Autobiographical fiction; Impressionist artists -- France -- Paris -- Fiction; Paris (France) -- Intellectual life -- Fiction
Sandoz and Claude had to eat, seated obliquely and half strangled
between two parties of people whose elbows almost ended by getting into
their plates; and each time that a waiter passed he gave their chairs
a shake with his hips. However, the inconvenience, like the abominable
cookery, made one gay. People jested about the dishes, different tables
fraternised together, common misfortune brought about a kind of pleasure
party. Strangers ended by sympathising; friends kept up conversations,
although they were seated three rows distant from one another, and
were obliged to turn their heads and gesticulate over their neighbours’
shoulders. The women particularly became animated, at first rather
anxious as to the crush, and then ungloving their hands, catching up
their skirts, and laughing at the first thimbleful of neat wine they
drank.
However, Sandoz, who had renounced finishing his meat, raised his voice
amid the terrible hubbub caused by the chatter and the serving:
‘A bit of cheese, eh? And let’s try to get some coffee.’
Claude, whose eyes looked dreamy, did not hear. He was gazing into the
garden. From his seat he could see the central clump of verdure, some
lofty palms which stood in relief against the grey hangings with which
the garden was decorated all round. A circle of statues was set out
there; and you could see the back of a faun; the profile of a young
girl with full cheeks; the face of a bronze Gaul, a colossal bit of
romanticism which irritated one by its stupid assumption of patriotism;
the trunk of a woman hanging by the wrists, some Andromeda of the
Place Pigalle; and others, and others still following the bends of the
pathways; rows of shoulders and hips, heads, breasts, legs, and arms,
all mingling and growing indistinct in the distance. On the left
stretched a line of busts--such delightful ones--furnishing a most
comical and uncommon suite of noses. There was the huge pointed nose
of a priest, the tip-tilted nose of a soubrette, the handsome classical
nose of a fifteenth-century Italian woman, the mere fancy nose of a
sailor--in fact, every kind of nose, both the magistrate’s and the
manufacturer’s, and the nose of the gentleman decorated with the Legion
of Honour--all of them motionless and ranged in endless succession!
Public-domain text, read in full here on John Shaqi.
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