determined to capture Rogron. Her mother, calm and dignified, retained, as did her daughter, a certain aristocratic insolence, with which the two women hedged themselves and preserved the spirit of their caste. Bathilde was a woman of intelligence, a fact which Vinet alone had discovered during the two months’ stay the ladies had made at his house. When he had fully fathomed the mind of the girl, wounded and disappointed as it was by the fruitlessness of her beauty and her youth, and enlightened by the contempt she felt for the men of a period in which money was the only idol, Vinet, himself surprised, exclaimed,—
“If I could only have married you, Bathilde, I should to-day be Keeper of the Seals. I should call myself Vinet de Chargeboeuf, and take my seat as deputy of the Right.”
Bathilde had no vulgar idea in her marriage intentions. She did not marry to be a mother, nor to possess a husband; she married for freedom, to gain a responsible position, to be called “madame,” and to act as men act. Rogron was nothing but a name to her; she expected to make something of the fool,—a voting deputy, for instance, whose instigator she would be; moreover, she longed to avenge herself on her family, who had taken no notice of a girl without money. Vinet had much enlarged and strengthened her ideas by admiring and approving them.
“My dear Bathilde,” he said, while explaining to her the influence of women, and showing her the sphere of action in which she ought to work, “do you suppose that Tiphaine, a man of the most ordinary capacity, could ever get to be a judge of the Royal court in Paris by himself? No, it is Madame Tiphaine who has got him elected deputy, and it is she who will push him when they get to Paris. Her mother, Madame Roguin, is a shrewd woman, who does what she likes with the famous banker du Tillet, a crony of Nucingen, and both of them allies of the Kellers. The administration is on the best of terms with those lynxes of the bank. There is no reason why Tiphaine should not be judge, through his wife, of a Royal court. Marry Rogron; we’ll have him elected deputy from Provins as soon as I gain another precinct in the Seine-et-Marne. You can then get him a place as receiver-general, where he’ll have nothing to do but sign his name. We shall belong to the opposition if the Liberals triumph, but if the Bourbons remain—ah! then we shall lean gently, gently towards the centre. Besides, you must remember Rogron can’t live forever, and then you can marry a titled man. In short, put yourself in a good position, and the Chargeboeufs will be ready enough to serve us. Your poverty has no doubt taught you, as mine did me, to know what men are worth. We must make use of them as we do of post-horses. A man, or a woman, will take us along to such or such a distance.”
Vinet ended by making Bathilde a small edition of Catherine de Medicis. He left his wife at home, rejoiced to be alone with her two children, while he went every night to the Rogrons’ with Madame and Mademoiselle de Chargeboeuf. He arrived there in all the glory of better circumstances. His spectacles were of gold, his waistcoat silk; a white cravat, black trousers, thin boots, a black coat made in Paris, and a gold watch and chain, made up his apparel. In place of the former Vinet, pale and thin, snarling and gloomy, the present Vinet bore himself with the air and manner of a man of importance; he marched boldly forward, certain of success, with that peculiar show of security which belongs to lawyers who know the hidden places of the law. His sly little head was well-brushed, his chin well-shaved, which gave him a mincing though frigid look, that made him seem agreeable in the style of Robespierre. Certainly he would make a fine attorney-general, endowed with elastic, mischievous, and even murderous eloquence, or an orator of the shrewd type of Benjamin Constant. The bitterness and the hatred which formerly actuated him had now turned into soft-spoken perfidy; the poison was transformed into anodyne.
“Good-evening, my dear; how are you?” said Madame de Chargeboeuf, greeting Sylvie.
Bathilde went straight to the fireplace, took off her bonnet, looked at herself in the glass, and placed her pretty foot on the fender that Rogron might admire it.
“What is the matter with you?” she said to him, looking directly in his face. “You have not bowed to me. Pray why should we put on our best velvet gowns to please you?”
She pushed past Pierrette to lay down her hat, which the latter took from her hand, and which she let her take exactly as though she were a servant. Men are supposed to be ferocious, and tigers too; but neither tigers, vipers, diplomatists, lawyers, executioners or kings ever approach, in their greatest atrocities, the gentle cruelty, the poisoned sweetness, the savage disdain of one young woman for another, when she thinks herself superior in birth, or fortune, or grace, and some question of marriage, or precedence, or any of the feminine rivalries, is raised. The “Thank you, mademoiselle,” which Bathilde said to Pierrette was a poem in many strophes. She was named Bathilde, and the other Pierrette. She was a Chargeboeuf, the other a Lorrain. Pierrette was small and weak, Bathilde was tall and full of life. Pierrette was living on charity, Bathilde and her mother lived on their means. Pierrette wore a stuff gown with a chemisette, Bathilde made the velvet of hers undulate. Bathilde had the finest shoulders in the department, and the arm of a queen; Pierrette’s shoulder-blades were skin and bone. Pierrette was Cinderella, Bathilde was the fairy. Bathilde was about to marry, Pierrette was to die a maid. Bathilde was adored, Pierrette was loved by none. Bathilde’s hair was ravishingly dressed, she had so much taste; Pierrette’s was hidden beneath her Breton cap, and she knew nothing of the fashions. Moral, Bathilde was everything, Pierrette nothing. The proud little Breton girl understood this tragic poem.
“Good-evening, little girl,” said Madame de Chargeboeuf, from the height of her condescending grandeur, and in the tone of voice which her pinched nose gave her.
Vinet put the last touch to this sort of insult by looking fixedly at Pierrette and saying, in three keys, “Oh! oh! oh! how fine we are to-night, Pierrette!”
“Fine!” said the poor child; “you should say that to Mademoiselle de Chargeboeuf, not to me.”
“Oh! she is always beautifully dressed,” replied the lawyer. “Isn’t she, Rogron?” he added, turning to the master of the house, and grasping his hand.
“Yes,” said Rogron.
“Why do you force him to say what he does not think?” said Bathilde; “nothing about me pleases him. Isn’t that true?” she added, going up to Rogron and standing before him. “Look at me, and say if it isn’t true.”
Rogron looked at her from head to foot, and gently closed his eyes like a cat whose head is being scratched.
“You are too beautiful,” he said; “too dangerous.”
“Why?”
Rogron looked at the fire and was silent. Just then Mademoiselle Habert entered the room, followed by the colonel.
Celeste Habert, who had now become the common enemy, could only reckon Sylvie on her side; nevertheless, everybody present showed her the more civility and amiable attention because each was undermining her. Her brother, though no longer able to be on the scene of action, was well aware of what was going on, and as soon as he perceived that his sister’s hopes were killed he became an implacable and terrible antagonist to the Rogrons.
Every one will immediately picture to themselves Mademoiselle Habert when they know that if she had not kept an institution for young ladies she would still have had the air of a school-mistress. School-mistresses have a way of their own in putting on their caps. Just as old Englishwomen have acquired a monopoly in turbans, school-mistresses have a monopoly of these caps. Flowers nod above the frame-work, flowers that are more than artificial; lying by in closets for years the cap is both new and old, even on the day it is first worn. These spinsters make it a point of honor to resemble the lay figures of a painter; they sit on their hips, never on their chairs. When any one speaks to them they turn their whole busts instead of simply turning their heads; and when their gowns creak one is tempted
