Jealousy -- Fiction; Man-woman relationships -- Fiction; Painters -- France -- Fiction; Paris (France) -- Fiction
She lived, then, smiling, with a sort of factitious pride in remaining
beautiful so long, and when Annette appeared at her side with the
freshness of her eighteen years, instead of suffering from this
contrast, she was proud, on the contrary, of being able to command
preference, in the ripe grace of her womanhood, over that blooming young
girl in the radiant beauty of first youth.
She had even believed that she had entered upon the beginning of a
happy, tranquil period when the death of her mother struck a blow at
her heart. During the first few days she was filled with that profound
despair that leaves no room for any other thought. She remained from
morning until night buried in grief, trying to recall a thousand things
of the dead, her familiar words, her face in earlier days, the gowns she
used to wear, as if she had stored her memory with relics; and from the
now buried past she gathered all the intimate and trivial recollections
with which to feed her cruel reveries. Then, when she had arrived at
such paroxysms of despair that she fell into hysterics and swooned, all
her accumulated grief broke forth in tears, flowing from her eyes by day
and by night.
One morning, when her maid entered, and opened the shutters after
raising the shades, asking: “How does Madame feel to-day?” she answered,
feeling exhausted from having wept so much: “Oh, not at all well!
Indeed, I can bear no more.”
The servant, who was holding a tea-tray, looked at her mistress, and,
touched to see her lying so pale amide the whiteness of the bed, she
stammered, in a tone of genuine sadness: “Madame really looks very ill.
Madame would do well to take care of herself.”
The tone in which this was said pierced the Countess's heart like a
sharp needle, and as soon as the maid had gone she rose to go and look
at her face in her large dressing-mirror.
She was stupefied at the sight of herself, frightened by her hollow
cheeks, her red eyes, the ravages produced in her by these days of
suffering. Her face, which she knew so well, which she had often looked
at in so many different mirrors, of which she knew all the expressions,
all the smiles, the pallor which she had already corrected so many
times, smoothing away the marks of fatigue, and the tiny wrinkles at the
corners of the eyes, visible in too strong a light--her face suddenly
seemed to her that of another woman, a new face that was distorted and
irreparably ill.
Public-domain text, read in full here on John Shaqi.
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