Autobiographical fiction; Impressionist artists -- France -- Paris -- Fiction; Paris (France) -- Intellectual life -- Fiction
Sandoz and Claude followed a path which led them towards a lawn, and
what they saw there made them pause. Dubuche, who stood in front of a
trapeze, was raising his arms to support his son, Gaston, a poor sickly
boy who, at ten years of age, still had the slight, soft limbs of early
childhood; while the girl, Alice, sat in a perambulator awaiting her
turn. She was so imperfectly developed that, although she was six years
old, she could not yet walk. The father, absorbed in his task, continued
exercising the slim limbs of his little boy, swinging him backwards and
forwards, and vainly trying to make him raise himself up by his wrists.
Then, as this slight effort sufficed to bring on perspiration, he
removed the little fellow from the trapeze and rolled him in a rug. And
all this was done amid complete silence, alone under the far expanse of
sky, his face wearing a look of distressful pity as he knelt there in
that splendid park. However, as he rose up he perceived the two friends.
‘What! it’s you? On a Sunday, and without warning me!’
He had made a gesture of annoyance, and at once explained that the maid,
the only woman to whom he could trust the children, went to Paris on
Sundays, and that it was consequently impossible for him to leave Gaston
and Alice for a minute.
‘I’ll wager that you came to lunch?’ he added.
As Claude gave Sandoz an imploring glance, the novelist made haste to
answer:
‘No, no. As it happens, we only have time enough to shake hands with
you. Claude had to come down here on a business matter. He lived at
Bennecourt, as you know. And as I accompanied him, we took it into our
heads to walk as far as here. But there are people waiting for us, so
don’t disturb yourself in the least.’
Thereupon, Dubuche, who felt relieved, made a show of detaining them.
They certainly had an hour to spare, dash it all! And they all three
began to talk. Claude looked at Dubuche, astonished to find him so aged;
his flabby face had become wrinkled--it was of a yellowish hue, and
streaked with red, as if bile had splashed his skin; whilst his hair
and his moustaches were already growing grey. In addition, his figure
appeared to have become more compact; a bitter weariness made each of
his gestures seem an effort. Were defeats in money matters as hard to
bear, then, as defeats in art? Everything about this vanquished man--his
voice, his glance--proclaimed the shameful dependency in which he had to
live: the bankruptcy of his future which was cast in his teeth, with the
accusation of having allowed a talent he did not possess to be set down
as an asset in the marriage contract. Then there was the family money
which he nowadays stole, the money spent on what he ate, the clothes he
wore, and the pocket-money he needed--in fact, the perpetual alms which
were bestowed upon him, just as they might have been bestowed upon some
vulgar swindler, whom one unluckily could not get rid of.
Public-domain text, read in full here on John Shaqi.
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