Strong as Death. Guy de Maupassant

so fragile, women of the demi-monde of the theater, prodigal of their favors with such men as he. One of them, some evening after supper, might follow him and please him, take him and keep him.

      Thus she lived in terror of losing him, watching his manner, his attitudes, startled by a word, full of anguish when he admired another woman, praised the charm of her countenance or her grace of bearing. All of which she was ignorant in his life made her tremble, and all of which she was cognizant alarmed her. At each of their meetings she questioned him ingeniously, without his perceiving it, in order to make him express his opinion on the people he had seen, the houses where he had dined, in short, the lightest expression of his mind. As soon as she fancied she detected the influence of some other person, she combated it with prodigious astuteness and innumerable resources.

      Oh, how often did she suspect those brief intrigues, without depth, lasting perhaps a week or two, from time to time, which come into the life of every prominent artist!

      She had, as it were, an intuition of danger, even before she detected the awakening of a new desire in Olivier, by the look of triumph in his eyes, the expression of a man when swayed by a gallant fancy.

      Then she would suffer; her sleep would be tortured by doubts. In order to surprise him, she would appear suddenly in his studio, without giving him notice of her coming, put questions that seemed naïve, tested his tenderness while listening to his thoughts, as we test while listening to detect hidden illness in the body. She would weep as soon as she found herself sure that some one would take him from her this time, robbing her of that love to which she clung so passionately because she had staked upon it all her will, her strength of affection, all her hopes and dreams.

      Then, when she saw that he came back to her, after these brief diversions, she experienced, as she drew close to him again, took possession of him as of something lost and found, a deep, silent happiness which sometimes, when she passed a church, urged her go in and thank God.

      Her preoccupation in ever making herself pleasing to him above all others, and of guarding him against all others, had made her whole life become a combat interrupted by coquetry. She had ceaselessly struggled for him, and before him, with her grace, her beauty and elegance. She wished that wherever he went he should hear her praised for her charm, her taste, her wit, and her toilets. She wished to please others for his sake, and to attract them so that he should be both proud and jealous of her. And every time that she succeeded in arousing his jealousy, after making him suffer a little, she allowed him the triumph of winning her back, which revived his love in exciting his vanity. Then, realizing that it was always possible for a man to meet in society a woman whose physical charm would be greater than her own, being a novelty, she resorted to other means: she flattered and spoiled him. Discreetly but continuously she heaped praises upon him; she soothed him with admiration and enveloped him in flattery, so that he might find all other friendship, all other love, even, a little cold and incomplete, and that if others also loved him he would perceive at last that she alone of them all understood him.

      She made the two drawing-rooms in her house, which he entered so often, a place as attractive to the pride of the artist as to the heart of the man, the place in all Paris where he liked best to come, because there all his cravings were satisfied at the same time.

      Not only did she learn to discover all his tastes, in order that, while gratifying them in her own house, she might give him a feeling of well-being that nothing could replace, but she knew how to create new tastes, to arouse appetites of all kinds, material and intellectual, habits of little attentions, of affections, of adoration and flattery! She tried to charm his eye with elegance, his sense of smell with perfumes, and his taste with delicate food.

      But when she had planted in the soul and in the senses of a selfish bachelor a multitude of petty, tyrannical needs, when she had become quite certain that no mistress would trouble herself as she did to watch over and maintain them, in order to surround him with all the little pleasures of life, she suddenly feared, as she saw him disgusted with his own home, always complaining of his solitary life, and, being unable to come into her home except under all the restraints imposed by society, going to the club, seeking every means to soften his lonely lot – she feared lest he thought of marriage.

      On some days she suffered so much from all these anxieties that she longed for old age, to have an end of this anguish and rest in a cooler and calmer affection.

      Years passed, however, without disuniting them. The chain wherewith she had attached him to her was heavy, and she made new links as the old ones wore away. But, always solicitous, she watched over the painter’s heart as one guards a child crossing a street full of vehicles, and day by day she lived in expectation of the unknown danger, the dread of which always hung over her.

      The Count, without suspicion or jealousy, found this intimacy of his wife with a famous and popular artist a perfectly natural thing. Through continually meeting, the two men, becoming accustomed to each other, finally became excellent friends.

      CHAPTER II

      TWIN ROSES FROM A SINGLE STEM

      When Bertin entered, on Friday evening, the house of his friend, where he was to dine in honor of the return of Antoinette de Guilleroy, he found in the little Louis XV salon only Monsieur de Musadieu, who had just arrived.

      He was a clever old man, who perhaps might have become of some importance, and who now could not console himself for not having attained to something worth while.

      He had once been a commissioner of the imperial museums, and had found means to get himself reappointed Inspector of Fine Arts under the Republic, which did not prevent him from being, above all else, the friend of princes, of all the princes, princesses, and duchesses of European aristocracy, and the sworn protector of artists of all sorts. He was endowed with an alert mind and quick perceptions, with great facility of speech that enabled him to say agreeably the most ordinary things, with a suppleness of thought that put him at ease in any society, and a subtle diplomatic scent that gave him the power to judge men at first sight; and he strolled from salon to salon, morning and evening, with his enlightened, useless, and gossiping activity.

      Apt at everything, as he appeared, he would talk on any subject with an air of convincing competence and familiarity that made him greatly appreciated by fashionable women, whom he served as a sort of traveling bazaar of erudition. As a matter of fact, he knew many things without ever having read any but the most indispensable books; but he stood very well with the five Academies, with all the savants, writers, and learned specialists, to whom he listened with clever discernment. He knew how to forget at once explanations that were too technical or were useless to him, remembered the others very well, and lent to the information thus gleaned an easy, clear, and good-natured rendering that made them as readily comprehensible as the popular presentation of scientific facts. He gave the impression of being a veritable storehouse of ideas, one of those vast places wherein one never finds rare objects but discovers a multiplicity of cheap productions of all kinds and from all sources, from household utensils to the popular instruments for physical culture or for domestic surgery.

      The painters, with whom his official functions brought him in continual contact, made sport of him but feared him. He rendered them some services, however, helped them to sell pictures, brought them in contact with fashionable persons, and enjoyed presenting them, protecting them, launching them. He seemed to devote himself to a mysterious function of fusing the fashionable and the artistic worlds, pluming himself on his intimate acquaintance with these, and of his familiar footing with those, on breakfasting with the Prince of Wales, on his way through Paris, or dining, the same evening, with Paul Adelmant, Olivier Bertin, and Amaury Maldant.

      Bertin, who liked him well enough, found him amusing, and said of him: “He is the encyclopedia of Jules Verne, bound in ass’s skin!”

      The two men shook hands and began to talk of the political situation and the rumors of war, which Musadieu thought alarming, for evident reasons which he explained very well, Germany having every interest in crushing us and in hastening that moment for which M. de Bismarck had been waiting eighteen years; while Olivier Bertin proved by irrefutable argument that these fears were chimerical, it being impossible for Germany to be foolish enough to risk her conquest in an always doubtful venture, or for the Chancelor to be imprudent enough to risk,