“No, she is courting me,” he said with a laugh, “or rather has been doing so. But why should I not tell you, for if I introduce you to her, she will tell you everything in five minutes? In fact, she is my mistress. With my reputation, my investments, my books, I can marry whom I please; and there is plenty of time. The pear is ripe. But if we were always reasonable, we should be only common people, should not we? She began it. If you had seen, at rehearsal, how she stealthily devoured me with her eyes! I took good care not to notice her. She is a coquette and a half. An author who has a mistress at the theatre when he does not act himself, is responsible for a serious orthographical error. You know the proverb: the architect does not hobnob with the mason. But after the first performance, after the battle was won, I let myself go. Here is another human document: little Favier had gone through the Conservatoire, had been on the stage, and my dear fellow she was still virtuous, perfectly virtuous. Do you understand me?” “Poor girl!” I cried involuntarily. “No, no!” Jacques replied shrugging his shoulders. “Some lover must be first, and it is better to have a Jacques Molan than a pupil of the Conservatoire, or, as is usually the case, one of the professors there, is it not? But I am her poesy, her real romance to tell her friends. I have been kind to her. She desired our love concealed from her mother and we did so. She desired meetings in cemeteries at the graves of great men and I have gone there. Can you imagine me, at my age, with a bunch of violets in my hand, waiting for a friend with my elbows sentimentally resting upon the tomb of Alfred de Musset, a poet whom I detest? Quite a student’s idyll, is it not? I repeat it is very foolish, but I found her so amiable and so fresh the first time. She 'rested me’ from this Paris in which everything is vanity.” “And now?” I asked. “Now?” he repeated, and the insolent and sensual expression came into his eyes once more. “You want me to confess? That is two months ago, and a two months’ idyll is a little less fresh, amiable and restful.” Then in a lower and more confidential tone he asked: “Do you know pretty Madam Pierre de Bonnivet?” “You still seem to forget that I am not a fashionable painter,” I replied, “that I have not a little house on the Monceau Plain, that I do not ride in the Bois, and frequent the noble Faubourg though I live there.” “Don’t let us mix up our localities,” he replied with his usual assurance. “The Monceau Plain and the Bois have nothing in common with the Faubourg and the nobility, nor has the charming person to whom I am referring, anything in common, except her name, with the real Bonnivet descended from the constable or admiral, the friend of Francis I.” “There is one less imbecile among her ancestors then,” I interrupted. “That is one of the advantages the false nobility sometimes has over the true nobility.”