Autobiographical fiction; Impressionist artists -- France -- Paris -- Fiction; Paris (France) -- Intellectual life -- Fiction
‘Your picture is very good,’ slowly added Claude, who wished to be
kind-hearted and generous.
This simple praise made Fagerolles’ heart swell with exaggerated,
irresistible emotion, springing he knew not whence; and this rascal, who
believed in nothing, who was usually so proficient in humbug, answered
in a shaky voice:
‘Ah! my dear fellow, ah! it’s very kind of you to tell me that!’
Sandoz had at last obtained two cups of coffee, and as the waiter had
forgotten to bring any sugar, he had to content himself with some pieces
which a party had left on an adjoining table. A few tables, indeed,
had now become vacant, but the general freedom had increased, and one
woman’s laughter rang out so loudly that every head turned round. The
men were smoking, and a bluish cloud slowly rose above the straggling
tablecloths, stained by wine and littered with dirty plates and dishes.
When Fagerolles, on his aide, succeeded in obtaining two glasses of
chartreuse for himself and Jory, he began to talk to Sandoz, whom he
treated with a certain amount of deference, divining that the novelist
might become a power. And Jory thereupon appropriated Claude, who had
again become mournful and silent.
‘You know, my dear fellow,’ said the journalist, ‘I didn’t send you any
announcement of my marriage. On account of our position we managed it on
the quiet without inviting any guests. All the same, I should have liked
to let you know. You will excuse me, won’t you?’
He showed himself expansive, gave particulars, full of the happiness of
life, and egotistically delighted to feel fat and victorious in front of
that poor vanquished fellow. He succeeded with everything, he said.
He had given up leader-writing, feeling the necessity of settling down
seriously, and he had risen to the editorship of a prominent art review,
on which, so it was asserted, he made thirty thousand francs a year,
without mentioning certain profits realised by shady trafficking in
the sale of art collections. The middle-class rapacity which he had
inherited from his mother, the hereditary passion for profit which had
secretly impelled him to embark in petty speculations as soon as he had
gained a few coppers, now openly displayed itself, and ended by making
him a terrible customer, who bled all the artists and amateurs who came
under his clutches.
It was amidst this good luck of his that Mathilde, now all-powerful,
had brought him to the point of begging her, with tears in his eyes, to
become his wife, a request which she had proudly refused during six long
months.
Public-domain text, read in full here on John Shaqi.
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