Madame De Mauves. Генри Джеймс

of a nature to be menaced by the young American’s general gentleness. The concluding motive of Marie’s writing to her grandmamma to invite Euphemia for a three weeks’ holiday to the castel in Auvergne involved, however, the subtlest considerations. Mademoiselle de Mauves indeed, at this time seventeen years of age and capable of views as wide as her wants, was as proper a figure as could possibly have been found for the foreground of a scene artfully designed; and Euphemia, whose years were of like number, asked herself if a right harmony with such a place mightn’t come by humble prayer. It is a proof of the sincerity of the latter’s aspirations that the castel was not a shock to her faith. It was neither a cheerful nor a luxurious abode, but it was as full of wonders as a box of old heirlooms or objects “willed.” It had battered towers and an empty moat, a rusty drawbridge and a court paved with crooked grass-grown slabs over which the antique coach-wheels of the lady with the hooked nose seemed to awaken the echoes of the seventeenth century. Euphemia was not frightened out of her dream; she had the pleasure of seeing all the easier passages translated into truth, as the learner of a language begins with the common words. She had a taste for old servants, old anecdotes, old furniture, faded household colours and sweetly stale odours—musty treasures in which the Chateau de Mauves abounded. She made a dozen sketches in water-colours after her conventual pattern; but sentimentally, as one may say, she was for ever sketching with a freer hand.

      Old Madame de Mauves had nothing severe but her nose, and she seemed to Euphemia—what indeed she had every claim to pass for—the very image and pattern of an “historical character.” Belonging to a great order of things, she patronised the young stranger who was ready to sit all day at her feet and listen to anecdotes of the bon temps and quotations from the family chronicles. Madame de Mauves was a very honest old woman; she uttered her thoughts with ancient plainness. One day after pushing back Euphemia’s shining locks and blinking with some tenderness from behind an immense face-a-main that acted as for the relegation of the girl herself to the glass case of a museum, she declared with an energetic shake of the head that she didn’t know what to make of such a little person. And in answer to the little person’s evident wonder, “I should like to advise you,” she said, “but you seem to me so all of a piece that I’m afraid that if I advise you I shall spoil you. It’s easy to see you’re not one of us. I don’t know whether you’re better, but you seem to me to have been wound up by some key that isn’t kept by your governess or your confessor or even your mother, but that you wear by a fine black ribbon round your own neck. Little persons in my day—when they were stupid they were very docile, but when they were clever they were very sly! You’re clever enough, I imagine, and yet if I guessed all your secrets at this moment is there one I should have to frown at? I can tell you a wickeder one than any you’ve discovered for yourself. If you wish to live at ease in the doux pays de France don’t trouble too much about the key of your conscience or even about your conscience itself—I mean your own particular one. You’ll fancy it saying things it won’t help your case to hear. They’ll make you sad, and when you’re sad you’ll grow plain, and when you’re plain you’ll grow bitter, and when you’re bitter you’ll be peu aimable. I was brought up to think that a woman’s first duty is to be infinitely so, and the happiest women I’ve known have been in fact those who performed this duty faithfully. As you’re not a Catholic I suppose you can’t be a devote; and if you don’t take life as a fifty years’ mass the only way to take it’s as a game of skill. Listen to this. Not to lose at the game of life you must—I don’t say cheat, but not be too sure your neighbour won’t, and not be shocked out of your self-possession if he does. Don’t lose, my dear—I beseech you don’t lose. Be neither suspicious nor credulous, and if you find your neighbour peeping don’t cry out; only very politely wait your own chance. I’ve had my revenge more than once in my day, but I really think the sweetest I could take, en somme, against the past I’ve known, would be to have your blest innocence profit by my experience.”

      This was rather bewildering advice, but Euphemia understood it too little to be either edified or frightened. She sat listening to it very much as she would have listened to the speeches of an old lady in a comedy whose diction should strikingly correspond to the form of her high-backed armchair and the fashion of her coif. Her indifference was doubly dangerous, for Madame de Mauves spoke at the instance of coming events, and her words were the result of a worry of scruples—scruples in the light of which Euphemia was on the one hand too tender a victim to be sacrificed to an ambition and the prosperity of her own house on the other too precious a heritage to be sacrificed to an hesitation. The prosperity in question had suffered repeated and grievous breaches and the menaced institution been overmuch pervaded by that cold comfort in which people are obliged to balance dinner-table allusions to feudal ancestors against the absence of side-dishes; a state of things the sorrier as the family was now mainly represented by a gentleman whose appetite was large and who justly maintained that its historic glories hadn’t been established by underfed heroes.

      Three days after Euphemia’s arrival Richard de Mauves, coming down from Paris to pay his respects to his grandmother, treated our heroine to her first encounter with a gentilhomme in the flesh. On appearing he kissed his grandmother’s hand with a smile which caused her to draw it away with dignity, and set Euphemia, who was standing by, to ask herself what could have happened between them. Her unanswered wonder was but the beginning of a long chain of puzzlements, but the reader is free to know that the smile of M. de Mauves was a reply to a postscript affixed by the old lady to a letter addressed to him by her granddaughter as soon as the girl had been admitted to justify the latter’s promises. Mademoiselle de Mauves brought her letter to her grandmother for approval, but obtained no more than was expressed in a frigid nod. The old lady watched her with this coldness while she proceeded to seal the letter, then suddenly bade her open it again and bring her a pen.

      “Your sister’s flatteries are all nonsense,” she wrote; “the young lady’s far too good for you, mauvais sujet beyond redemption. If you’ve a particle of conscience you’ll not come and disturb the repose of an angel of innocence.”

      The other relative of the subject of this warning, who had read these lines, made up a little face as she freshly indited the address; but she laid down her pen with a confident nod which might have denoted that by her judgement her brother was appealed to on the ground of a principle that didn’t exist in him. And “if you meant what you said,” the young man on his side observed to his grandmother on his first private opportunity, “it would have been simpler not to have sent the letter.”

      Put out of humour perhaps by this gross impugnment of her sincerity, the head of the family kept her room on pretexts during a greater part of Euphemia’s stay, so that the latter’s angelic innocence was left all to her grandson’s mercy. It suffered no worse mischance, however, than to be prompted to intenser communion with itself. Richard de Mauves was the hero of the young girl’s romance made real, and so completely accordant with this creature of her imagination that she felt afraid of him almost as she would have been of a figure in a framed picture who should have stepped down from the wall. He was now thirty-three—young enough to suggest possibilities of ardent activity and old enough to have formed opinions that a simple woman might deem it an intellectual privilege to listen to. He was perhaps a trifle handsomer than Euphemia’s rather grim Quixotic ideal, but a very few days reconciled her to his good looks as effectually they would have reconciled her to a characterised want of them. He was quiet, grave, eminently distinguished. He spoke little, but his remarks, without being sententious, had a nobleness of tone that caused them to re-echo in the young girl’s ears at the end of the day. He paid her very little direct attention, but his chance words—when he only asked her if she objected to his cigarette—were accompanied by a smile of extraordinary kindness.

      It happened that shortly after his arrival, riding an unruly horse which Euphemia had with shy admiration watched him mount in the castle-yard, he was thrown with a violence which, without disparaging his skill, made him for a fortnight an interesting invalid lounging in the library with a bandaged knee. To beguile his confinement the accomplished young stranger was repeatedly induced to sing for him, which she did with a small natural tremor that might have passed for the finish of vocal art. He never overwhelmed her with compliments, but he listened with unfailing attention, remembered all her melodies and would sit humming them to himself. While his imprisonment lasted indeed he passed hours in her company, making