Sunday, October 30, 2011

Love is born above all from spontaneity—it is an improvisation.


Donec Gratus

We have told how the painter Marcel made the acquaintance of Mademoiselle Musette. United one morning by the ministry of caprice, the registrar of the district, they had fancied, as often happens, that their union did not extend to their hearts. But one evening when, after a violent quarrel, they resolved to leave one another on the spot, they perceived that their hands, which they had joined in a farewell clasp, would no longer quit one another. Almost in spite of themselves fancy had become love. Both, half laughingly, acknowledged it.
"This is very serious. What has happened to us?" said Marcel. "What the deuce have we been up to?"
"Oh!" replied Musette. "We must have been clumsy over it. We did not take enough precautions."
"What is the matter?" asked Rodolphe, who had become Marcel's neighbor, entering the room.
"The matter is," replied Marcel, "that this lady and myself have just made a pretty discovery. We are in love with one another. We must have been attacked by the complaint whilst asleep."
"Oh oh! I don't think that it was whilst you were asleep," observed Rodolphe. "But what proves that you are in love with one another? Possibly you exaggerate the danger."
"We cannot bear one another," said Marcel.
"And we cannot leave one another," added Musette.
"There, my children, your business is plain. Each has tried to play cunning, and both have lost. It is the story of Mimi and myself. We shall soon have run through two almanacs quarrelling day and night. It is by that system that marriages are rendered eternal. Wed a 'yes' to a 'no,' and you obtain the union of Philemon and Baucis. Your domestic interior will soon match mine, and if Schaunard and Phemie come and live in the house, as they have threatened, our trio of establishments will render it a very pleasant place of residence."
At that moment Gustave Colline came in. He was informed of the accident that had befallen Musette and Marcel.
"Well, philosopher," said the latter, "what do you think of this?"
Colline rubbed the hat that served him for a roof, and murmured, "I felt sure of it beforehand. Love is a game of chance. He who plays at bowls may expect rubbers. It is not good for man to live alone."
That evening, on returning home, Rodolphe said to Mimi—
"There is something new. Musette dotes on Marcel, and will not leave him."
"Poor girl!" replied Mimi. "She who has such a good appetite, too."
"And on his side, Marcel is hard and fast in love with Musette."
"Poor fellow!" said Mimi. "He who is so jealous."
"That is true," observed Rodolphe. "He and I are pupils of Othello."
Shortly afterwards the households of Rodolphe and Marcel were reinforced by the household of Schaunard, the musician, moving into the house with Phemie Teinturiere.
From that day all the other inhabitants slept upon a volcano, and at quarter day sent in a unanimous notice of their intention to move to the landlord.
Indeed, hardly a day passed without a storm breaking out in one of these households. Now it was Mimi and Rodolphe who, no longer having strength to speak, continued their conversation with the aid of such missiles as came under their hands. But more frequently it was Schaunard addressing a few observations to the melancholy Phemie with the end of a walking stick. As to Marcel and Musette, their arguments were carried on in private sittings; they took at least the precaution to close their doors and windows.
If by chance peace reigned in the three households, the other lodgers were not the less victims of this temporary concord. The indiscretion of partition walls allowed all the secrets of Bohemian family life to transpire, and initiated them, in spite of themselves, into all its mysteries. Thus more than one neighbor preferred the casus belli to the ratification of treaties of peace.
It was, in truth, a singular life that was led for six months. The most loyal fraternity was practiced without any fuss in this circle, in which everything was for all, and good or evil fortune shared.
There were in the month certain days of splendor, when no one would have gone out without gloves—days of enjoyment, when dinner lasted all day long. There were others when one would have almost gone to Court without boots; Lenten days, when, after going without breakfast in common, they failed to dine together, or managed by economic combination to furnish forth one of those repasts at which plates and knives were "resting," as Mademoiselle Mimi put it, in theatrical parlance.
But the wonderful thing is that this partnership, in which there were three young and pretty women, no shadow of discord was found amongst the men. They often yielded to the most futile fancies of their mistresses, but not one of them would have hesitated for a moment between the mistress and the friend.
Love is born above all from spontaneity—it is an improvisation. Friendship, on the contrary, is, so to say, built up. It is a sentiment that progresses with circumspection. It is the egoism of the mind, whilst love is the egoism of the heart.
The Bohemians had known one another for six years. This long period of time spent in a daily intimacy had, without altering the well-defined individuality of each, brought about between them a concord of ideas—a unity which they would not have found elsewhere. They had manners that were their own, a tongue amongst themselves to which strangers would not have been able to find the key. Those who did not know them very well called their freedom of manner cynicism. It was however, only frankness. With minds impatient of imposed control, they all hated what was false, and despised what was low. Accused of exaggerated vanity, they replied by proudly unfurling the program of their ambition, and, conscious of their worth, held no false estimate of themselves.
During the number of years that they had followed the same life together, though often placed in rivalry by the necessities of their profession, they had never let go one another's hands, and had passed without heeding them over personal questions of self-esteem whenever an attempt had been made to raise these between them in order to disunite them. Besides, they each esteemed one another at their right worth, and pride, which is the counter poison of envy, preserved them from all petty professional jealousy.
However, after six months of life in common, an epidemic of divorce suddenly seized on the various households.
Schaunard opened the ball. One day he perceived that Phemie Teinturiere had one knee better shaped than the other, and as his was an austere purism as regards plastics, he sent Phemie about her business, giving her as a souvenir the cane with which he had addressed such frequent remarks to her. Then he went back to live with a relative who offered him free quarters.
A fortnight later Mimi left Rodolphe to step into the carriage of the young Vicomte Paul, the ex-pupil of Carolus Barbemuche, who had promised her dresses to her heart's desire.
After Mimi it was Musette who went off, and returned with a grand flourish of trumpets amongst the aristocracy of the world of gallantry which she had left to follow Marcel.
This separation took place without quarrel, shock or premeditation. Born of a fancy that had become love, this union was broken off by another fancy.
One evening during the carnival, at the masked ball at the Opera, whither she had gone with Marcel, Mimi, Musette had for her vis-a-vis in a quadrille a young man who had formerly courted her. They recognized one another, and, whilst dancing exchanged a few words. Unintentionally, perhaps, whilst informing the young man of her present condition in life, she may have dropped a word of regret as to her past one. At any rate, at the end of the quadrille Musette made a mistake, and instead of giving her hand to Marcel, who was her partner, give it to her vis-a-vis, who led her off, and disappeared with her in the crowd.
Marcel looked for her, feeling somewhat uneasy. In an hour's time he found her on the young man's arm; she was coming out of the Cafe de l'Opera, humming a tune. On catching sight of Marcel, who had stationed himself in a corner with folded arms, she made him a sign of farewell, saying—"I shall be back."
"That is to say, 'Do not expect me,'" translated Marcel.
He was jealous but logical, and knew Musette, hence he did not wait for her, but went home with a full heart and an empty stomach. He looked into the cupboard to see whether there were not a few scraps to eat, and perceived a bit of stale bread as hard as granite and a skeleton-like red herring.
"I cannot fight against truffles," he thought. "At any rate, Musette will have some supper."
And after passing his handkerchief over his eyes under pretext of wiping his nose, he went to bed.
Two days later Musette woke up in a boudoir with rose-covered hangings. A blue brougham was at her door, and all the fairies of fashion had been summoned to lay their wonders at her feet. Musette was charming, and her youth seemed yet further rejuvenated in this elegant setting. Then she began her old life again, was present at every festivity, and re-conquered her celebrity. She was spoken of everywhere—in the lobbies of the Bourse, and even at the parliamentary refreshment bars. As to her new lover, Monsieur Alexis, he was a charming young fellow. He often complained to Musette of her being somewhat frivolous and inattentive when he spoke to her of his love. Then Musette would look at him laughingly, and say—
"What would you have, my dear fellow? I stayed six months with a man who fed me on salad and soup without butter, who dressed me in a cotton gown, and usually took me to the Odeon because he was not well off. As love costs nothing, and as I was wildly in love with this monster, we expended a great deal of it together. I have scarcely anything but its crumbs left. Pick them up, I do no hinder you. Besides, I have not deceived you about it; if ribbons were not so dear I should still be with my painter. As to my heart, since I have worn an eighty franc corset I do not hear it, and I am very much afraid that I have left it in one of Marcel's drawers."
The disappearance of the three Bohemian households was the occasion of a festival in the house they had inhabited. As a token of rejoicing the landlord gave a grand dinner, and the lodgers lit up their windows.


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