romance,” said Doguereau, heedless of Lucien’s surprise. “In ready money,” he added; “and you shall undertake to write two books for me every year for six years. If the first book is out of print in six months, I will give you six hundred francs for the others. So, if you write two books each year, you will be making a hundred francs a month; you will have a sure income, you will be well off. There are some authors whom I only pay three hundred francs for a romance; I give two hundred for translations of English books. Such prices would have been exorbitant in the old days.”
“Sir, we cannot possibly come to an understanding. Give me back my manuscript, I beg,” said Lucien, in a cold chill.
“Here it is,” said the old bookseller. “You know nothing of business, sir. Before an author’s first book can appear, a publisher is bound to sink sixteen hundred francs on the paper and the printing of it. It is easier to write a romance than to find all that money. I have a hundred romances in manuscript, and I have not a hundred and sixty thousand francs in my cash box, alas! I have not made so much in all these twenty years that I have been a bookseller. So you don’t make a fortune by printing romances, you see. Vidal and Porchon only take them of us on conditions that grow harder and harder day by day. You have only your time to lose, while I am obliged to disburse two thousand francs. If we fail, habent sua fata libelli, I lose two thousand francs; while, as for you, you simply hurl an ode at the thick-headed public. When you have thought over this that I have the honor of telling you, you will come back to me. —You will come back to me!” he asserted authoritatively, by way of reply to a scornful gesture made involuntarily by Lucien. “So far from finding a publisher obliging enough to risk two thousand francs for an unknown writer, you will not find a publisher’s clerk that will trouble himself to look through your screed. Now that I have read it I can point out a good many slips in grammar. You have put observer for faire observer and malgre que. Malgre is a preposition, and requires an object.”
Lucien appeared to be humiliated.
“When I see you again, you will have lost a hundred francs,” he added. “I shall only give a hundred crowns.”
With that he rose and took his leave. On the threshold he said, “If you had not something in you, and a future before you; if I did not take an interest in studious youth, I should not have made you such a handsome offer. A hundred francs per month! Think of it! After all, a romance in a drawer is not eating its head off like a horse in a stable, nor will it find you in victuals either, and that’s a fact.”
Lucien snatched up his manuscript and dashed it on the floor.
“I would rather burn it, sir!” he exclaimed.
“You have a poet’s head,” returned his senior.
Lucien devoured his bread and supped his bowl of milk, then he went downstairs. His room was not large enough for him; he was turning round and round in it like a lion in a cage at the Jardin des Plantes.
At the Bibliotheque Saint-Genevieve, whither Lucien was going, he had come to know a stranger by sight; a young man of five-and-twenty or thereabouts, working with the sustained industry which nothing can disturb nor distract, the sign by which your genuine literary worker is known. Evidently the young man had been reading there for some time, for the librarian and attendants all knew him and paid him special attention; the librarian would even allow him to take away books, with which Lucien saw him return in the morning. In the stranger student he recognized a brother in penury and hope.
Pale-faced and slight and thin, with a fine forehead hidden by masses of black, tolerably unkempt hair, there was something about him that attracted indifferent eyes: it was a vague resemblance which he bore to portraits of the young Bonaparte, engraved from Robert Lefebvre’s picture. That engraving is a poem of melancholy intensity, of suppressed ambition, of power working below the surface. Study the face carefully, and you will discover genius in it and discretion, and all the subtlety and greatness of the man. The portrait has speaking eyes like a woman’s; they look out, greedy of space, craving difficulties to vanquish. Even if the name of Bonaparte were not written beneath it, you would gaze long at that face.
Lucien’s young student, the incarnation of this picture, usually wore footed trousers, shoes with thick soles to them, an overcoat of coarse cloth, a black cravat, a waistcoat of some gray-and-white material buttoned to the chin, and a cheap hat. Contempt for superfluity in dress was visible in his whole person. Lucien also discovered that the mysterious stranger with that unmistakable stamp which genius sets upon the forehead of its slaves was one of Flicoteaux’s most regular customers; he ate to live, careless of the fare which appeared to be familiar to him, and drank water. Wherever Lucien saw him, at the library or at Flicoteaux’s, there was a dignity in his manner, springing doubtless from the consciousness of a purpose that filled his life, a dignity which made him unapproachable. He had the expression of a thinker, meditation dwelt on the fine nobly carved brow. You could tell from the dark bright eyes, so clear-sighted and quick to observe, that their owner was wont to probe to the bottom of things. He gesticulated very little, his demeanor was grave. Lucien felt an involuntary respect for him.
Many times already the pair had looked at each other at the Bibliotheque or at Flicoteaux’s; many times they had been on the point of speaking, but neither of them had ventured so far as yet. The silent young man went off to the further end of the library, on the side at right angles to the Place de la Sorbonne, and Lucien had no opportunity of making his acquaintance, although he felt drawn to a worker whom he knew by indescribable tokens for a character of no common order. Both, as they came to know afterwards, were unsophisticated and shy, given to fears which cause a pleasurable emotion to solitary creatures. Perhaps they never would have been brought into communication if they had not come across each other that day of Lucien’s disaster; for as Lucien turned into the Rue des Gres, he saw the student coming away from the Bibliotheque Sainte-Genevieve.
“The library is closed; I don’t know why, monsieur,” said he.
Tears were standing in Lucien’s eyes; he expressed his thanks by one of those gestures that speak more eloquently than words, and unlock hearts at once when two men meet in youth. They went together along the Rue des Gres towards the Rue de la Harpe.
“As that is so, I shall go to the Luxembourg for a walk,” said Lucien. “When you have come out, it is not easy to settle down to work again.”
“No; one’s ideas will not flow in the proper current,” remarked the stranger. “Something seems to have annoyed you, monsieur?”
“I have just had a queer adventure,” said Lucien, and he told the history of his visit to the Quai, and gave an account of his subsequent dealings with the old bookseller. He gave his name and said a word or two of his position. In one month or thereabouts he had spent sixty francs on his board, thirty for lodging, twenty more francs in going to the theatre, and ten at Blosse’s reading room – one hundred and twenty francs in all, and now he had just a hundred and twenty francs in hand.
“Your story is mine, monsieur, and the story of ten or twelve hundred young fellows besides who come from the country to Paris every year. There are others even worse off than we are. Do you see that theatre?” he continued, indicating the turrets of the Odeon. “There came one day to lodge in one of the houses in the square a man of talent who had fallen into the lowest depths of poverty. He was married, in addition to the misfortunes which we share with him, to a wife whom he loved; and the poorer or the richer, as you will, by two children. He was burdened with debt, but he put his faith in his pen. He took a comedy in five acts to the Odeon; the comedy was accepted, the management arranged to bring it out, the actors learned their parts, the stage manager urged on the rehearsals. Five several bits of luck, five dramas to be performed in real life, and far harder tasks than the writing of a five-act play. The poor author lodged in a garret; you can see the place from here. He drained his last resources to live until
