# The Yellow Book/Volume 1/Mercedes

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​Two Sketches
By Henry Harland
I—Mercedes
When I was a child some one gave me a family of white mice. I don't remember how old I was, I think about ten or eleven; but I remember very clearly the day I received them. It must have been a Thursday, a half-holiday, for I had come home from school rather early in the afternoon. Alexandre, dear old ruddy round-faced Alexandre, who opened the door for me, smiled in a way that seemed to announce, "There's a surprise in store for you, sir." Then my mother smiled too, a smile, I thought, of peculiar promise and interest. After I had kissed her she said, "Come into the dining-room. There's something you will like." Perhaps I concluded it would be something to eat. Anyhow, all agog with curiosity, I followed her into the dining-room—and Alexandre followed me, anxious to take part in the rejoicing. In the window stood a big cage, enclosing the family of white mice.
I remember it as a very big cage indeed; no doubt I should find it shrunken to quite moderate dimensions if I could see it again. There were three generations of mice in it: a fat old couple, the founders of the race, dozing phlegmatically on their ​laurels in a corner; then a dozen medium-sized, slender mice, trim and youthful-looking, rushing irrelevantly hither and thither, with funny inquisitive little faces; and then a squirming mass of pink things, like caterpillars, that were really infant mice, new born. They didn't remain infants long, though. In a few days they had put on virile togas of white fur, and were scrambling about the cage and nibbling their food as independently as their elders. The rapidity with which my mice multiplied and grew to maturity was a constant source of astonishment to me. It seemed as if every morning I found a new litter of young mice in the cage—though how they had effected an entrance through the wire gauze that lined it was a hopeless puzzle—and these would have become responsible, self-supporting mice in no time.
My mother told me that somebody had sent me this soul-stirring present from the country, and I dare say I was made to sit down and write a letter of thanks. But I'm ashamed to own I can't remember who the giver was. I have a vague notion that it was a lady, an elderly maiden-lady—Mademoiselle . . . . . something that began with P— who lived near Tours, and who used to come to Paris once or twice a year, and always brought me a box of prunes.
Alexandre carried the cage into my play-room, and set it up against the wall. I stationed myself in front of it, and remained there all the rest of the afternoon, gazing in, entranced. To watch their antics, their comings and goings, their labours and amusements, to study their shrewd, alert physiognomies, to wonder about their feelings, thoughts, intentions, to try to divine the meaning of their busy twittering language—it was such keen, deep delight. Of course I was an anthropomorphist, and read a great deal of human nature into them; otherwise it wouldn't have been such fun. I dragged myself reluctantly away when I was ​called to dinner. It was hard that evening to apply myself o my school-books. Before I went to bed I paid them a parting visit; they were huddled together in their nest of cotton-wool, sleeping soundly. And I was up at an unheard-of hour next morning, to have a bout with them before going to school. I found Alexandre, in his nightcap and long white apron, occupied with the soins de propreté, as he said. He cleaned out the cage, put in fresh food and water, and then, pointing to the fat old couple, the grandparents, who stopped lazily abed, sitting up and rubbing their noses together, whilst their juniors scampered merrily about their affairs, "Tiens! On dirait Monsieur et Madame Denis," he cried. I felt the appositeness of his allusion; and the old couple were forthwith officially denominated Monsieur and Madame Denis, for their resemblance to the hero and heroine of the song—though which was Monsieur, and which Madame, I'm not sure that I ever clearly knew.
It was a little after this that I was taken for the first time in my life to the play. I fancy the theatre must have been the Porte St. Martin; at any rate, it was a theatre in the Boulevard, and towards the East, for I remember the long drive we had to reach it. And the piece was The Count of Monte Cristo. In my memory the adventure shines, of course, as a vague blur of light and joy; a child's first visit to the play, and that play The Count of Monte Cristo! It was all the breath-taking pleasantness of romance made visible, audible, actual. A vague blur of light and joy, from which only two details separate themselves. First, the prison scene, and an aged man, with a long white beard, moving a great stone from the wall; then—the figure of Mercedes. I went home terribly in love with Mercedes. Surely there are no such grandes passions in maturer life as those helpless, inarticulate ones we burn in secret with before our teens; surely we never love ​again so violently, desperately, consumedly. Anyhow, I went home terribly in love with Mercedes. And—do all children lack humour?—I picked out the prettiest young ladyish-looking mouse in my collection, cut off her moustaches, adopted her as my especial pet, and called her by the name of my dea certè.
All of my mice by this time had become quite tame. They had plenty to eat and drink, and a comfortable home, and not a care in the world; and familiarity with their master had bred assurance; and so they had become quite tame and shamefully, abominably lazy. Luxury, we are taught, was ever the mother of sloth. I could put my hand in amongst them, and not one would bestir himself the littlest bit to escape me. Mercedes and I were inseparable. I used to take her to school with me every day; she could be more conveniently and privately transported than a lamb. Each lycéen had a desk in front of his form, and she would spend the school-hours in mine, I leaving the lid raised a little, that she might have light and air. One day, the usher having left the room for a moment, I put her down on the floor, thereby creating a great excitement amongst my fellow-pupils, who got up from their places and formed an eager circle round her. Then suddenly the usher came back, and we all hurried to our seats, while he, catching sight of Mercedes, cried out, "A mouse! A white mouse! Who dares to bring a white mouse to the class?" And he made a dash for her. But she was too quick, too 'cute, "for the likes of" Monsieur le Pion. She gave a jump, and in the twinkling of an eye had disappeared up my leg, under my trousers. The usher searched high and low for her, but she prudently remained in her hiding-place; and thus her life was saved, for when he had abandoned his ineffectual chase, he announced, "I should have wrung her neck." I turned pale to imagine the doom she had escaped as by a hair's breadth. "It is useless to ask which ​of you brought her here," he continued. "But mark my words: if ever I find a mouse again in the class I will wring her neck!" And yet, in private life, this bloodthirsty pion was a quite gentle, kindly, underfed, underpaid, shabby, struggling fellow, with literary aspirations, who would not have hurt a fly.
The secrets of a schoolboy's pocket! I once saw a boy surreptitiously angling in Kensington Gardens, with a string and a bent pin. Presently he landed a fish, a fish no bigger than your thumb, perhaps, but still a fish. Alive and wet and flopping as it was, he slipped it into his pocket. I used to carry Mercedes about in mine. One evening, when I put in my hand to take her out, I discovered to my bewilderment that she was not alone. There were four little pink mites of infant mice clinging to her.
I had enjoyed my visit to the theatre so much that at the jour de l'an my father included a toy-theatre among my presents. It had a real curtain of green baize, that would roll up and down, and beautiful coloured scenery that you could shift, and footlights, and a trap-door in the middle of the stage; and indeed it would have been altogether perfect, except for the Company. I have since learned that this is not infrequently the case with theatres. My company consisted of pasteboard men and women who, as artists, struck me as eminently unsatisfactory. They couldn't move their arms or legs, and they had such stolid, uninteresting faces. I don't know how it first occurred to me to turn them all off, and fill their places with my mice. Mercedes, of course, was leading lady; Monsieur and Madame Denis were the heavy parents; and a gentlemanlike young mouse named Leander was jeune premier. Then, in my leisure, they used to act the most tremendous plays. I was stage-manager, prompter, playwright, chorus, and audience, placing the theatre before a looking-glass, so that, though my duties kept me behind, I could peer round the ​edge, and watch the spectacle as from the front. I would invent the lines and deliver them, but, that my illusion might be the more complete, I would change my voice for each personage The lines tried hard to be verses; no doubt they were vers libres. At any rate, they were mouth-filling and sonorous. The first play we attempted, I need hardly say, was Le Comte de Monte Cristo, such version of it as I could reconstruct from memory. That had rather a long run. Then I dramatised Aladdin and the Wonderful Lamp, Paul et Virginie, Quentin Durward, and La Dame de Monsoreau. Mercedes made a charming Diane, Leander a brilliant and dashing Bussy; Monsieur Denis was cast for the rôle of Frére Gorenflot; and a long, thin, cadaverous-looking mouse, Don Quichotte by name, somewhat inadequately represented Chicot. We began, as you see, with melodrama; presently we descended to light comedy, playing Les Mémoires d'un Ane, Jean qui rit, and other works of the immortal Madame de Ségur. And then at last we turned a new leaf, and became naturalistic. We had never heard of the naturalist school, though Monsieur Zola had already published some volumes of the Rougon-Macquart; but ideas are in the air; and we, for ourselves, discovered the possibilities of naturalism simultaneously, as it were, with the acknowledged apostle of that form of art. We would impersonate the characters of our own world—our schoolfellows and masters, our parents, servants, friends—and carry them through experiences and situations derived from our impressions of real life. Perhaps we rather led them a dance; and I dare say those we didn't like came in for a good deal of retributive justice. It was a little universe, of which we were the arch-arbiters, our will the final law.
I don't know whether all children lack humour; but I'm sure no grown-up author-manager can take his business more seriously ​than I took mine. Oh, I enjoyed it hugely; the hours I spent at it were enraptured hours; but it was grim, grim earnest. After a while I began to long for a less subjective public, a more various audience. I would summon the servants, range them in chairs at one end of the room, conceal myself behind the theatre, and spout the play with fervid solemnity. And they would giggle, and make flippant commentaries, and at my most impassioned climaxes burst into guffaws. My mice, as has been said, were overfed and lazy, and I used to have to poke them through their parts with sticks from the wings; but this was a detail which a superior imagination should have accepted as one of the conventions of the art. It made the servants laugh, however; and when I would step to the front in person, and, with tears in my eyes, beseech them to be sober, they would but laugh the louder. "Bless you, sir, they're only mice—ce ne sont que des souris," the cook called out on one such occasion. She meant it as an apology and a consolation, but it was the unkindest cut of all. Only mice, indeed! To me they had been a young gentleman and lady lost in the Desert of Sahara, near to die for the want of water, and about to be attacked, captured, and sold into slavery, by a band of Bedouin Arabs. Ah, well, the artist must steel himself to meet with indifference or derision from the public, to be ignored, misunderstood, or jeered at; and to rely for his real, his legitimate, reward on the pleasure he finds in his work.
And now there befell a great change in my life. Our home in Paris was broken up, and we moved to St. Petersburg. It was impossible to take my mice with us; their cage would have hopelessly complicated our impedimenta. So we gave them to the children of our concierge, Mercedes, however, I was resolved I would not part with, and I carried her all the way to the Russian capital by hand. In my heart I was looking to her to found ​another family—she had so frequently become a mother in the past. But month succeeded month, and she forever disappointed me, and at last I abandoned hope. In solitude and exile Mercedes degenerated sadly; got monstrously fat; too indolent to gnaw, let her teeth grow to a preposterous length; and in the end died of a surfeit of smetana.
When I returned to Paris, at the age of twenty, to faire mon droit in the Latin Quarter, I paid a visit to our old house, and discovered the same old concierge in the loge. I asked her about the mice, and she told me her children had found the care of them such a bother that at first they had neglected them, and at last allowed them to escape. "They took to the walls, and for a long time afterwards, Monsieur, the mice of this neighbourhood were pied. To this day they are of a paler hue than elsewhere."
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
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