennes. They must have
taste in Rennes. Be sure and tell the manager
that what ruined me at Beziers was because — "
"Yes, yes. Good- day."
It was now the turn of Criquette's neighbor;
and the following conversation took place be-
tween her and the clerk:
"Are you one of the patrons of the agency? "
"Did we obtain an engagement for you last
"Your name is — ^"
*' Louise Jacquot, but I am known on the stage
as Pauline Bruvdre."
**You did not renew your engagement at
"What was your salary?"
"Three hundred francs a month."
"And you would like — "
"At least as much as that."
" What is your line of business?"
And after that " ah! " the clerk raised his eyes
to the face of the poor woman, who understood
the meaning of the look, for she hastened to say:
"I have always played juvenile parts."
" I don't deny it. Well, call again to-morrow.
Have you a photograph?"
"Yes, here is one."
"Rather old, isn't it?"
"No, it was taken last year."
" Last year, I assure you."
"Return to-morrow at three. I will tell you
then if there is anything possible for you."
She rose, and Criquette was about to take her
place, when the poor juvenile lady turned again
to the clerk and said:
"If it were absolutely necessary, I would
change my line and play the young mothers."
" I think it would be wiser."
"Well, do the best you can for me," she an-
She went away slowly, very slowly, and as she
went, she looked at Criquette. Ah! if she had
that face and those eyes, she would not be obliged
to take the young mothers.
"It is your turn now, Mademoiselle," said the
clerk to Criquette. "Ah! now you have the
appearance for juveniles, if you care to play
" I did not come for an engagement. Monsieur.
I wanted to obtain an address."
"The address of a young man who signed a
contract here yesterday; I think for Mans —
" Possibly; but we do not give addresses."
"You don't give them! Oh, Monsieur, if you
knew why I ask you for it. He is a friend whom
I have not seen for six years. Please tell me
where I can find him."
What a thing it is to be pretty and have bright
" She can't be a creditor! " thought the clerk.
So he gave Criquette the address: Hotel de
Calais, 7 Rue de Clery.
"Oh, thanks, Monsieur, thanks!"
She was already at the door.
" I repeat: if you care to do so, you can obtain
an engagement on your appearance alone."
" Who knows, Monsieur? Perhaps; but mean^
while a thousand thanks."
She liastoBed away and hurried along the boule-
vards. She was not in the least tired. It seemed
to her that to find Pascal she could go on foot
to the other end of the world.
But her hejirt beat very quickly when she per-
ceived a sign with these words: " H6tel de Cal-
ais.*' At the right, in a narrow, dark alley, was
the office of the landlady. She was absorbed in
a cheap story- paper when Criquette asked her, in
a trembling voice:
*' Is Monsieur Pascal in? "
" Monsieur Pascal? Wait a moment and I will
She glanced up at the key-board.
"His key is not here, so he must be in his
room — third floor, second door to the right,
While Criquette was ascending the stairs, a
tall, fair-haired young man was walking up and
down the floor of No. 29; and as he walked,
he gesticulated and declaimed aloud. He was
repeating to himself the part of the Duke de
Montmeyran in "Monsieur Poirier's Son-in-law."
He was trying to fix in his head the following
"Those patriotic ideas at which we laugh in
Parisian cafes make the heart beat wonderfully
quick when in face of the enemy. The first
sound of the cannon silences criticism, and the
flag is no longer a bit of rag at the end of a pole,
bat the imperial insignia of our fatherland."
As Pascal for the third time was repeating
this speech, "Those patriotic ideas," etc., he
heard some one knock at the door.
' ' Come in, ' ' he said. ' ' Come in. ' '
The knob turned, the door opened, and there
were two simultaneous exclamations;
Already they were in one another's arms.
Those six years that had passed without their
seeing each other no longer counted — no longer
existed. It seemed to them that they had sepa-
rated only yesterday. Their old affection had no
need to be awakened. It had remained the same.
The same? No, not entirely. It was already
sweeter and stronger, for from that first embrace,
those first kisses, their friendship became love.
Like those rosebuds sent from Nice to Paris in
hermetically sealed boxes, until the end of a long
journey in the darkness of their prison they
remain buds, even closing still tighter; but when
the little box is opened, when the poor flowers
recover the light and air that they need, in an
instant they begin to live again, and they burst
forth into bloom in all their glory — such was Cri-
quette! She had found again light, warmth,
sunshine. Her heart opened! She loved! She
But although Pascal and Criquette had had
time to recognize one another, they had not had
time to see one another. The same thought came
to them at the same time, and the same desire.
They drew away from one another, and, face to
face, hand in hand, they ga^ed and gazed, and
then kissed again. There must have been many
kisses in that old room of that old Paris house,
but such happy kisses, neverl
There was then a torrent of words. How many
things they had to tell each otherl Six years to
relate! Their separated lives to join and bind
together again! They began to talk incoherently,
confusedly, as memories crowded in upon their
brains. Their first meeting in Belleville, the
quarrel with the big girl, the little cakes they
sold, their debut at the Porte-Saint-Martin, the
Princess Colibri^ the fifteen -sou monkey, Rosita,
Aur^lie, their separation, Pascal's journey to
Lyons and that poor little book which Criquette
had never received, Dieppe, Beauvais, the Convent
of Sainte-Marie, the prizes of the Conservatory,
young Stanislas Meunier, the Vichy theatre, the
porte-monnaie recovered, Pierrot, Criquette' s
flight, and finally the chance which, after a long
separation, had united them upon that sofa in a
Criquette pressed closely to Pascal, repeating:
" I am no longer alone! I am no longer alone!
For you will never leave me, will you — never? "
" I have been too much alone the last six years,
since I lost you; and I am so happy to have
found you. Tell me, tell me again, that you will
never leave me."
"Thank you," she said, laughing; "but to
make it sure, we must be married at once."
"Yes, certainly. What would become of me,
Pascal, if you did not marry me? I have only
you in all the world."
This was said so sweetly and innocently that
Pascal knelt at her feet, and kissing her two
little hands, said:
"Whatever you wish, Criquette; whatever you
How happy she was! She felt that she had
ceased to live during all those years, and was
just beginning to breathe again. She saw only
one thing: Pascal at her feet! She had only one
thought in her head: " He will be my husband! "
But Pascal was looking grave.
' ' Marry ! Can we marry? ' '
"What do you mean? "
"Why, in the first place, I am only nineteen.
Can a man marry at nineteen? "
' ' I don' t know. And how old are you? ' '
" Seventeen. And that woman is your guard-
"I don't think you can marry without her
"Indeed, she had the right to prevent my
entering the convent, and she must have the
right to prevent my marriage."
And 80 Criquette's liappiness flew away. She
felt that she was still in the hands of Aar61ie.
"Do not worry," said Pascal. "There is per-
haps some way out of it. When we go to
breakfast, we will consult one of my friends, who
is a clerk in a lawyer's office, a few steps from
The consultation was not a long one. The bud-
ding lawyer gave them an audience in the
*' At what age can a man marry? "
" Before the mayor?"
"Before the mayor."
"Article 141 of the Civil Code: 'A man
under eighteen and a woman under fifteen may
not marry.' "
Eighteen! Fifteen! There were no obstacles
there; but Pascal continued:
" Can a young girl who has neither father nor
mother marry without the consent of her guard-
"Before twenty-one, no."
A quarter of an hour after, Pascal and Cri-
quette were discussing the situation, seated at a
table in a little restaurant of the Rue Saint-
"Listen," said Pascal; "I am going to take the
first train to Beauvais, and once there, I shall
threaten Mademoiselle Aurelie with a fine scan-
daL If she does not give her consent, all
Beauvais shall soon know how she made her
"Never, Pascal, never! I forbid you to do
that. I don't wish yon to go to Beauvais. It
would ruin her, and I have no right to do that,
even to save myself. She received me and brought
me up, and I still owe her gratitude."
"Even after what she has done? "
"Even after what she has done. She foresaw
certain sorrows and dangers for me, and she was
right, perhaps. That does not change my resolu-
tion never to leave you; but I think I ought my-
seK to try if I can influence her."
"And tell her where you are? "
"Oh, that makes no difference, for she knows
already. I have found you. She could do the
same and so reach me. Let me do it, Pascal. I
assure you that it is my duty; but if she does not
consent, if she wishes to take me back, you will
not abandon me, Pascal; you will help me to
"I swear it."
" And I will defend myself! "
When they had finished breakfast, Criquette
wrote, upon the marble top of the table, the fol-
lowing letter to Aurelie:
I have found Pascal again, and we felt at once
that we had never ceased to love one another.
He wishes to marry me. He is engaged at the
theatre in Mans. Consent to our marriage, I
She signed it, and said to Pascal:
" Sign it yourself, and put the address of the
"You have quite decided?"
'•Quite. It is my duty."
He signed his name and wrote down the ad-
dress. They left the restaurant and posted the
letter, and then Criquette said to Pascal:
" Now, let us go to see mamma."
An hour after, Criquette was praying at her
mother's grave— that grave which had been paid
for by Prince Saveline.
It was half -past five, and already growing dark,
when they left Pere Lachaise.
" Mamma had a friend at Belleville, a charcoal-
woman. Do you remember?"
*' Yes, very well."
"Let us go and see if she is still there."
The charcoal-woman was still there. She was
Just sitting down to dinner with her husband and
children. The arrival of Criquette was a great
event. They would not let the two young people
go, and so they dined there off potato soup and a
dish of lentils.
But when Criquette rose from the table she
suddenly felt completely worn out. What a day
it had been! It was not four o'clock in the morn-
ing when she had escaped from the little house in
Beauvais, and how many emotions she had passed
through since thenl
Pascal went for a carriage, and when Criquette
was seated in it by his side, she said to him:
"My poor boy, how good you are, and how
much money I cost you! I am ruining you. And
I bring you as a dowry only thirty -six francs in
your porte-monnaie. Do you want my thirty-six
"No," answered Pascal, laughing; "I am rich —
very rich. I signed my contract yesterday and
received a month's salary in advance."
"How much is that? "
"Four hundred francs. We shall be able to
live very well with that."
"With that and with what I make. I am well
educated and I have courage. I worked very
hard at the convent, and I can give lessons in
language and music; but there is something
that I would like better — a little corner beside
you at the theatre. I am an old actress, you
" Yes, yes; and I also have thought of that.
We will go to-morrow morning to see Pere Le-
' ' Pere Lemuche? ' '
" He is my manager at Mans. I have had rare
good luck to fall into the hands of a very good
man. We will go to see him to-morrow."
"Ahl Pascal, if he would take me, for little
parts at first, and then better ones, I hope — but
at first no matter what — no matter what — pro-
vided I am in your theatre — and never leave you
She was very sleepy; her head sunk upon Pas-
cal's shoulder, and he, putting his arm about
her, 8upi)orted her as he would have supported a
sleeping child. But suddenly opening her eyes,
"We forgot, this morning, before going out — "
" To take a room for me at the hotel. Suppose
they should not have one."
"Oh, there will be one; have no fear. The
hotel is almost empty just now."
She slept again, encircled in Pascal's arms, so
quietly and trustingly that no thought of wrong
crossed the brain of the young man, who, how-
ever, had lived since childhood in a world where
morality is at a low ebb and purity rare.
There was a room for Criquette — No. 28.
They were to sleep separated by a wall an inch
Pascal looked at this wall and thought:
"Criquette is there, and I have promised to
marry her — and I will marry her! "
But his reflections were interrupted by:
"Good-night, Pascal, good-night!"
"Good-night, Criquette, good-nightl "
" Good-night, good-night! "
And this was all. Criquette slept under the
protection of Pascal, the leading juvenile of the
theatre of Mans.
The night of Criquette's flight Aurelie did not
sleep. She was at the end of her strength and
patience. When would this struggle be over?
Early in the morning she rose and went out into
the garden. When she came to the rose-bushes
under Criquette's window she noticed that they
were crushed and broken. She looked up; the
chain of the padlock was gone. She hurried into
the house, ran upstairs, and entered the room.
Criquette was gone!
To avoid scandal, at all costs, was Aurelie' s first
thought. She must gain time. No one must
suspect her ward's flight. She went down for
Criquette's chocolate, and ascended again to her
room. At noon for breakfast, and at six o'clock
for dinner, she did the same. Madame Guarena
and Therese must believe that Criquette was still
Aurelie found herself in the most terrible of
positions, because of her unfortunate past. She
tried to believe herself free from it, but it was
always rising up before her. All the morning
she reflected and waited. She expected at any
moment to see Criquette return, docile and re-
pentant after her rebellious escapade. Where
could she have gone? To the convent? The supe-
rior would not have kept her. To Paris? With-
out money that was imiwssible. Criquette had
no money; Aur^lie was very sure of that.
To inform the police and telegraph in all direc-
tions would give rise to scandal. If she consulted
a lawyer, he would talk; and then, what was the
use? Aur^lie knew perfectly well the limit of her
authority over her ward. The law had not abso-
lutely given the custody of the child to this
woman; but still Criquette knew nothing of this.
Aurelie had informed her that until she was
twenty-one she was under her sole and sovereign
control; and Criquette had not doubted her word.
It was not so, however; the official guardianship
did not give to Aur61ie all the rights of a mother
over her ward. Under grave circumstances — her
lawyer had told her so — she could not act with-
out the authorization of the mayor, who, in legal
language, represented the family council of the
young girl; but to appeal to the mayor would
also give rise to scandal.
During the day Aurelie concluded to make
some calls in Beauvais. Everywhere they asked
after her ward, and all faces bore the usual impress
of provincial stolidity. Evidently no one had seen
Criquette, and no one had heard of her. "She
will return to-night, when it begins to grow dark,"
she said to herself, "and ask my pardon." But
the evening and the night passed; Aurelie laid
awake, listening for the slightest sound, but
Criquette did not return.
In the morning, at half -past eight, the postman
brought a letter — Criquette' s letter, countersigned
by Pascal. Aurelie's first feeling was one of
anger — of fury even. She thought of taking the
first train, appealing to the commissary of police,
and bringing Criquette back by force. Yes; but
would the commissary of police consent? She was
not the girl's mother. And then Criquette would
resist; Pascal would defend her, call the people
of the hotel, the passers in the streets, and would
not allow the lovely creature who had been cast
into his arms to be carried off without a struggle.
The Paris newspapers would bring to Beauvais a
report of the affair, names and all.
Aurelie would have been willing enough to con-
sent to the marriage, if by that means she could
have got rid of Criquette. She knew what she
could say to explain her ward's disappearance.
Yes; but the publication of the bans would have
to be made at Beauvais, the last residence of the
young girl; and on the bulletin-board of the
mayor's office would appear: " There is a prom-
ise of marriage between Celine Brinquart and
Pascal, dramatic artist." This again would cause
After lengthy deliberation, Aurelie at last took
a sheet of paper and wrote a letter, consisting of
a few lines. She placed this letter in two envel-
opes, the first bearing the name of her ward, and
the second that of Pascal. The clerks in the
Beauvais post-office must not know that the girl
was in Paris. Aurelie went out and posted the
Jost as the postman was ringing the bell of the
little house in the Rue du Bout-du-Mur, Criquette
awoke and rapped on the wall of her chamber,
'* Good-morning, Pascal."
" Gk>od-morning, Criquette."
"At what time shall we go to see the man-
" At once. P^re Lemuche is an early bird."
But, before starting out, they consulted a rail-
way guide. Criquette knew that the postman
never rung at the door of the little house in Beau-
vais before half -past eight. Aurelie, to come to
Paris — and she would come, without any doubt —
could take no train before ten o'clock, and she
would not arrive in the Rue de Clery until half-
past twelve. They both wished to be there to
Pdre Lemuche was the oldest patron of the
Hotel of Dunkirk and Lisbon, in the Rue de
Bouloi. This hotel, since 18:37, had changed
its manager six times, and each of the six mana-
gers had piously left to his successor Pere
Lemuche as a legacy. Each of them learned from
his predecessor that when Monsieur Lemuche an-
nounced his near arrival in Paris, Room 17, on
the first floor, at the end of the court, must be
reserved for him; and in this room must be hung
four pictures which were the private property of
Three of these pictures were portraits of dra-
matic authors not altogether unknown to fame:
Molidre, Corneille, Kacine. For thirty years
Cesar Lemuche had been a manager of provincial
theatres, and when he came to Paris every year to
engage his company, he did not wish to be alone
in his room at the hotel. He liked to find every
evening on his return familiar faces smiling
down upon him. And such were the comrades he
gave himself. He might have made a worse
The fourth frame contained a marvel of callig-
raphy, the masterpiece of a professor of writing
of the time of the Restoration. High up on the
right was the tragic mask of Melpomene, and on
the left the smiling mask of Thalia, both won-
ders of intricate lines. Below the two masks,
combining ingeniously all fashions of calligraphy,
was consigned to posterity the following state-
His Creations at the Thefitre Francais.
1. Jean of Burgundy.
Tragedy in five acts, by Guilleau de Formont,
December 4, 1823.
Played by Talma, Lafon, Desmousseaux, Dumilfitre, Damas,
Ligier, Lemuche, and Mile. Duchesnois.
2. A Rogue in Spite op Himself.
Comedy in three acts, by Dumersan.
May 29, 1824.
Played by Firmin, Devigny, Michelot, Desmousseaux, Arxnand
Dailly, Lemuche, and Mile. Mars.
8, EUDORA AND CyMODOCKUS.
Tragedy in five acts, by Gray.
July 17, 1824.
Played by Sainte-Aulaire, Lafon, Desmousseaux, Firmin,
Dumilatre, Menjaud, Michelot, Lemuche, Mile. Brochard, and
All this, moreover, was most scrupulously true.
Yes, O^ear Lemuche, from the month of October,
1823, to the month of October, 1824, was a mem-
ber of the company of the Th6&tre Franyais. He
had been one of the comedians in ordinary of His
Majesty Louis XVIII., and of His Majesty
Charles X., as he had the good fortune to play in
two reigns; and the old manager of the theatre of
Mans could, without lying, and even appropri-
ately, utter the following sentences:
"When I belonged to the Comedie Fran-
jaise — "
" When I played there both tragedy and com-
*' When I acted my scene with Talma — "
"When I shared in the success of Mademoi-
selle Mars — "
"When I created three idles at the Th6S,tre
Franjais — "
As to the importance and extent of these three
r61es Lemuche gave no detail; but it occurred to an
old habitue of the Poitiers theatre to send to Paris
for copies of "Jean of Burgundy," "A Rogue
in Spite of Himself," and "Eudora and Cymodo-
ceus. Then, under the heading "The Truth
in Regard to the Three Creations of Monsieur
Lemuche," he published in the Vienna Journal
an article which contained the following revela-
In "John of Burgundy," Lemuche played an
officer of the palace. He made a rapid entrance
in Scene VI., Act 2, and said to the dauphin:
"Prince, an immense crowd is at this moment
invading the palace. All our efforts are vain."
This was all there was of the part.
In "Eudora and Cymodoceus," Lemuche
played a Roman; he advanced down the stage,
pointed to the amphitheatre of Nero, and said to
"Behold the circus open for the sanguinary
games. The tigers, the lions, and the victims, all
More modest still was Lemuche' s creation in
the comedy repertoire. He played a lackey in
"A Rogue in Spite of Himself." The door
opened at the end of the first act. The principal
characters were grouped upon the stage. Le-
muche said to them:
" Gentlemen, dinner is served! "
Nothing more; and yet Lemuche spoke with
pride of this creation.
" I played only a secondary role," he said; " a
domestic — a simple domestic, but I placed my
own individual stamp upon that domestic; in
fact, I made of him a Lemuche! "
The city of Mans had the honor of being the
birthplace of Cesar Lemuche, in the month of
September, 1802; but it was not until much later,
after many adventures and journeys, that the
ex-actor of the Comedie-Frangaise returned there
permanently. His father was an usher to the
civil tribunal of Mans; he had hoped that Cesar
would one day succeed him, wear like him the
black robe, and like him announce in a loud, clear
voice the parties summoned to the bar of the tri-
''Yes," said Cfisar Lemuche, when he related
his life, and he related it often, as he considered
it the most interesting thing in the world to talk
about; " yes, my father destined me for Themis,
but the gods decided otherwise. Melpomene and
Thalia were the stronger."
Lemuche was a pure classicist; he would never
have mentioned Thalia before Melpomene, he
respected too much the order of precedence. In
1820, Cesar Lemuche, fascinated by the stage,
joined a company of traveling actors who hap-
pened to pass through Mans. In 1823 he had the
good fortune to enter the Comedie-Fran^aise at
the modest salary of eight hundred francs a year.
He filled there, moreover, the same functions that
his father did at the tribunal of Mans. The one
oi)ened the door of the court-room and exclaimed:
*' Gentlemen, the tribunal!" The other opened
the door of the dining-room and exclaimed:
"Gentlemen, you are served!" The father an-
nounced the court and the son the dinner.
They praised at the theatre Cesar Lemuche' s
zeal and punctuality, but he was dismissed at the
end of twelve months, for a very odd reason — he
was too thin. To give him all the valets, lackeys,
and domestics of the old and new repertoire, the
old and legendary liveries of the Theatre Frangais
would have to be made over. An actor presented
himself who had the necessary amount of flesh,
and so poor Lemuche remained only a short time
the comrade of Talma and Mademoiselle Mars.
It was sufficient, however, to make the glory of
his whole existence.
Lemuche put on the harness again, and for fif-
teen years played comedy in the provinces. He
was neither good nor bad; in some towns he suc-
ceeded, in others he fell flat; he had partisans at
Montpellier and detractors at Nimes. He had a
secret ambition to become the manager of a thea-
tre, to direct a company, and train actors. This
ambition he was able to realize, on the death of
his father, who left to each of his children —
Cesar had a sister — the sum of twenty thousand
francs. Six months after, Lemuche obtained the
lease of the theatre at Amiens. He was a very
ordinary actor, but he was an excellent manager.
He was in love with his profession, which is in all
things the first element of success. He lived only
in his theatre and for his theatre. He had his
ups and downs, his good years and his bad years;
but on the whole he succeeded. After twenty
years of theatrical management in all parts of
France, he had laid aside twenty thousand francs.
He could then obtain the lease of the theatre
at Mans. This was a quiet enterprise, a half-
retreat; not much money to make in good years,
but not much to lose in bad years. He lived
thus very happily for six years, greatly beloved
in the city. He intended to run the theatre for
two or three seasons more and then retire, and
end his life in his little house in the Avenue de
It was usually during Easter week, after the
closing of the theatre, that Lemuche came to
Paris every year to spend a month and select the
members of his company; but this year they
were making great changes in the theatre, and the
reojiening was to take place the first of Novem-
ber, and for that reason Lemuche did not arrive
in Paris until the middle of September. He had,
moreover, renewed the contracts of most of his
company of the previous season. He had only
four more people to engage — an old man, a juven-
ile, a comic old woman, and an ingenue. He had
found his juvenile — Pascal — his comic old woman,
and his old man. He was hesitating between two
At the moment that Pascal and Criquette were
ascending the stairs of the hotel, Pdre Lemuche,
wrapped in a big dressing-gown, was promenad-
ing up and down, and wondering which of the
two ingenues he should take. He walked with a
quick, alert step. He was a little old man, who
talked nervously, with many gestures; he always
wore a white cravat and a crisply curling wig of
the most intense black. Pere Lemuche was inter-
rupted in his promenade and his reflections by a
discreet little tap at his chamber jdoor.
" Come in! '* he cried. " Come in! "
The door opened, and Pascal appeared.
" Ah! is it you, my boy? You have come to see
your old manager? "
" Yes, Monsieur Lemuche; but I am not alone.
Did you not say to me yesterday that you had
not yet found an ingenue? "
*' An ingenue? Yes, I am still looking for one."
" Well, I have found you someone who I think
will suit you."
" Where is she? "
" Outside in the entry."
"Bring her in."
And Criquette appeared on the threshold,
blushing a little.
".Where did you find her?" asked Lemuche,
"Where did I find her? Why, she is an old
friend of mine."
"An old friend? I congratulate you on your
old friends. What a face for the stage! How
pretty she is — how pretty! Come in, my child —
come in and let me look at you a little. You are
good to look at. Humph! if your song is equal
to your plumage, and if your ideas are not too
high, Cesar Lemuche will engage you."
"Oh, my ideas are not very high, Monsieur.
If I can only stay with Pascal and never leave
With one of the most charming and natural of
movements, she approached Pascal and took his
"How she said that!" cried Pdre Lemuche.
"A perfect ingenue. And you have already
"Yes, Monsieur," replied Pascal. "She has
already — "
"Let her speak, my boy. I want to hear her,
not you. I know all about you. Well, my dear,''
addressing Criquette. "Pardon mo, I always
call the ladies of my company my dear. It is
more convenient at rehearsals; so, if I engage
you, I shall call you my dear."
"Ohl begin immediately, if you like," answered
**I ask nothing better, especially as I think
you will probably make acquaintance with Mans."
" I want to do so with all my heart."
" So you have already acted?"
"Yes, Monsieur, but a long time ago."
"Oh! a long time ago? "
"Yes; a very long time ago. I was quite a
little girl, only eleven."
" And where did you play? "
" At the Porte-Saint-Martin."
"In what piece?"
"That is bad to commence with. Spectacles
and burlesques are the ruin of the drama. What
was the name of this fairy-piece? "
" ' Gri-Gri! ' I saw that. One has to see every-
thing; and I remember — What was the queer
little name they called you then? "
"Criquette! Little Criquette! Why, people
talked about you then. You played the part of
a little princess who kicked up her skirts."
"You made a success — a great success. And
after that, what became of you? Were you at
the Conservatory with Pascal?"
"Oh! no, Monsieur. I passed six years in the
"In the convent. And after leaving the con-
vent you commenced to run about with this big
fellow here. There is some romance under this."
"There is a little."
"Well, that is your business, not mine. What
interests me is my ingenue. You have the ap-
pearance for the parts; but fine eyes and a
pretty face are not everything. You must recite
something for me. Do you know anything? "
"But at the convent — Racine wrote tragedies
"Ah! I know by heart the first three acts of
" Racine! 'Athalie! ' I have played in 'Athalie'
at the Comedie-Fran§aise."
Played! Figured would have been more exact,
for Lemuche was charged with the absolutely
mute r61e of one of the Levites who rush upon
the stage, in the fifth act, when Joas cries:
' ' Soldiers of the living God, defend your king! ' '
"Yes," he continued; "I played in 'Athalie.'
And Racine is one of my gods. I have a little
old edition there. Moliere, Corneille, Racine!
Their portraits! Their works! I could not live
without them. There, my boy, take the volume
and give her the cues. In the second act, the ex-
amination of Joas. You take the part of Athalie^
and let her speak the lines of JocbsP
He rolled his arm-chair near the window, sat
down with his back to the light, and told the
young people to take up their station before him.
PascxU. — " What is your name?"
CfrigueUe. — "My name is Eliacin."
Pascal. — "And your father? "
Oriqtiette. — "I am, they say, an orphan. In the
arms of God," etc.
Lemuche was happy. A recital, a recital in
verse — a classical recital! And an excellent one,
too! Criquette's voice was a little thin in com-
pass, but of charming quality. She pronounced
correctly — a little too correctly for Lemuche' s
" You are very intelligent; but you do not sep-
arate the verses and mark the rhythm sufficiently.
I am of the old school — the school of fine decla-
mation. It is great music — great poetry. Verses
should not be spoken, but sung; but it was not
bad — not bad at all."
" And you engage me?"
* ' Oh, not yet — not yet! We do not play ' Atha-
alie' at Mans."
He commenced to rummage amidst a pile of
paper-covered plays which lay upon his bureau.
"This will do," he said; " 'The Olden Times.'
Two young people who adore each other, and an
old man who is interested in their love affair.
Quite appropriate, is it not?"
"A little," answered Criquette.
"A little! Entirely so." Then, addressing
Pascal, lie asked: "Do you know the part of
" I played it last summer at yichy."
' ' Good. Let her study Jacqueline^ and return
to-morrow at four o'clock. You make a very nice
couple, and I should like very much to take you
to Mans. I have had many ingenues in my com-
panies during the last thirty years, but none so
sweet and pretty as you, my dear. By the way,
I told you that I always called my actresses ' my
dear;' and that is not all, when they are pretty
girls I kiss them."
Criquette came to him with a smile, and he
placed two great kisses upon her cheeks — classic
salutes, real stage kisses.
It is very rare that presentiments prove correct;
but Criquette left the room feeling that she had
found a friend, and she was not mistaken.
On the way back to their own hotel, Pascal
told her the plot of the piece. This meant a con-
versation on love, for the pretty comedy is a
touching little poem of tenderness and affection.
They breakfasted alone in the hotel dining-room.
Criquette stood up before her, against a carafe,
the book of the play. To learn a part, a real
part, with Pascal for a teacher! In her delight,
she thought no more of Aurelie; but suddenly
she came upon the following passage. The old
man asks Jacqueline to tell him her history, and
she answers: " It is not long. My mother died
when I was twelve years old. My father married
again, a wicked woman who beat me all the
blessed day. Then I ran away from the house,
and I live as I can, working hard, and neither
thinking nor doing anything wrong. That is my
It was Criquette's history also, or almost so.
She looked at her hands, which still bore the
marks of Aur§lie's clutch. All her delight van-
ished. It was noon. Aurelie might be expected
now at any moment.
"You will never abandon me, Pascal. You
'* And I promise again."
" I was wrong to write to her. Suppose we run
away and go far off— to America."
** And my engagement? I have no right to go
" And then, how about money? We must have
money to go far."
They went up to Pascal's room, which was
larger than Criquette's, and more convenient for
rehearsing. Criquette was anxious to know the
whole r61e by the next day, from the first line to
the last. Her work occupied her and drove away
the depression that was beginning to weigh upon
She repeated her lines, clutching Pascal and
throwing herself into his arras whenever she
heard a carriage in the street or a step upon the
stairs, afraid each time that it was the dreaded
So passed the entire day. Why did Aurelie
not come? Perhaps she had appealed to the mag-
istrates or the police. She would not come her-
self, and Criquette would lose the hope of soften-
ing her by her entreaties, or frightening her by
her resistance. Men would come — men who in
the name of the law would seize her and take her
back to Beauvais, despite her tears and cries.
"If that does happen," she said to Pascal,
"you must follow me — you must follow me! "
She crept close to him, feeling that he was her
refuge, her love, her life. The same fear pos-
sessed them both; they were one in their anxiety
The day drew to a close. They did not dare to
go down to dinner in the common dining-room.
The approach of night added to their nervous-
ness; something vague weighed upon them, some-
thing worse than their worst imaginings. They
ordered their dinner to be served in Pascal's room;
but they scarcely touched what was brought
them, and leaving the table they sat down on the
"I am afraid," said Criquette. "Let us do
something. Let us try to rehearse."
She had a wonderful memory, and, despite her
worry, she had succeeded in learning nearly all
the role of Jacqueline. The sentences mechan-
ically left her lips — sentences of love — and Pascal,
mechanically also, recited the words of his role.
Now and then he kissed Criquette' s hair. She
looked up at him with a smile. Soon they spoke
no more. Half-asleep, they rested in one an-
A knock at the door suddenly roused them from
sentiment to reality. It was one of the servants
of the hotel with a letter for Pascal. Criquette
eagerly examined the address, and when the
servant had departed, she exclaimed:
" It is from her! I know the writing. Open it!
Open it quickly! "
He broke the seal, but in the first envelope was
a second upon which were written these two
words: "For her." Within was the following
I can not consent to such a marriage; nor will
I ever consent to it. If you will return alone,
tractable and obedient, I can still pardon you.
No one here suspects your departure. If you do
not wish to return, I ask only one thing, which I
have the right to ask of you: Never appear again
in Beauvais. I shall say that you have gone to
enter a convent in Paris. Understand what I say:
Return at once or not at all.
Criquette read and re-read the letter very care-
fully, and then she handed it to Pascal. In a few
minutes, he returned it to her without a word.
The evening was mild and warm. She went to
the open window, and he joined her there. She
leaned her head on his shoulder, still without a
word. They remained thus a long time — a very
long time. She was reflecting, and he did not
Then, suddenly, Criquette said to Pascal :
"Take me! Keep me! 1 am your wife! "
CEIQUETTE. ^ 323
The next day at three o'clock Aurelie received
the following communication:
" You will never hear of me again."
Aurelie put on her hat and cloak, and went to
pay a visit to Madame Meunier. She explained
to her that her ward, unable to resist the dic-
tates of her conscience, had departed to commence
her novitiate in a Parisian convent.
"Your son must not be angry with her," she
said, in conclusion. "She has preferred no one
to him but God."
Young Stanislas was resigned. He espoused
the least ugly of the three marriageable girls in
As for Aurelie, she continued to live at Beau-
vais in the peace of a provincial life, respected
At the very moment that Criquette's guardian
was addressing to Madame Meunier a carefully pre-
pared discourse on her ward's irresistible predi-
lection for a religious life, that ward was indeed
contracting an engagement, but it was not with
God n'or for eternity; it was with Cesar Lemuche,
manager of the theatre of Mans; and it was only
for seven months, from October 1, 1866, to May
1, 1867. She promised to devote to him her
talents, exclusively and without any reserve, in
the acting of ingmue parts.
Criquette had done hei^self credit at her seoond
redtal, and had acted with much grace and sweet-
ness the pretty part of Jacqueline.
"You are charming," Lemuche said to her.
**0f course, you must work and learn your pro-
fession; but I will attend to that. I will be
your teacher. And now, my children, if you
like, leave for Mans to-morrow. I advise you t-o
live at The Conqueror, a good old house, half-
hotel, half-inn, at the gates of Mans, almost in
the country. You will spend less money there
than in Paris. We shall not begin to rehearse
for ten days, but you will have plenty to do.
Pascal has a dozen parts to commit to memory,
and you, my dear, will have as many. My busi-
ness will detain me in Paris until the end of the
week, but I invite you to dine with me a week
from to-morrow at my little house in Mans.
You will make the acquaintance of Mademoiselle
Clementine, my sister, and if you do not at once
win her friendship, as you did mine, I shall be
very much astonished, Criquette. Yes, Criquette
— for I too am going to call you Criquette."
They left Paris the next day, and Criquette
finally discovered what happiness was. The first
two weeks of October were delightful— those early
days in autumn which have all the softness of
spring. And it was spring also in the hearts of
the youth and maiden, whose friendship had
become love. They commenced again their walks
and wanderings of the old days, but this time
through the real country. Early in the morning,
they set out, carrying a copy of a sombre drama
or a lively farce, " The Willow Copse " or "What
is Love? " As a rule, they went to Yvre-l' Eveque.
This was a walk of about three miles, along a
beautiful road bordered with tall poplars. They
breakfasted in a little restaurant near the bridge
that crosses the Huisne, beyond the village;
then they passed the day in the open air, under
the shade of four great chestnuts, on the side of
the Auvours hills. There, lying on the grass, or
seated upon the trunk of an old tree, they gravely
exchanged tirades of melodrama or merry speeches
of farces. They had an audience— an old shep-
herd who pastured his sheep on the hill-side. He
came and sat down beside them, in his goat-skin
dress, his crook between his legs, and laughed
confidently when he saw them laugh, without
understanding a single word of what they said.
The shepherd's dog also sometimes joined the
party, barking with all his might when foolish
laughter seized at once the two young people and
the old shepherd.
Criquette and Pascal dined, as had been ar-
ranged, with Pere Lemuche, and were presented
to Mademoiselle Clementine, an odd-looking little
woman, very short, very plump, and very much
surprised to finish among actors and actresses an
existence which had been passed almost entirely
amidst the most aristocratic surroundings.
In 1832 she was a school-mistress at Sarge, a
large village a few miles from Mans, when a lady
of the neighborhood, the Marquise de Louvercy,
engaged her as governess to her little grand-
daughter. Mademoiselle Lemuche entered the
Chateau de Louvercy, and remained there thirty
years. After the education of her young pupil
was finished, she was liaised to the nink of reader
and companion to the Marquise. From 1842 to
1802, all the romances of the eighteenth century,
and the nineteenth as well, rolled in torrents from
the lips of Mademoiselle Lemuche. She never
left the Marquise, but went to Paris with her in
winter, and thus moved in the highest possible
society. So that if Cesar Lemuche could say to
his sister, " Talma explained to me one day," etc.,
or, "I remarked one evening to Mademoiselle
Mars," etc., Clementine Lemuche could reply to
her brother, "One night when I was at the Duch-
esse d'Estignac's," etc., or, "I heard the Prince
de Valgeneuse relate," etc.
While she was reader and companion, Made-
moiselle Lemuche also taught, from 1848 to 1862,
young Etienne de Serignan, the son of her former
pupil, how to read, write, and cipher. The Mar-
quise died in 1862, leaving her reader an annuity
of twelve hundred francs, and the old maid, sud-
denly fallen from her grandeur, came to ask the
hospitality of her brother, who received her with
open arms. Mademoiselle Lemuche' s advent,
however, was preceded by a very decided declara-
tion; she would have nothing whatever to do with
the business and people of the theatre; having
lived as she had, she could not associate with
actors, whom she looked upon as vagabonds; she
admitted only one exception — her brother.
A month rolled by, during which Clementine
Lemuche affected to ignore completely the pro-
fession followed by Cesar Lemuche.
But, during breakfast one morning, early in the
second month, she said to her brother:
"Well, how goes your frightful theatre? "
" And your frightful actors? "
"Pretty well, also."
"I saw yesterday in the Place du Marche your
" My frightful advertisement."
"You are playing 'The Pearl of Savoy.' A
drama, is it not? I read it once to the Mar-
"Yes, it is a drama."
"Did you have a good house last evening? "
" Yes, very good."
" What were the receipts? "
' ' Over six hundred francs. ' '
" And is that good? "
"Yes, when the expenses are only three hun-
dred and fifty."
Mademoiselle Lemuche did not ask any further
questions then, but a few days after she said to
"I was all alone last evening. You had left
upon my desk a memorandum from your cos-
tumer, and I cast my eyes over it mechanically,
without exactly thinking what I was doing — "
"It was my costumer's accounts."
"Precisely. Well, there were two or three
errors in them, and not to yoar advantage. I
have rectified them."
The next day, Mademoiselle Lemuche took int-o
her own hands the 8ui)ervi8ion of the costume
department; then, the next week, that of the
accounts and the box-office. She was soon seen
at all hours everywhere in the theatre, directing
the workmen, watching the doorkeeper, making
np the accounts, and carrying home, every even-
ing after the play, the receipts in a little velvet
bag which had been given her by Madame de
The day that Pascal and Criquette sat down for
the first time at their manager's table, there were
present two other guests. Monsieur and Madame
Lacalprandde, who were respectively the heavy
man and the second old woman of the company.
Lacalpranede was playing the leading parts at
Montpellier when the childless widow of a drug-
gist, with an income of four or five thousand
livres a year, fell madly in love with him. Lacal-
prandde resigned himself to marry, but only
after the following declaration:
" You say that you can not live without me,
and I have no wish to cause your death. I offer
you my hand; but we must have a perfect
understanding. An artist has no right to self-
ishly devote himself to one woman. He must
qunff without cessation the living sources of pas-
sion, pass through violent and varied sensations,
study constantly in himself the various phases of
love, in order that he may present them vividly
upon the stage; so I shall, in all probability, love
other women besides you; and more than that, as
I am of a frank, expansive nature, I shall speak
to yOu of my love affairs and tell you how they
progress. If this arrangement suits you, be Ma-
dame Lacalpranede. If not, farewell forever."
She accepted, promising never to worry him
with reproaches or jealousy. To promise was
nothing — one promises everything when one is in
love — but, strange to say, Clarisse kept her word.
Her name was Clarisse. Lacalpranede, in her
eyes, was not a man, he was a god; so that, though
often tortured, she ended by becoming interested
in his love affairs and proud of his successes.
Clarisse passed her life in making frills and ruf-
fles for Lacalpranede — who still wore frills and
ruffles — and after a few years, in order to be
always with her adored husband, she engaged in
his company as second old woman, making forty
francs a month singing in choruses, forming one
of a mob, and devouring with her eyes her hus-
band when she happened to be on the stage
behind her idol.
One evening at Nancy, an incident happened
which threw the audience into a veritable frenzy.
Clarisse was playing the part of a chamber-maid.
At the end of the fourth act she brought a letter
to Lacalpranede, who was alone on the stage.
She said to him: "There is an answer," and
retired to the back to wait, like a servant who
knows her place. This letter was an important
point in the drama; it brought to Lacalpranede
shocking revelations. It informed him that his
wife had deceived him for twenty years, with his
beet friend. Lacalpranede read this letter in a
hollow, suppressed voice; as he finished, he was
about to burst into tears, but he restrained him-
self by a powerful effort, on account of the pres-
ence of the maid. This was the great scene of
After the reading of the letter, Clarisse should
have approached and said to LacalpranMe: "Is
there any answer, Monsieur?" and Lacalpranede,
now master of himself, should have replied:
"No answer.*' But the unfortunate Clarisse was
so overcome by the reading of the letter, her
husband appeared to her so touching, so noble, and
so handsome, that she approached him slowly —
slowly, and cast herself into his arms, when he had
ceased sj^eaking, crying: "Ahl my Hippolyte,
what genius you have! what genius! "
This gave rise to a frightful rumpus in the
auditorium, and they were obliged to lower the
curtain. Some of the audience roared with
laughter, but the majority were exasperated and
"Apologize! Apologize! "
Poor Madame Lacalpranede was forced to
come before the curtain and very humbly present
her excuses to the public. She did so in the fol-
" I beg your pardon, ladies and gentlemen, but
I could not help it. You see, he is my husband,
and I love him so much! "
She was overwhelmed with applause, and never
had so lauch success upon the stage, before or
Cesar and Clementine Lemuche, Hippolyte and
Clarisse Lacalpranede, were destined to be, for
the next three years, the best friends of Criquette,
who, at seventeen, had already lived with char-
coal-sellers, burlesque actresses, princes, kings,
nuns, and respectable members of provincial
society. Frank and kind, tender and merry, she
in herself was the grace and youth of that little
troup of comedians, who said to her:
"You are too pretty for the provinces. You
will leave us soon and go to Paris."
But Criquette answered them:
"I will go where Pascal goes."
They both made their debut the same evening,
in the same piece, and they both succeeded; but
Pascal's success was more marked than that of
Criquette. After the last act, Lemuche took her
aside, and said to her:
" You have had some success, but he has played
better than you; and yet you ought to play better
than he, for you are more intelligent."
" Oh, no. Monsieur Lemuche."
"Oh, yes, Mademoiselle Criquette. You were
not actress enough. You were too natural — too
simple. They like that in Paris, but in the prov-
inces — no. And then, every time that you are on
the stage with Pascal you are too much engaged
with him. You seem to love him better than your
" But I do."
*'Love him at home, but not on tjie stage.
Now he thought only of his jmrt, sukI h« was
right. Each for himself at the theatre, and the
public for all."
The first year was one long dream of delight for
Criquette, and her life may be related in one line:
**He loved her, and she was happy."
At the theatre, everything amused Criquette,
but especially the stories and reminiscences of
Lacalpranede. During the intermissions, in the
little green-room, the actors would whisi)er among
"We must make Criquette laugh. Let us ask
Lacalpranede to tell us a story."
"Oh, Fr6d6rick Lemaitre at Montpellier."
Then, one of the actors, addressing Lacalpra-
ndde, would say:
"It was at Montpellier, I think, that you met
" Yes, at Montpellier. Poor FrM^rick! Since
the beginning of the season I had played nine
times in ' Thirty Years; or. The Life of a Gam-
bler.' I had made Frederick's part, the part of
the gambler, my own; as, indeed, I made all my
parts my own. A drama represented nine times
at Montpellier in the same season! The fact was
without precedent! The evening of the ninth per-
formance, the Mayor himself came to the theatre
to congratulate me in person. Now, one day, Fre-
derick arrived at Montpellier, with the intention of
giving a few performances. He was traveling with
a post-chaise and horses. The manager of the
theatre received him on his arrival. Frederick's
first words, as he descended from his carriage, were:
' Is not Monsieur Lacalpranede within your walls? '
' Yes, Monsieur Frederick.' 'And he has played
"Thirty Years" here?' 'Yes, Monsieur Fre-
derick.' 'Very well, then; I shall not stop here.
I go straight on to Marseilles.' They changed
horses, and he drove away in ten minutes. He
did not care to attempt to rival me, and he was
right. I do not know if at Paris he had the
women with him, but he would not have had them
at Montpellier; and when you have not the women
on your side, you have nothing. Now, I held
them all at Montpellier. You can testify to that,
"Yes, my friend."
"No man can boast of having had so many ad-
mirers as I."
"Beginning with me," said Clarisse.
"Yes; but hundreds of others, also. Women,
follies, pleasures — I have exhausted them all! "
He accompanied these words with an immense
sweeping gesture that seemed to embrace all
enjoyment of every kind, without letting one
Madame Lacalpranede looked at him in ecstasy,
her eyes round with adoration. Poor woman!
How touching she was in her devotion and admira-
tion! She was proud and happy to have borne
and' pardoned all, for after each escapade he had
always returned to her. And to-day, her god—
old, wrinkled, and gray, condemned to play the
heavy parts — was her god still, and to her alone
he seemed ever handsome — ever young.
How Criquette laughed at that speech of Lacal-
pranede: "Women, follies, pleasures— I have
exhausted them all! "
*' You laugh. Mademoiselle Criquette," he said
to her; "you laugh, young dove, at the lion
grown old. Ah! if I were only twenty years
younger, it would not be that tall fellow there
that you would love, but I, Lacalpranede."
"I don't say no. Monsieur Lacalprandde."
But just now it was that tall fellow there that
she loved, and that tall fellow alone. She did
not, however, lack admirers. Pretty girls are
rare in provincial theatres; and the rumor soon
spread that Cesar Lemuche had in his company a
little marvel of grace and beauty. A number of
the young dandies, who usually disdained the
Mans theatre, came to admire and applaud
Criquette. The servants of The Conqueror
received for her many notes, and bouquets of
roses and white lilacs. It was all pure waste of
time. The young men of Mans, as they loitered
about the stage-door after the performance, saw
Criquette come out on the arm of Pascal, and,
pressed close to him, walk slowly away under the
big trees of the Promenade des Jacobins; they
were lovers in private life as well as on the stage.
Criquette was entirely wrapped up in Pascal —
a little too much so, in the opinion of Pere Lem-
uche, who now and then preached her a little
''Take care, my child," he would say to her,
"take care! You have only love, and you ought
to have ambition also. Pascal has it. He loves
you, but he loves the stage as well."
When Pascal rehearsed in the day-time, and
Criquette had no part in the play, she geuemlly
went to pass the afternoon with Mademoiselle
Lemuche, who, charmed to find so much grace
and distinction in an employe of her brother,
conceived for the young actress a very sincere and
Now, one day at one o'clock, about the middle
of April, 1868, Criquette arrived at the little
house in the Avenue de Paris.
" Mademoiselle Clementine was obliged to go
out for a short time," the maid said to her; " but
she told me, if you came, not to let you go and to
ask you to wait for her."
Criquette had brought her work. She took off
her hat and sat down in the salon^ with her em-
broidery, near an open window. Suddenly she
heard the sound of a horse's hoofs, and raising
her eyes she perceived a young man, who, with
the reins in his left hand and his hat in his right,
had stopped his horse exactly before the win-
dow, and was looking at Criquette with a surprise
evidently mingled with jjleasure.
"Pardon me, Mademoiselle," he said; "does
not Monsieur Lemuche live here now?"
"Yes, Monsieur, certainly."
" Then pardon me; I came to see Mademoiselle
" She has gone out, Monsieur, but will be back
very shortly. Wait for her, I beg. She would be
so sorry to miss your visit."
"You know me, then. Mademoiselle?"
"I do not know you, but I recognize who you
" I am curious to know how."
"Oh, I will tell you. It is the simplest of mys-
teries; but dismount and I will open the door for
He dismounted and passed his horse's bridle
through a ring fixed in the wall. Criquette was
on the threshold to meet him, and when they had
entered the salon, pointing to a photograph hung
over the piano, she said to him:
"There, Monsieur; that is why I recognized
you. I know that you are Count Etienne de S§r-
ignan, and I know that Mademoiselle Clementine
will be very glad to see you again."
" Is that all you know of me, Mademoiselle?"
he said, laughingly.
"Oh, nol" she answered in the same tone,
quite won by his charming manners; "I know
more — much more."
' ' What? Tell me, please. ' '
" I know that you have just returned from a
trip around the world; I know that four or five
months ago you were walking upon the great
wall of China; that six weeks later you were gal-
loping upon a big black pony in the streets of a
J^paneBe city; that yon then went for a little
visit to San Francisco, and that you embarked
the first of this month at New York upon the
Pereire. Is not all this true?"
" Perfectly. You are a sorceress."
" A very poor sorceress, I assure you. Made-
moiselle Clementine speaks of you constantly,
and she has read me three or four letters that you
had the kindness to write her during the last
year. You gave her great pleasure by writing to
her, for she loves you with all her heart."
" And I thoroughly return the affection she has
for me. It was she who brought me up."
"At the Chateau de Louvercy, a few miles
from here. I have been there more than once to
walk in the woods with Mademoiselle Clemen-
"In short, all that one can know of me you
know, while I know nothing of you."
"Oh, since Mademoiselle Clementine is not
here to introduce me, I will introduce myself,
gladly. Under what name, however? I have
several. I will tell you my stage name, I think."
" Your stage name! "
"Mademoiselle Gilberte. I belong to Monsieur
"You belong — "
"Why, yes. I play comedy — the ingenues ^
Before Monsieur de Serignan could reply, the
door of the salon was hastily thrown open and
Mademoiselle Lemuche appeared. The good lady
was all out of breath, for she had run all the way
down the street, as she perceived the horse fast-
ened in front of the door. She threw her arms
about the young man, and kissed him three or
"Monsieur Etienne, is it you? How happy I
am! Come to the window, that I may get a good
look at you. How brown you are! And how big
your mustache is! " Then, turning to Criquette,
she continued: "This is Monsieur de Serignan,
of whom I have spoken to you so often. I must
"I have already presented myself, Mademoi-
"And have you told him that you are the
sweetest and best little woman there is in the
"No; I did not say that."
"But I perceived it," said Monsieur de Serig-
Criquette wished to withdraw, but she yielded
to the protests of Mademoiselle Lemuche and the
young count. She therefore remained, and it is
very certain that if she had gone Monsieur de
Serignan' s visit would have been much shorter.
The conversation was scarcely more than a mono-
logue descriptive of travel; the young man en-
joyed relating his experiences, and showing
delicately that he was not commonplace. He had
much wit and that delightful vivacity only to be
found in youth. While speaking, he addressed
himself a little to Mademoiselle Lemuche, but
much to Criquette, attracted by those great.
speaking black eyes which, unconsciously, with a
sort of hardy frankness, sought and demanded
He spoke, and Criquette listened to his dis-
course with the closest attention. For the first
time in her life she found herself in the presence
of a really cultivated, amiable, and distinguished
gentleman. There was in him a superiority of
thought and language which charmed her and
troubled her at the same time. Very often at
the theatre she was wounded by the vulgarity
or brutality of her comrades* remarks. She
struggled against this feeling, for they were, in
the main, kind-hearted people, and it was among
them tliat her life was to be passed; but here
there opened to her a new world; there were other
ways of living, feeling, and speaking. Her keen
intelligence and the excellent education she had
received permitted her to appreciate the grace
and refinement of this young man's speech — at
once serious and light, solid and brilliant.
And he talked on and on, inspired by the girl's
attention, until four o'clock sounded. Then Cri-
quette arose abruptly, as if awakened suddenly
from a dream. She had told Pascal that she
would meet him at the theatre at three o'clock,
and for the first time in her life she had forgotten
"Pour o'clock!" she exclaimed. "It is im-
possible! Pardon me, Monsieur, for interrupting
you, but I must go at once."
" We shall meet again, I hope."
"I hope so, sincerely. I have listened to you
with so much interest and pleasure."
^^ Au remir, then, Mademoiselle."
" Au reGoir^ Monsieur."
With a natural, thoughtless impulse, she gave
him her hand, as to an old friend, and after kiss-
ing Mademoiselle Clementine, she departed.
Criquette played that evening, and Monsieur
de Serignan wa^s the first person she saw as she
came upon the stage. He was alone in a prosce-
nium-box. It was a Tuesday — the company played
only three times a week, Tuesdays, Thursdays,
and Sundays. The following Thursday and Sun-
day Criquette played again, and both nights Mon-
sieur de Serignan was there in the same box.
Criquette glanced toward it, and the lorgnette
which was fixed upon her was immediately low-
Two or three days during that week she had no
rehearsal; but she did not go to see Mademoiselle
Lemuche. On Sunday evening the latter came to
the theatre and reproached her for her neglect.
"You do not rehearse to-morrow," she said.
Come. I shall expect you."
Criquette did not know how to refuse. She
arrived about two o'clock, fearing and yet long-
ing to see Monsieur de Serignan again. He was
not there, but she had not been seated long with
her embroidery when she heard the sound of a
horse's hoofs. It was he.
She had played three different parts during the
week; he complimented her, but without stupid-
ity or ezagg<iration, and with a little smiling crit-
icism. Fulsome praise would have disgusted her;
but she was very grateful for this calm, discreet
eulogy. The young man seemed to be frankness
itself, and it was impossible that he would say
anything except what he thought; but his looks
spoke even more than his words; he could not
remove his eyes from Criquette's face. He was
manifestly anxious to please her, while she,
uneasy and happy at the same time, abandoned
herself to the charm of a personality hitherto
unknown to her. At their first interview she had
sjKjken but little, but this afternoon she talked
more, and all that she said was easy, natural,
Nevertheless, she watched the clock, and did
not forget that Pascal, at three o'clock, would be
waiting for her at the theatre. She found him
at the stage entrance, engaged in an animated
discussion in regard to a quarrel which had
broken out during the rehearsal. The leading
lady and the soubrette had almost come to
blows in their rivalry for the affections of the
comedian, who was frightfully ugly. The com-
pany was divided into two camps, one side taking
the part of the leading lady and the other that of
the soubrette. The discussion continued with
coarse and violent speech, and Pascal excitedly
took part in it. Criqnette led him away, impa-
tient to put an end to his share in the dispute;
but Pascal, full of the matter, all the way home
related to her, with the most insignificant details.
all that had taken place. And Criquette, as she
"I will not go to Mademoiselle Lemuche's
again. I should draw a comparison which I must
not — will not make. Is it Pascal's fault that he
has not the distinction of that young man? 'He
was good to my mother, and he is good to me.
It is my duty to love him as he is, love him now,
and love him forever."
And Criquette did not go to Mademoiselle
Lemuche's again, but Count Etienne continued
for a month to come to the theatre every time
that Criquette' s name appeared upon the bill.
One day, toward the end of the month, Cri-
quette was rehearsing a three-act piece. They
had finished the first act.
" I am not on in the second act," she said to
Pascal; "I am going to take a little walk, and I
will be back for the third act."
It was very warm, and Criquette, to get a little
fresh air, made her way toward those peaceful,
silent streets which slept in the shadow of the
cathedral. Leaving the Promenade des Jacobins,
she entered the Rue de I'Eveche, turned to the
left by the Rue du Chateau, and reached that little
square where is situated the house of Scarron,
which is one of the marvels of Mans. Dominated
by the enormous mass of the cathedral, and sur-
rounded by old houses which seemed to have
absorbed from their very nearness to the church
an ecclesiastical, monkish air, this little square,
sombre, dark, and dead, had only one outlet — the
alley which gave access to the Pans-de-Garron
Here Criqnette stopped and leaned against the
tower of 8<»rron's house, between the two high
walls that inclosed the broad, chipi)ed, and worm-
eaten steps of the staircase; from here she could
contemplate a vast extent of country sparkling
in the sunshine and bathed in the golden haze
which floated and trembled over the verdure of
the meadows. The cathedral chimes, soft and
velvety, rung out in that immense silence, that
grand ipeace. And Criquette remained there,
dazed by the light, lulled by the music of the
bells, in a sort of vague reverie, a thousand
leagues from the theatre and her rehearsal.
She thought herself alone, and yet there was
someone not three steps behind her. As she left
the theatre, Count Etienne was passing in a car-
riage through one of the streets which run into
the Promenade des Jacobins. He stopped his
horse, threw the reins to his groom, and followed
Criquette. He was very young, only twenty-four,
and very much in love, which must be his excuse
— admitting the necessity of an excuse.
When Criquette stopped near the tower, he
approached her slowly, his heart beating fast, but
resolved to si)eak.
So Criquette heard suddenly this single word,
spoken scarcely above a breath:
She turned, uttered a slight exclamation as she
recognized him, and remained there before him,
trembling a little, with her back against tne
"Mademoiselle, pardon me; it is all due to
chance. I saw you from a distance, and I could
not resist the temptation. You know what I
want to say to you, I think. I love you — I love
you with all my soul."
"Oh! Monsieur, hush! Hush, please! If you
only knew how unhappy it makes me. It is my
fault, too. Yes, from the first day I saw you, I
knew, from the way you looked at me — from the
way you spoke to me — that you were according
me more attention than I deserved."
" Yes, from the first day I began to love you."
"And I, from the first day, should have had
courage — should have told you how things are.
Do you know that many times, seeing you come
to the theatre every evening, I have thought of
writing you? But it was too difficult. I have
the courage now, however, to tell you all. My
life is not my own. You must know that. You
were at the theatre night before last?"
" Yes, I was there."
" A young man played my lover."
' ' Monsieur Pascal? ' '
" I see that you suspect what I am going to tell
you. Yes, Pascal. He would be my husband if
very cruel circumstances had not prevented me
marrying him. I have not always been happy,
but I am so now, as much as I can ever be, thanks
to him — you understand — thanks to him. I have
given myself to him entirely, freely, and forever.
I never loved anyone before liim; and I think, if
he should leave me, I could never love anyone
"But even if, without the slightest hope, it
pleases me to love you; if I find happiness in
**Do not speak like that. In such a case, we
should both of us find only pain and sorrow. It
would make me suffer to think that you suffered
through me, and you would suffer if you love me.
Go awayl I implore you, go away! You must
not remain here longer. The day of your first
visit to Mademoiselle Clementine you said that
you intended to pass only two weeks at Louvercy,
then go to Paris for two or three months, and
then, with one of your friends, depart on a long
" Yes; those were my plans."
"You must carry them out."
"Those were my plans, but I saw you, and I
have staid here on your account."
"And now you must go away on my account.
I know what you are; I know all your goodness
and kindness. Mademoiselle Clementine has
spoken of you to me so often! Your tastes are
noble ones. You are not one of those who are of
no use except to wander about the stage-door of a
theatre; you can — ^you must — make another use of
your life than to near every evening a poor little
provincial actress attempt drama and farce."
"Go on, say what you like; but take care! Do
you know what will be the result of your words?
I am going to love you more than ever."
"I do not forbid you to love me, but only a
little and at a distance. Let us both keep a sweet
memory of our short acquaintance. Ah, yes; I
wish that! But go away. If not for your own
sake, then for mine. You see I am speaking
very openly. I am very sincere, and I shall be so
until the end, certain that you will not misinter-
pret the sense of my words. I have had no
thought of rendering you love for love. No,
never! You must have no doubt of that, no hope;
but you have brought into my life a certain
uneasiness— a vague trouble. I shall be more
tranquil when you are no longer here. That is
why I ask you to go."
"I will go to-morrow."
"I thank you."
She gave him her hand. She had not put on
her gloves when she left the theatre. He raised
Criquette's hand to his lips, and placed a long
kiss upon her fingers.
"If you take this long journey, and you must
take it, write to Mademoiselle Clementine, and I
shall hear of you."
"And I of you, through her answers. And if
I am at the end of the world, there will be there,
at the end of the world, someone who has not for-
"Nor shall I forget you. Au revoir! Who
knows? We shall meet again, perhaps; but not
before your departure. Promise me that."
She had not withdrawn her hand, and he
impressed npon it a second kiss, longer than the
first. She disengaged herself, made a few steps
to go, and then, turning, said to liim:
In his turn, he remained with his back to the
tower, watching her as she walked away.
" That charming girl," he said to himself, "is
a very good woman."
He was right to think so, but the distribution
of rOles in this world is not always what it should
be; there are many errors in the cast of the
immense tragicomedy played on this terrestrial
stage by a billion human creatures who love and
hate. The parts of good women are not always
taken by good women; and, on the other hand,
she who was made to walk with a firm, calm
step in the straight path is condemned very often
to drag herself, with feet torn and bleeding,
through the brambles and thorns of winding
Criquette played that evening. Mademoiselle
Lemuche came to her dressing-room before the
*'He came to see me," she said, "after leaving
you, and told me all. You did perfectly right."
"I did my duty, that is all."
" He goes away to-morrow. I have understood
why you have not been to see me lately. You
must come again now."
"Yes, I will come."
Monsieur de Serignan was not in the audience,
but, seated in the orchestra stalls, was a person-
age whose presence wrought the actors and
actresses up to the highest pitch of excitement.
The rumor spread like a train of powder: ' ' There
is a manager from Paris in front!" And for
whom did this manager come? For whom? Anxi-
ety seized all hearts. Poor people! resigned and
brave in a hard calling, having many littlenesses,
jealousies, and absurdities — what profession is ex-
empt from them? — but preserving still, in spite of
all, hope and illusion, watching eternally, as for a
Messiah, for a manager from Paris, who, touched
by their simulated anguish, or amused by one of
their grimaces, shall carry them away from their
obscure provincial theatre and launch them in
the great city upon the full tide of success.
This evening the manager came for no one. He
was passing a day or two at Mans with one of his
friends, and was to return to Paris the next day
by the eleven o'clock express. Curiosity had
brought him to the theatre; he might possibly
find there some unlooked-for treasure. There is
much chance in the discovery of stars, on the
stage as well as in the sky.
All Criquette's comrades, excited to excess by
the presence of the Paris manager, tried to show
forth their good qualities to the best advantage,
and only succeeded in exaggerating their faults;
they were detestable, everyone of them, begin-
ning with Pascal. Criquette played a role full of
tenderness and emotion; under the influence of
her meeting with Monsieur de Serignan — content
with him, content with herself— she had in her
heart precisely the sentiments demanded by her
part. She plaj'ed very naturally, very simply;
not like an actress animated by a fictitious emo-
tion, but like a woman moved by a real passion.
The next day was beautifully bright and sunny,
and Pascal proposed to Criquette to go and
breakfast at Yvr6-rEveque, at Tempier's restau-
rant. There was no rehearsal, and they would
have the entire day to themselves. Criquette
accepted eagerly. The poor child's conscience
troubled her. She reproached herself for that
slight emotion awakened in her heart by a love
other than that of Pascal. She determined to
think no more of anyone but him. If there ex-
isted a world where tastes were more delicate and
words gentler, this world was not and never
would be hers. Her world was the world of Pas-
cal — her life the life of Pascal.
At half-past nine they were both passing
through the court of the hotel, when they were
stopped by a visitor, who was none other than
the famous manager from Paris.
"Mademoiselle," said he, "I have come to see
"I am the manager of a theatre in Paris. I
saw you play last night. If you like, there is a
place in my company for you."
"For me? And for him, also?" she asked,
designating Pascal, who played a supernumerary
in this scene, and whose face was flushed with
"Ah!" rejoined tlie director. "You form a
partnership, do you?"
"An indissoluble one," replied Criquette,
"Of course, last evening I listened to you with
much pleasure. Monsieur. You have talent, but
you play the lover's parts; and at present I am
overstocked with lovers."
" Well, Monsieur, have the kindness to remem-
ber our names — Monsieur Pascal, Mademoiselle
Gilberte — and when you are not overstocked with
lovers, when you have need of both an ingenue
and a lover, think of us."
While she was speaking, the manager scruti-
nized her with extreme attention. Seen thus near
to, in the full light of day, she seemed to him
more charming even than she did the evening
before. She was really young, which was not the
case with all stage ingenues.
"Well," he said, with a shrug of his shoulders,
"although I have too many lovers already, if you
do not ask too much money, and I do not have to
pay too dear for this indissoluble partnership — "
"Oh, we will be reasonable. Monsieur," inter-
rupted Pascal, quickly.
But Criquette stopped him.
"No, Pascal, we can not go to Paris just at
present. Our manager, Monsieur Lemuche, is to
retire next year. We have been members of his
company for two years, Monsieur, and he has
been very kind to us; so we have promised him
not to leave him until his retirement."
**That is true," said Pascal; *' but perhaps he
would release us."
" I think he would, if we asked him to do so;
but we must not ask him."
^' Still, he would understand that our inter-
ests — "
"No, Pascal," she said, very firmly; "it would
not be right." Then, addressing the manager,
she continued: *' We thank you for your offer,
but we can not accept it. In a year, when we
are free, we will write and place ourselves at
your disposal. Au revoir, Monsieur."
They therefore remained at Mans. Criquette
had another year of tranquil happiness, without,
however, the enchantment of the first two years.
At times she was seized by a vague uneasiness.
It seemed to her that Pascal was no longer the
same. She had very quickly recovered from the
little shock given her by Monsieur de Serignan,
and had become herself again; that is to say — the
sweetest and most affectionate of creatures. Pas-
cal was everything to her, but she felt that she
was no longer everything to Pascal.
She adapted herself wonderfully to her peace-
able, obscure existence in a little provincial thea-
tre. Her affection for Pere Cesar and Mademoi-
selle Lemuche became, day by day, stronger and
more tender. She would have liked to pro-
long this halt in her life, to remain in that city
where everybody was kind and good to her, to
continue to play to that audience which was
almost always the same and which always ap-
plauded her. The unknown frightened her; it
Toward the end of October, 1868, Criquette's
conversation with the Paris manager had its
direct counterpart in a conversation of Pascal
with a manager from Bordeaux. The latter had
passed an evening at the Mans theatre, and the
next day he offered Pascal an engagement for the
coming season at six hundred francs a month.
Pascal in his turn replied, referring to Cri-
"We two are one."
"Ah! So much the worse. They don't like
married people at Bordeaux. You are married,
I suppose? ' '
"No," replied Criquette.
"Then it is less serious."
"I beg your pardon," said Criquette; "it is
quite as serions."
"No, no, there is always a difference — for the
public, at least."
He paid Criquette many compliments; but it
was not an ingenue he was in search of, but a
juvenile man. However, he consented to take
Criquette also; he would give her three hundred
francs a month.
"A thousand francs for us both," said Pascal.
" Nine hundred francs. Not a sou more."
Criquette wished to accept at once, but Pascal
asked a delay of three days before deciding.
He wished to write to that Paris manager who,
six months before, had appeared disposed to
engage them. He did so, and the reply was by
no means aatisfiu^ry. The manager offered Cri-
quette two thousand francs a year, and he advised
Pascal to come and tempt fortune in Paris. ' ' You
are," he wrote, "essentially an actor of melo-
drama, and you could certainly obtain a berth at
the 6^alt6 or the Porte-Saint Martin."
That same evening, Pascal and Criquette sent
their signatures to the Bordeaux manager.
The last representation given by Pdre Cesar's
company took place April 30, 1869. The posters
bore these words: "For the benefit of Monsieur
Lemuche, who retires after thirty years of the-
atrical management, eight of which have been
passed at Mans." The prices were doubled,
and the receipts reached the enormous sum
of one thousand six hundred and twenty-two
Pascal and Criquette were to leave for Bordeaux
the next day at midnight. The evening of their
departure they dined with Pere Lemuche. When
they arrived, their host left Pascal alone with his
sister, and took Criquette into his study.
" Listen," he said to her; " promise me not to
refuse what I am going to give you."
" But I must know first what it is."
"No, no; you shall know nothing until you
"Very well, I promise."
" Well, there was a big lie on my poster yester-
day. It was not for my henelit that I gave that
performance, but for yours, my child."
"Oh! I will not allow it, Monsieur Lemuche;
I will not allow it."
" You have promised."
''Yes, I have promised; but money — "
"You have promised, and you will pain me
very much if you do not accept it."
" Then I will accept it."
"Besides, to put you at your ease, I have
arranged everything in a business-like way. I
shall not give you the entire receipts; I have
taken out my expenses. My performance yester-
day will not bring me in anything, but it will
not cost me anything. There are twelve hundred
francs in this little pocket-book."
"Twelve hundred francs! But what can I do
with all that? Pascal and I have saved more
than a thousand francs, and we shall be rich at
Bordeaux with our nine hundred francs a month.
Give me the pocket-book without the money.
That is what I would like."
"No, you must take all. Criquette, do not
spoil my last evening with you."
"Very well, it shall be as you wish."
"Thank you, my dear; but that is not all.
Remember this little house. You have come
here very often in the last three years."
" Yes; and it is a great sorrow to leave it. You
have been so good to me. If you only knew how
grateful I am!"
"I do know, my child; but the best way of
showing your gratitude will be never to forget
this: So long as we are alive, my sister and I, or
BO long as one of us is alive, this house will be
yours. There will be always here a poor old
oouple who love you with all their hearts, and
who will be always ready to receive you if — which
God forbid — you find yourself, some day, alone in
the world and unhappy. You will never, I think,
be one of those who forget and console themselves
in twenty-four hours."
"No, I think not."
** No. If you meet with unhappy days, you
must come here immediately, without any false
shame. We shall certainly be sad to see you sad,
but happy at the same time to have you with us.
We understand one another, do we not? "
"Yes; if I am ever alone in the world, I will
come back here."
"Exactly. And now kiss your poor old man-
ager, and try to be happy, and try not to come
The third of May, 1870, a train stopped at
Mans about ten o'clock in the morning; a young
woman alighted from a second-class carriage and
presented her luggage-check to a porter. The
man looked at her and said:
" What! have you returned? I see that you do
not recognize me. Louis — big Louis. My wife
is the washerwoman opposite The Conqueror.
You used to give sticks of barley-sugar to our
"I remember now. Is your little daughter
" Yes, very well. And you? You don't look
"I am a little tired."
" And your friend, that tall young man, Mon-
sieur — what was his name? You were always
together. Monsieur ' '
"That's it. Monsieur Pascal. Is Monsieur
" He has not come back with you?"
"No. Please send my luggage to Monsieur
"Avenue de Paris. I know. And are you
going to walk there! Don't you want me to get
you a carriagel"
*' But you are so pale."
" I have passed the night on the railway. I
prefer to walk. The fresh air will do me good.
Good-bye, my friend."
She left the station and walked slowly through
the streets to the Avenue de Paris.
Pdre C^sar and Mademoiselle Clementine had
just sat down to breakfast, when they saw the
door open and Criquette appear.
"Yes," she said to them, "it is I. I am un-
happy, I am alone, and you see I keep my prom-
ise. I have come here. Do you want me? "
"Do we want you?" cried Lemuche.
He drew her toward him, kissed her tenderly,
and then it was the turn of Clementine. Her
reception was so warm and cordial that Cri-
quette felt a little life enter her heart.
"You will remain here, dear child," said Cle-
mentine; "and forever, if you like — forever!"
"Forever! Oh, no — only time enough for me
to look around a little; but, in the first place, I
must not keep you from your breakfast. Sit
down, again, please. And, besides, I passed such
a hard day, after such a cruel night, that I could
eat neither breakfast nor dinner; so that, in spite
of all, I am hungry now."
She ate some breakfast, and then, in spite of
their protests, she insisted on telling her story.
"Later, my child," they said to her; "rest and
think of nothing. We are going to take care of
you; cure and comfort you."
"No," she answered; "let me speak. I want
to have your opinion whether I have done right
" I do not believe you have done wrong."
" Nor do I; but listen to me. In the first place,
understand that I do not blame him — that I never
shall blame him. I have had three years of hap-
piness, and it is not every life that has had that.
But at Bordeaux I very quickly perceived that
something was beginning which was very differ-
ent from what had gone before. In the first
place, you two were no longer with me, and I
commenced to love you away even more than I
had loved you when near. You two formed a
larger part of my happiness than I thought before
I lost you. I had imagined that Pascal was
everything to me; but there were you also."
"And you find us still the same."
" Yes, yes; I see it, I see it. We installed our-
selves at Bordeaux in a rather uncomfortable
apartment, and I commenced to pass there alone
long hours — very long hours. Pascal was always
out, always busy. Finally, last November, an
actress came from Paris to replace one of Ours
who had been taken ill. She was neither very
young nor very handsome, but she was very styl-
ish, with quantities of diamonds. She made
her debut in a new drama, in which Pascal played
an important part. I was not in the piece;
but I went every evening to the theatre, and
we returned home together after the j)erfonn-
ance. The evening of the fourth representation,
I put on my hat as usual after dinner, when Pas-
cal said to me that I was making myself absurd
by being always at his heels, and it made him
look like a child in the care of its nurse. I
made no reply, but took off my hat and staid
at home. He returned very late that night — very
late. About ten o'clock one evening of the fol-
lowing week, I was alone, as usual, when there
came a ring at the bell. It was one of the mem-
bers of the company, a young girl named Fanny,
who had always been kind and pleasant to me.
She was very indignant, and had come to tell me
what was taking place at the theatre. I had sus-
I)ected it beforehand. She gave me some advice,
and explained to me how I could win Pascal back
from this woman — how men like him should be
treated. *Seem to care for him no more,' she
said, 'and he will adore you.' She wanted me
to go to supper with her that very evening, but I
refused. I wanted to speak to Pascal. He did
not try to lie, but acknowledged all; he wept and
threw himself at my feet — made me all the prom-
ises and vows in the world. This woman would
never be anything more to him. He was in ear-
nest, however, 1 am sure, when he spoke to me as
he did; but three days after he allowed himself
to be captured by her again. And that was my
life for six months! You remember Madame
Lac^lpranede; it was something like that, only I
had not her courage and resignation. He loved
me still, however, for he suffered from the pain
he inflicted upon me, and came back to me with
outbursts of repentance and tenderness; but the
other was the cleverer and stronger. She obtained
an engagement in Paris for herself, and one for
him in the same theatre. They left together yes-
terday morning. He fled without daring to bid
me good-bye. He made a mistake — I have noth-
ing to reproach him with. Is it his fault that he
no longer loves me? I thought of following him
to Paris, and hesitated between him and you. He
would have taken pity on me and would not have
repulsed me. But afterward? The same strug-
gle would have recommenced, and I had not the
strength to face it. Moreover, there are people
who know how to love a little after having loved
much, but I am not one of them; so I have come
to you. Jf your successor, Monsieur Lemuche,
would coi^sent to engage me, that would arrange
everything. I should have the theatre, work,
something to do, and at the same time I should
"The Mans theatre amounts to nothing at all
since I left it. I have other plans and other ideas
for you, my child."
"And so have I, Cesar," said Clementine. "We
will talk about it this evening."
There was a wide abyss between the plans
and ideas of the brother and those of the sister.
This was what Cesar said to Clementine that
"I am going to begin to-morrow and make her
work at one of the great r61e8 of the r^pertou-e,
probably Syloia in the *'Gteme of Love and
Chance," with all the traditions of Mademoiselle
Mars. Then, in six months, I take Criquette to
Paris ; she will make her debut at the Com^die-
Francaise; or the Odeon, and the Parisians will
see that she is a pupil of Cesar Lemuche."
But this was Clementine's answer to C^sar:
"Take Criquette to Paris, where she will find
Pascal again and all her sorrows! No! No more
theatre for her! No more theatre! We must
keep her with us; and I am sure that some day
she will meet some good fellow who will have
the courage to marry her without worrying too
much about the past."
Thereupon the brother and sister discussed the
question very warmly, the one for the stage and
the other against it; but they were both agreed
on this point, that they must keep Criquette and
try to reconcile her as gently as possible to her
lot. They would both work for this end with all
their hearts. The poor child placed herself in
their hands, and, in her gratitude for so much
devotion and affection, she did not dare to appear
sad; it would have made her seem an ingrate.
One evening, toward the end of May, Pere
Lemuche, during dinner, to amuse Criquette,
repeated two or three of his most brilliant theat-
rical anecdotes, and, to please P^re Lemuche,
Criquette laughed, without too visible effort, her
old-time laugh — that laugh which the little house
in Mans had not heard since her return.
When Clementine was alone with her brother,
" Yes, she laughed."
" Oh, we will cure her." ^
"And I will make her a great actress."
"As to that — no. She shall never tread the
During this colloquy, Criquette was in her room
reading a letter from Monsieur de Serignan which
had arrived that day addressed to Mademoiselle
Lemuche. The passage which particularly at-
tracted her attention was as follows:
Say to your little friend, if she is still in
Mans, and if she is not there, have the goodness
to write her, that a certain traveler was at sea
the tenth of March, 1870, on board the QTiow-
Phya, between Bangkok and Singapore. This
traveler imagines very often that he can hear
sound in his ears the cathedral bells of Mans.
He has only to close his eyes to see again dis-
tinctly a young woman leaning against the tower
of an old house. He has not forgotten this young
woman, and he never will forget her. That she
may be happy is his dearest wish.
At these words, "That she may be happy,"
the tears blinded Criquette's eyes. She let them
flow unchecked, and found some sweetness in
them instead of the usual bitterness.
And that evening, with all her soul, she prayed
for that friend whom she scarcely knew, and who
had thought of her the tenth of March, between
Bangkok and Singapore.
This friend, Angnst 14, 1870, stopped before a
little arch of triumph, erected in a meadow, in
honor of a widow who had remained faithful to
the memory of her husband. This was in the
middle of (jhina, at the gates of Kouy-fou, on
the banks of the Blue River. Monsieur de Serig-
nan and his traveling companion. Marcel de
Breme, deciphered laboriously the inscription
engraved upon the arch of triumph:
^^Tcliong tcTienpou se eul Kiun, tchen foupou
Then, with the aid of a father of the Hou-Pe
mission who consented to serve as interpreter,
they translated no less laboriously the Chinese
"Jl good svJbject does not serve two sovereigns;
a virtiwiLs woman does not take two husbands.''''
The two young men were meditating upon
this irreproachable maxim, when they perceived
Lieou, one of their servants, running toward
them and waving triumphantly in the air a little
bundle of tarred cloth. It was a package of let-
ters and newspapers which had been forwarded
to them by the French consul at Shanghai. They
had left this city early in July, and since that
time they had always been far from the coast,
journeying sometimes in a junk upon the rivers,
sometimes in a palanquin upon the roads. Their
plan was to penetrate into the interior as far as
Letters from France! The bundle was soon
ripped open. Serignan seized a letter from his
sister, and Marcel one from his mother. They de-
voured them at first with a glance, then read them
slowly, sentence by sentence, word by word. All
their people were well in the beginning of June,
for the letters were more than two months old.
Then, reassured and breathing more easily,
they sat down in the shade of a clump of bam-
boos and proceeded to demolish their voluminous
correspondence. There were a dozen letters for
each of them. The missionary took possession of a
bundle of French newspapers, the most recent of
which bore the date of June 9th. Twenty feet
awa}^, a laborer in a tucked-up blue robe, with his
cue wound about his head, regarded the three
Frenchmen who had found again their family,
their friends, and their country.
Etienne and Marcel first opened the letters
directed in known and loved handwriting, and
that is why the last letter opened by Monsieur de
Serignan was one whose envelope bore no stamp,
and whose address was in an unknown hand; but
when he had cast his eyes over it, he leaped to
his feet, crying:
" Marcel! And you, too, Father! "
The priest was standing a short distance away,
but at the exclamation he came forward.
" What is it? " asked Marcel.
** War! " answered S6rignan. "War declared.
War begun between Prance and Prussia. They
are fighting, perhaps at this moment, upon the
They were indeed fighting that day, but it was
not upon the Rhine; it was under the walls of
The two young men had only to glance at one
another to come to an understjinding and agree
on what they must do. An hour after, they de-
parted for Shanghai. They arrived there the
second of September, waited five days for the
departure of the Messageries boat, and disem-
barked at Marseilles the twentieth of October,
after a voyage of terrible anxiety; for all the way —
at Saigon, Colombo, Aden, Port- Said, everywhere
awaited them frightful news, which planted de-
spair in their French hearts. Finally, at Mar-
seilles, they learned that the war was not ended.
They would at least have the consolation of fight-
Jean de Breme, Marcel' s brother, had once served
in Rome as an officer of the pontifical guards. A
corps was reorganizing at Mans under the name
of the Western Volunteers; Jean de Breme com-
manded the second company of the first battalion,
and it was under his orders that the two young
men were to serve.
They reached Tours by way of Bordeaux.
Etienne left Marcel to go on, hastened to greet
his sister, who inhabited a chateau not far from
Tours, and departed the next day for Mans.
Forty-eight hours later he was equipped, and
under the blue vest of the zouaves, was drilling
upon the Place des Jacobins, in front of the thea-
tre. He was a little new to the trade, and so in
the beginning he worked alone under the direc-
tion of one of his friends, who was a corporal in
his company. While executing as well as he
could the various manoeuvres, he looked at the
theatre, and thought of Cesar Lemuche and Cle-
mentine Lemuche, and especially of a charming
girl who had acted in that building. He did not
know what had become of her, for he had no
time to go and see his old governess. If he had
left Shanghai twenty-four hours later, he would
have received the letter in which Mademoiselle
Lemuche told him that their little Criquette had
come back to them.
At six o'clock he was free, and rung the bell
of the little house in the Avenue de Paris. Pere
Lemuche' s maid was out, and Criquette was work-
ing alone in the salon. She came to open the
door without a light. The night was dark, and
she could only faintly distinguish the outlines of
"What do you want, my friend?" she asked.
But he recognized the voice of the young girl.
"You here, Mademoiselle? "
She also recognized him now, and held out both
"Ah! how glad Mademoiselle Clementine will
be! She is in her room; I will call her."
But he would not release her hands.
" In a minute," he said; '* in a minute. I am
so happy to find you again."
He led her into the sdUni, and gazed upon her
"Do you find me changed!"
"I have had much sorrow. He has left me.
He no longer loved me."
*' He no longer loved youl "
" But then another has the right to love you —
the right to tell you so."
" No! nol No one has that right. I consented
not to seek Mademoiselle Clementine at once, be-
cause I thought that an explanation between us
two was necessary."
"An explanation! Why? I commenced to love
you two years ago. Let me continue."
"That is precisely what I do not wish, and you
will understand why, presently. Sad and for-
saken, I came here. I have suffered much. I am
a little less unhappy to-day; and then, besides,
one sees so many heart-rending things now that
one has scarcely the time to suffer for one's own
troubles. By what an excellent good woman I
was receivedin my distress, you know better than
anyone. She treats me like her own child. Only
this morning she said to me: * You are my daugh-
ter.' Now, you must understand what duties
such a situation imposes on us both."
' ' Yes, I understand, ' '
" I was sure you would. I will call Mademoi-
Etienne de Serignan did not leave Mans until
the tenth of November, to go with the first two
battalions of volunteers to encounter the Prus-
sians. Till then he passed an hour or two almost
every evening in Pere Lemuche's little house; but
he kept his promise, and Criquette was troubled
by no word or look.
He came as usual the evening before his de-
parture; he was to start the next morning at five
o'clock, and he bade all three farewell. He kissed
Mademoiselle Lemuche, and then he extended his
hand to Criquette.
"Kiss her, too," said Clementine, brusquely,
with her eyes full of tears.
He kissed her.
Three weeks after, the second of December, in
the heroic charge of Loigny, fell, never to rise
again, one of those two young men who, three
months before, had amused themselves in deci-
phering the inscription on the arch of triumph
of the widow of Kouy-fou. This was Marcel de
Breme. Etienne was unhurt; he dug himself,
after dark, at Patay, under the snow in the mid-
dle of a field, the grave of the friend of his child-
hood, the companion of his youth.
The first battalion of zouaves was reduced to
five hundred men, ragged and torn, absolutely in
no condition to fight. They were sent to Poitiers,
from there to Tours, and finally, on the twenty-
third of December, a train transported them to
Mans. It was in this city that was collected from
all sides, under the command of General Chanzy,
that crowd of a hundred and fifty thousand
men which was destined to be the last army of
On this day, they sent from Tours to Mans
more than twenty military trains, which advanced
very slowly, being constantly checked by the
obstructions on the road. Cooped up since seven
o'clock in the morning in freight-cars, the zouaves
did not arrive at Mans until nightfall, worn out
with fatigue, icy with cold, dying with hunger.
Under the direction of two sisters of charity, a
hospital had been established in the largest of the
railroad waiting-rooms. The sick and wounded,
as they left the train, could thus receive immedi-
ate care. Many ladies of the city came to offer
their assistance, and among them, the most active,
gentle, and brave was Criquette. She passed all
her days there, and sometimes her nights. Made-
moiselle Lemuche was often obliged to come and
take her away by force in order that she might
obtain some rest.
One of the sisters had taken a great fancy to
" You were made to be a nun," she said to her
" I thought of taking the veil once, sister, but
circumstances prevented me. I have regretted it
As the train bringing the zouaves entered the
station, Criquette was wrapping his cloak about a
dragoon who had spent some hours in the hos-
pital; wounded in the right arm, he could not
assist himself. Wlien his cloak was adjusted, he
said to Criquette:
"I had a woolen scarf also."
It was an old muffler all in rags. Criquette
shook it out and tied it about his neck.
"Thank you, Mademoiselle, thank you," said
the dragoon. " You have been very kind tome.
I must go to the mayor's office now. Where is
the mayor's office?"
She conducted him to the door of the station
and pointed out the way.
He shook her hand.
"Thank you, Mademoiselle, thank you."
No one ever said Madame. Everybody called
her Mademoiselle. With her thin, pale face,
which made her eyes look larger and brighter
still, she had, in spite of her twenty-one years,
the appearance of a young girl — almost of a child.
She was about to return to the hospital, when
these words fell upon her ear:
"Here is the train with the pontifical zou-
The zouaves! and among them, doubtless. Mon-
sieur de Serignan. She had received from him
two letters of ten or twelve lines each, the first
dated from Meung, twenty-four hours after the
battle of Patay, and the second from Tours; but
she had received another letter, from Paris — one
of those poor little letters, wet with fog, which
were thrown from balloons. Pascal had written
Criquette went out upon the platform, and im-
mediately recognized the blue mantles of the
zouaves. Stiff with the cold, and embarrassed
with their guns and knapsacks, they alighted
painfully, one by one.
She perceived Monsieur de S6rignan standing
in the doorway of one of the cars. He also saw
her, and it was upon her he leaned as he de-
scended, for he was obliged to lean upon some-
** You tremble," she said to him.
"A little fever — it is nothing; but how do you
happen to be here? "
"To receive you, and to take care of you if
you are ill. Come! I will explain."
There was a stove with benches about it in a
corner of the hospital. Criquette led him there,
made him sit down, and returned in a few min-
utes with a large bowl of bouillon; and he, with-
out a word, commenced to drink slowly, while she
stood near watching him.
*' Say nothingl Drink! Rest and warm your-
It was only a chill, which soon passed away,
and Criquette' s presence certainly contributed to
the prompt cure. Other soldiers came and stood
silently about the stove.
" I am better," he said; " I am well."
" What do you intend to do? Where are you
"Our battalion is to be quartered in the city,
at Sainte-Croix, but I have obtained leave of
absence for twenty-four hours. I shall pass the
day at home — at Louvercy. I wrote yesterday
from Tours to my steward, to tell him to come
and meet me with a carriage. I wonder if he
received my letter? "
*' I will see if he is here."
"Presently. Wait — give me a few minutes. I
am so happy to see you again."
''And I am also very happy to see you."
Yes, very happy — too happy even. She drew
away her hand, which Monsieur de Serignan held
clasped in his. She felt that she must resist the
emotion which was taking possession of her. She
felt that she had something to say, and she said
" During your absence I have received a letter
"Where is he?"
"And what did he write you? "
" That he loves me still, that he has never loved
anyone but me, that he can not live without me.
He implores me to forgive him. When he can
come, he will."
"And what do you intend to do? "
" If he is alone and unhappy, how can I repulse
him — him, who never repulsed me when I was
alone and unhappy? How could I help forgiving
The arrival of the steward put an abrupt end
to their interview; for a quarter of an hour he
had been searching for his master, without being
able to find him in the crowd at the station.
Criquette was left alone, and immediately re-
sumed her work in the hospital, but without
being able to shake off the feeling of oppression
that had seized uikhi her. She asked herself if
there was still a little happiness in store for her,
and who would give her that happiness — the
one who was below there in Paris and who was
once everything to her, or the one whom she had
just seen, and who occupied to-day so large a place
in her thoughts)
Her very doubt was the clearest and most piti-
less of answers. From the moment that she delib-
erated, it was no longer Pascal that she loved;
after loving so much, to love less is to love not
at all. From her father and mother, who were
simple, honest people, she had received a heart
prone to duty and honor. She had said one day to
Pascal: "Take me, keep me, I am your wife." It
was for life that she had given herself, and she had
no right to retract the gift. Whatl She would an-
swer Pascal: " I no longer love you, I love another;
and that other is rich, while you are poor."
Never should such words pass her lips. Never I
Neverl It seemed that she could belong neither
to the man she had loved nor to the one she loved
now. She had given herself hardily, with a clear
conscience, to her first love; but before a second
love, her loyalty and purity revolted. She fore-
saw with horror the third after the second. That
had been Rosita's life; sometimes forsaken, some-
times forsaking. She was not made for such an
She looked about her with an immense pity for
all the misery and suffering she saw. At Beauvais,
she had passed through an attack of religious
fervor, and, in the distress of her soul, had wished
to remain in the convent and give herself to God.
It was the same impulse now, but nobler and
loftier. She was inspired with a longing for self-
sacrifice and charity. She wished to give herself
to the poor and the sick. What tempted her
now was no more the premature death of the
cloister, but a life of sacrifice and immolation.
She would have no more struggles with herself,
no more heart-burns. She would no longer have
to support the burden of her own existence; her
sufferings would disappear and be swallowed up
in the sufferings of others.
During the two weeks that followed, she saw
Monsieur de Serignan several times, in the even-
ing, at Mademoiselle Clementine's. She scarcely
dared to speak to him or look at him. Fortu-
nately, she was spared the pain of bidding him
another farewell. During the night of the eighth
of January, the first battalion of zouaves re-
ceived orders to march early in the morning and
take up a position at Yvre-FEveque; they were
placed under the orders of General Gougeard.
At eight o'clock the battalion started, with
drums beating and flags flying, and four hundred
soldiers, belonging almost all to the greatest and
richest families of France, encamped upon the
banks of the Huisne, close to a camp of Breton
volunteers. Those who had left their chateaux.
and those who had left their huts, were to die
side by side upon the hill -sides of Auvours. To
all is due the same remembrance — to all the same
On the tenth of January, General Gougeard,
with the zouaves at the head of the column, made
a sortie in the direction of Ardenay. For two
hours there was a constant fusillade in the woods,
and even in the fields and roads. The Prussians
were driven back. In the evening the French
troops reformed, and in good order returned to
Yvre. The battalion of zouaves and the battalion
of Breton volunteers had both cruelly suffered.
This time again, as at Loigny, Monsieur de Serig-
nan escaped without a scratch.
The next morning they were all under arms
again. Everyone felt that the decisive hour was
approaching. The battle was at first to the ad-
vantage of the French, but at two o'clock the
Prussian columns mounted the hiUs of Auvours
and succeeded in driving away the division
charged with defending them.
The zouaves were waiting in the village, with
their ranks formed, when they saw the French
troops descend in disorder upon Yvre and pour
over the little bridge. Protected by trees,
shrubs, and bushes, the Prussian infantry held
the hills, which must be retaken or the battle was
Then, uniting a battalion of infantry, two bat-
talions of volunteers, and tlie pontifical zouaves.
General Gougeard himself took command of the
attack, and addressing the zouaves, who led the
column, he cried:
"Now, forward, gentlemen! Forward, for God
and the fatherland!"
Then, with the general at the head, they charged
forward, under the fire of the Prussians, without
stopping to answer them. On the way, the zou-
aves met a battalion of the Tenth Chasseurs, stand-
ing there steady at their post in the midst of the
general rout. "Long live the chasseurs!" cried
the zouaves. ' ' Long live the zouaves! ' ' responded
the chasseurs. They dashed forward together,
and were soon masters of the place. All the
positions were retaken; but two-thirds of the bat-
talion of zouaves lay stretched upon the snow.
Etienne de Serignan succeeded in traversing
only half of this space strewn with the dead and
wounded. He was stopped on the way by a Prus-
sian bullet. He felt a sensation as of a violent
blow upon his right arm. The pain was not very
great. "Some spent ball," he thought; "it is
nothing." He continued to advance, but sud-
denly his arm fell to his side. He tried to raise
it, but could not; his hand was covered with
blood. He felt faint and weak, and, stopping,
leaned against a tree. Twenty steps distant was
an abandoned house, and near the house a shed,
beneath which was a little straw. He made a
great effort to drag himself there — fell, finally
reached it, and fainted. The bullet had opened a
vein, which caused a violent hemorrhage, checked
suddenly by his unconsciousness. It was already
growing dark. S^rignan could hear faintly the
trumpets sounding the charge upon the hills of
Auvours. Then he heard nothing more, and
remained there, forgotten, abandoned, in the
darkness, under that ice-covered shed.
It was there that Serignan was found an hour
later, by a man with a lantern, who was search-
ing the ground for the wounded. He called his
"Here is one!"
"Under the shed. Ah! he is not wounded; he
is dead. He does not move."
"No, he is not dead. His fingers just moved
a little. Let us raise him."
They placed him upon the litter, and carried
him to the hospital which had been established
at Yvre, in the school-room of the convent. Just
as they arrived there, two zouaves, who had been
wounded, one in the shoulder and the other in
the hand, were leaving the hospital, where their
wounds had been dressed, and were just about to
enter a carriage which was waiting to take them
to Mans. They recognized Serignan, took his
hand and spoke to him. Not a word, not a
movement. They thought him dead, and left
When they alighted from the carriage at Mans,
they were surrounded by a crowd of anxious rel-
atives and friends eager for news. Criquette*
was there, and she managed with difficulty to ap'
proach one of the zouaves.
"Monsieur de S^rignan?" she asked.
He was about to add, ** He is dead," but Cri-
quette's eyes were flxed upon liim with such sor-
rowful eagerness that the cruel answer refused
to pass his lips.
'* He has been wounded," he said.
"I fear so."
"Have you seen him?"
"Yes; I saw them carrying him to the hos-
" With the sisters, at Yvre."
Seriously wounded, with the sisters at Yvr6.
Criquette remained lost in thought for some little
time, and then she rapidly made her way in the
direction of the Avenue de Paris. It was seven
o'clock in the evening. Clementine knew that
Criquette had gone to Sainte-Croix, and when
she saw her, she exclaimed:
" Have you heard anything?"
"No; but I want your permission to go away
at once. There are many wounded men at the
station, and I have promised the sisters to pass
the night with them."
"But you have not dined."
" I am not hungry. Please do not detain me."
"You will kill yourself with overwork."
" Not 1 1 I was never better. ' '
She went up to her room and wrapped herself up
as warmly as possible, for the cold was terrible.
In a few minutes she started out, enveloped in a
big cloak, and with a heavy scarf of black worsted
wrapped round her head. She was going to Yvre;
but she was stopped at the gates of the city,
where there were indescribable tumult and con-
fusion. Isolated soldiers, wagons filled with the
wounded, others full of furniture, women with
children in their arms, peasants driving cattle
before them; in short, war and invasion.
A score of the National Guards were stationed
at the gates, and they questioned those who
wished to enter, and exacted passports from those
who wished to depart. When Criquette pre-
sented herself, one of the men said to her:
" Your passport! "
"I have none."
" Go to the mayor and get one."
"Oh! do not send me back! I am going to
Yvre. My — ^my brother has been wounded. He
is at the hospital with the sisters."
"And you are going there all alone?"
" Oh, I know the road well, and I am not afraid.
Please let me pass."
He stood aside, and she passed through the
gate. Yes, she knew the road-=-that road to
Yvre! How many times, for three years, had she
walked gaily over it, arm in ^rm with Pascal, in
the shade of those poplars which now rose before
her like great phantoms in the night! She
walked on alone in the direction of Yvr§, and
suddenly ran into a crowd of disbanded soldiers.
Among the number were many who, wounded
and dnigging themselves i)ainfully along, stopped
now and then and leaned :igainst the trees to
regain their strength and recover tlieir breath.
There were also some who, worn out, incapable
of a longer effort, burned up with fever, tortured
with their wounds, fell in the middle of the road,
no matter where, upon the hardened snow, and
remained there motionless, unconscious, inert,
half-dead. They would have let themselves be
crushed by the wagons and trampled upon by
the horses, if their comrades had not raised them
and carried them to the fields, where they left
them to the mercy of God.
Everyone was thinking of himself, and no one
paid any attention to Criquette. She ran almost
all the way of the two miles which separated
Mans from the outskirts of Yvre. She knew
that the convent was on the left of the principal
street, near the church. She remembered that
she had stopped there one day with Pascal, to see
the children come out of school. They had even
talked to a pretty little girl with blue eyes and
floating golden hair. At each step all along the
road she had been assailed by memories of other
days — days of happiness and love.
Here at last was the convent. All the windows
were lighted. A ^numerous group of soldiers
were standing before the door, and among them
some zouaves. Then an agonizing thought seized
her — if he were dead! She had not thought of
OEIQUETTE. , 283
that before; he might have died in the last two
She addressed one of the zouaves:
"I am seeking a wounded man," she said to
him; "one of your men, Monsieur de Serignan."
" Serignan? He is there in a little room to the
right as you go in."
"How is he?"
' ' Better — much better. ' '
The ■ two big school-rooms were crowded full
when Monsieur de Serignan was brought to the
hospital; so they had placed him upon some
straw in a little room on the ground floor. He
very soon recovered his consciousness. A sur-
geon cut away one of his sleeves and dressed the
wound, which was not serious. A bullet had
passed through his fore-arm, but without break-
ing it and without rupturing an artery; but a
large vein had been opened. As soon as the sur-
geon had finished his work they left the wounded
man upon the straw, all dressed, with his blue
cloak thrown over him. The room was lighted
by a smoking candle planted in a bottle. Serig-
nan lay there, his eyes closed, in a sort of mental
and physical torpor.
As Criquette entered, his left hand was moving
about with vague, uncertain gestures. He was
evidently seeking something.
Criquette bent over him.
"What do you want? " she asked.
"My flask," he said in a weak voice. "My
flask; there was a little brandy in it."
*' Where was itr*
" Where was it? In one of the i)ockets of my
cloak, I think."
Criquette found the flask, unscrewed the top,
and placed it to his lips.
*' Thanks, sister, thanks."
One of the sisters, a quarter of an hour before,
had given him a drink.
Refreshed by the brandy, S^rignan opened his
eyes, raised his head a little, looked about him,
and saw two great black eyes smiling sweetly at
"You! Is it you?"
"Yes, it is I. You know well that I always
come to you when you are suffering."
" We are at Mans, then; in the hospital at the
"No; you are at Yvr6. But don't fatigue
yourself; don't try to undei-stand anything. You
have been wounded very slightly. Rest, and try
to sleep a little."
"Then sit down there near me."
He took her hand, and she sunk down beside
him upon the straw which covered all the floor of
" I will say nothing; but speak to me, speak to
mel Let me hear your voice. How do you hap-
]f>en to be here?"
She told him how she had gone to Sainte-Croix
to try to obtain news of him, and how she had
learned from one of his comrades that he was in
the hospital at Yvre.
"And you came to me all alone in the night!
Ah! my dear child! my dear child! "
He held Criquette' s hand close to his lips, and
upon this hand, mingling with his kisses, fell
slowly the hot tears from his eyes. They both
remained thus a long time, a very long time, in a
silence more eloquent and more impassioned than
all the words in the world.
About midnight, as his arm was paining him,
Criquette went for some warm water and band-
ages, and herself bathed his wound with much
skill and delicacy.
"You see," she said, smiling, " I am not a very
bad nurse. I have missed my vpcation. I should
have been a sister of charity. I am more fitted
for that than for the theatre. I told you so the
other day, but you would not believe me. Do
you believe me now? "
The day dawned; but a gray, sombre day, with
skies still full of snow. The battle was begun
again before Yvre; the Prussians were trying to
force the passage of the river.
" They are fighting quite near here," said Se-
rignan to Criquette; * ' perhaps it would be better if
you were to return to Mans. I wish you to go."
" I shall not leave you," she answered.
The fusillade, which was at first very lively,
gradually grew less and less, and had completely
died away when the surgeon came, about nine
o'clock, to the room where Serignan lay.
" Well," said he, "are you better? "
" Yes, much better. But what has happened?"
"The Prussians tried to cross the river; they
have been repulsed and driven beyond the rail-
" Then all is going well for us?"
*'0n that side, yes; but elsewhere, no. We are
invaded on the right toward Pontlieue; orders
have been received to retreat to Alenjon."
" And the wounded? "
"The wounded? Those who can rise and walk
must try to reach Mans. The rest will remain
here. I have not a carriage at my disposal.
There is not a wagon left in the village."
"Then I must walk."
"Do not try it. You can not."
S^rignan made an effort to rise, but fell back at
once, almost fainting.
"Oh, you can walk, can you?" said the sur-
"But could he be taken in a carriage?" asked
Criquette. "Would there be no danger? ' '
" Danger? No, if he was well wrapped up. It is
frightfully cold. But I tell you again that there
is no carriage."
" Perhaps I can find one."
A few minutes afterward, despite the prayers
and supplications of Serignan, Criquette started
out again, on foot and alone.
There were two large farms belonging to the
domain of Louvercy, and one of them, Fonte
nilles, was between the chateau and Yvre-
I'Eveque, about a mile and a half from tlie
village. Criquette had been many times to Fonte-
nilles with Mademoiselle Clementine, who con-
sidered herself a little at home upon Monsieur de
Serignan's property, and who was always glad to
do the honors there. Besides, the tenants of Fonte-
nilles, Pere and Mere Brunet, were old friends of
Criquette knew well the short cuts which in
half an hour would take her to the farm. There
she would find a carriage. She did not wish him
to fall into the hands of the Prussians; she wished
to take him home to Louvercy, and then only
would her task be accomplished.
She had not gone far, however, before she was
seized with a terrible weariness. It was too much
fatigue for the frail, delicate girl. The road was
rough and slippery. Criquette came to a steep
ascent, and she was obliged to rest for some min-
utes to recover her breath. She felt at one and
the same time burning hot and icy cold. A slight
pain now and then seized her side and seemed to
stop her respiration. In spite of all, however, her
courage and energy did not fail.
She reached the farm at last. The gate was
solidly padlocked. She saw, through the fog, the
vast buildings which surrounded the court; all
the doors and windows were closed. Not a sign
of life anywhere. Criquette called out. No
answer. She called again as loudly as she could,
but every time that she cried, "Monsieur Brunet!
Monsieur Brunet!" it seemed to tear her lungs.
And still no answer.
What would become of her, if the farm was
abandoned? Her limbs were sore and bruised.
She oould never return on foot to Yvr6. Slie
made a new eflfort to make herself heard: ** Mon-
sieur Brunet! Monsieur Brunet! " and stood there,
olinging with one hand to the gate, in order not to
fall, and with the other waving her handkerchief.
And then a slight noise broke the death-like
silence. It was the sound of an opening window.
Brunet had not quitted Fontenilles, but alone
with his wife and his dairy-maid — his two sons
were in the army — he had barricaded himself in.
He looked out of the window, and seeing the
girl who had called to him, he came out.
All the carriages and horses had been confis-
cated; he had nothing left but a rickety wagon
and an old spavined horse; but the drive from
Fontenilles to Yvre and from Yvr6 to Louvercy is
not long; the wagon-wheels could turn round and
the horse walk for two hours.
Madame Brunet lighted a great fire, and Cri-
quette, regaining her confidence, recovered also a
little warmth and strength. She took, however,
only a few minutes' rest; there was not an instant
to lose. She made them put in the wagon a
mattress and some blankets. With his great-coat
buttoned about him and a fur cap pulled down
over his ears, Brunet took his place on the front
seat. Criquette crept into the wagon under the
tattered old awning, and, nestling down among
the blankets, she did not suffer much from the
cold on the way to Yvre.
But an hour after it was Monsieur de S6rig-
nan who took his place in the body of the wagon.
He lost consciousness as he was being carried
from the convent. Criquette piled upon him
all the blankets, but his fainting-fit contin-
ued. The surgeon had warned her, above all, to
guard him from the cold. Then she took off her
cloak and Brunet his overcoat, and both garments
were added to the mountain of coverings which
already enveloped Serignan.
Seated in the wagon, open to all the winds, Cri-
quette felt penetrated by the icy cold; chill after
chill shook her, followed by sudden waves of heat
which seemed to burn her chest.
Serignan recovered his senses very slowly. He
smiled at Criquette, slipped one of his arms out-
side the coverings, sought and found one of the
hands of the poor girl, who at that moment was
shaken by a chill; her hand trembled and her
teeth chattered. Then Serignan perceived that
she had despoiled herself of her cloak to cover
him; he forced her to take it back and to put on
as well the farmer's great-coat.
"I was a little cold," said Criquette; "but I
shall be warm presently. We are almost there.
Look! There is the chateau. I have brought
you home — yes, home! And I am so happy! so
She could scarcely speak. Her breathing was
painful; she suffered cruelly, and yet she spoke
only the truth. She was happy, and it was
indeed a smile of happiness that played feebly
about her trembling lips.
Tb« wagou stopped in the couit-yara of the
chateau, and the steward and servants ran out to
meet it. Criquette, despite the pain she was suf-
fering, liad still the coui-age to look after Serig-
nan, who, frightened at the change in her face,
tried to induce her to take some i-est.
" Do not worry on my account," she answered.
*'They have sent to Mans for a doctor, and for
Mademoiselle Clementine. As soon as she is here,
I promise that 1 will rest. I am not ill, really."
When Mademoiselle Lemuche arrived, Cri-
quette met her and said:
"He is better — much better. Do not be un-
"But you, my poor childf'
"I; You arrive in time to take my place at
his side. I can not hold out any longer."
The doctor, after he had seen both Serignan
and Criquette, said to Mademoiselle Lenuiche:
" He is all right; he will be on his feet in a few
days; but with her it is a different thing. She
has inflammation of the lungs."
In the chamber at the chateau, which had been
hers for thirty years, Mademoiselle Lemuche
watched for eight days at Criquette' s bedside.
It was the twentieth of January. Since morn-
ing Ciiquette's thoughts had been clouded, and
among the confused words which issued i)ainfully
from her lips could scarcely be distinguished these
fragments of sentences:
''The Princefis fo/yftri— Wounded— With the
sisters — At Yvre — 1 am cold — 1 am cold — A part
— There inust be u part for Pascal — I had a friend
at Beauvais — A big black dog— Pierrot — Send for
him — I would like to see him — Pascal's porte-
monnaie — I have money — I have money — I am
cold — But he is not cold — Keep me — I am your
wife — "
Many times during the day she looked at
"Monsieur Lemuche," she said, "is it really
you, Monsieur Lemuche? "
" Yes, my child, it is I."
" I want to work — My part, you know — Syltda
— There is a speech — What is it? — Yes, Dor ante —
Yes, Dor ante, you love me — Ah! I can not re-
member — I can not remember — "
Monsieur de Serignan had himself carried to
Criquette's room, and it was to him that she
addressed her last intelligible words: "To love
you both — I could not. It is better so — yes,
Criquette did not resist death, and death was
kind to her and took her gently.
One morning in the month of May, 1873, a
horseman rode slowly along the road which leads
to Yvre-FEveque, across the hills of Auvours.
On his way he looked at a ruined house with a
shed near it, and remembered under what circum-
stances he had fallen one evening, unconscious,
beneath that shed; and then in his recollections
there was a hiatus of several hours.
He continued on his way, crossed the old bridge
over the HaUne, followed the chief street of the
village, and came in iiight of another house, a
oonvtot. Then the memories of other days
awoke again. He saw again leaning ov^r him,
with her lai'ge dark eyes smiling down upon
him, the noble, coui-ageous girl who had come
to his aid almost under the bullets of the Prus-
He again continued his way, and after a few
minutes stopped his horse. Over the little wall
of the cemetery could be seen a grave, on which
bis eyes rested. There slept, in the eternal sleep,
the one who had died for him.
At the same moment — it waa eleven o'clock in
the morning — they were placarding at Marseilles,
upon the wall of the Theatre- Fran9ais, an an-
nouncement which ran as follows :
THE TOWER OP NESLE.
Monsieur Pascal will play the rdle nf Buridak.
And at the same moment, also, at Beauvais,
Mademoiselle Aui-elie was preparing to go out,
and was carefully tying, before a glass, the strings
of her bonnet. She was to be present, at half-
past eleven, at a meeting of the lady patronesses
of the Society for the Protection of Friendless
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