# A Daughter of Eve (Balzac)/Chapter I

In one of the finest houses of the rue Neuve-des-Mathurins, at half-past eleven at night, two young women were sitting before the fireplace of a boudoir hung with blue velvet of that tender shade, with shimmering reflections, which French industry has lately learned to fabricate. Over the doors and windows were draped soft folds of blue cashmere, the tint of the hangings, the work of one of those upholsterers who have just missed being artists. A silver lamp studded with turquoise, and suspended by chains of beautiful workmanship, hung from the centre of the ceiling. The same system of decoration was followed in the smallest details, and even to the ceiling of fluted blue silk, with long bands of white cashmere falling at equal distances on the hangings, where they were caught back by ropes of pearl. A warm Belgian carpet, thick as turf, of a gray ground with blue posies, covered the floor. The furniture, of carved ebony, after a fine model of the old school, gave substance and richness to the rather too decorative quality, as a painter might call it, of the rest of the room. On either side of a large window, two etageres displayed a hundred precious trifles, flowers of mechanical art brought into bloom by the fire of thought. On a chimney-piece of slate-blue marble were figures in old Dresden, shepherds in bridal garb, with delicate bouquets in their hands, German fantasticalities surrounding a platinum clock, inlaid with arabesques. Above it sparkled the brilliant facets of a Venice mirror framed in ebony, with figures carved in relief, evidently obtained from some former royal residence. Two jardinieres were filled with the exotic product of a hot-house, pale, but divine flowers, the treasures of botany.
In this cold, orderly boudoir, where all things were in place as if for sale, no sign existed of the gay and capricious disorder of a happy home. At the present moment, the two young women were weeping. Pain seemed to predominate. The name of the owner, Ferdinand du Tillet, one of the richest bankers in Paris, is enough to explain the luxury of the whole house, of which this boudoir is but a sample.
Though without either rank or station, having pushed himself forward, heaven knows how, du Tillet had married, in 1831, the daughter of the Comte de Granville, one of the greatest names in the French magistracy,—a man who became peer of France after the revolution of July. This marriage of ambition on du Tillet's part was brought about by his agreeing to sign an acknowledgment in the marriage contract of a dowry not received, equal to that of her elder sister, who was married to Comte Felix de Vandenesse. On the other hand, the Granvilles obtained the alliance with de Vandenesse by the largeness of the "dot." Thus the bank repaired the breach made in the pocket of the magistracy by rank. Could the Comte de Vandenesse have seen himself, three years later, the brother-in-law of a Sieur Ferdinand DU Tillet, so-called, he might not have married his wife; but what man of rank in 1828 foresaw the strange upheavals which the year 1830 was destined to produce in the political condition, the fortunes, and the customs of France? Had any one predicted to Comte Felix de Vandenesse that his head would lose the coronet of a peer, and that of his father-in-law acquire one, he would have thought his informant a lunatic.
Bending forward on one of those low chairs then called "chaffeuses," in the attitude of a listener, Madame du Tillet was pressing to her bosom with maternal tenderness, and occasionally kissing, the hand of her sister, Madame Felix de Vandenesse. Society added the baptismal name to the surname, in order to distinguish the countess from her sister-in-law, the Marquise Charles de Vandenesse, wife of the former ambassador, who had married the widow of the Comte de Kergarouet, Mademoiselle Emilie de Fontaine.
Half lying on a sofa, her handkerchief in the other hand, her breathing choked by repressed sobs, and with tearful eyes, the countess had been making confidences such as are made only from sister to sister when two sisters love each other; and these two sisters did love each other tenderly. We live in days when sisters married into such antagonist spheres can very well not love each other, and therefore the historian is bound to relate the reasons of this tender affection, preserved without spot or jar in spite of their husbands' contempt for each other and their own social disunion. A rapid glance at their childhood will explain the situation.
Brought up in a gloomy house in the Marais, by a woman of narrow mind, a "devote" who, being sustained by a sense of duty (sacred phrase!), had fulfilled her tasks as a mother religiously, Marie-Angelique and Marie Eugenie de Granville reached the period of their marriage—the first at eighteen, the second at twenty years of age—without ever leaving the domestic zone where the rigid maternal eye controlled them. Up to that time they had never been to a play; the churches of Paris were their theatre. Their education in their mother's house had been as rigorous as it would have been in a convent. From infancy they had slept in a room adjoining that of the Comtesse de Granville, the door of which stood always open. The time not occupied by the care of their persons, their religious duties and the studies considered necessary for well-bred young ladies, was spent in needlework done for the poor, or in walks like those an Englishwoman allows herself on Sunday, saying, apparently, "Not so fast, or we shall seem to be amusing ourselves."
Their education did not go beyond the limits imposed by confessors, who were chosen by their mother from the strictest and least tolerant of the Jansenist priests. Never were girls delivered over to their husbands more absolutely pure and virgin than they; their mother seemed to consider that point, essential as indeed it is, the accomplishment of all her duties toward earth and heaven. These two poor creatures had never, before their marriage, read a tale, or heard of a romance; their very drawings were of figures whose anatomy would have been masterpieces of the impossible to Cuvier, designed to feminize the Farnese Hercules himself. An old maid taught them drawing. A worthy priest instructed them in grammar, the French language, history, geography, and the very little arithmetic it was thought necessary in their rank for women to know. Their reading, selected from authorized books, such as the "Lettres Edifiantes," and Noel's "Lecons de Litterature," was done aloud in the evening; but always in presence of their mother's confessor, for even in those books there did sometimes occur passages which, without wise comments, might have roused their imagination. Fenelon's "Telemaque" was thought dangerous.
The Comtesse de Granville loved her daughters sufficiently to wish to make them angels after the pattern of Marie Alacoque, but the poor girls themselves would have preferred a less virtuous and more amiable mother. This education bore its natural fruits. Religion, imposed as a yoke and presented under its sternest aspect, wearied with formal practice these innocent young hearts, treated as sinful. It repressed their feelings, and was never precious to them, although it struck its roots deep down into their natures. Under such training the two Maries would either have become mere imbeciles, or they must necessarily have longed for independence. Thus it came to pass that they looked to marriage as soon as they saw anything of life and were able to compare a few ideas. Of their own tender graces and their personal value they were absolutely ignorant. They were ignorant, too, of their own innocence; how, then, could they know life? Without weapons to meet misfortune, without experience to appreciate happiness, they found no comfort in the maternal jail, all their joys were in each other. Their tender confidences at night in whispers, or a few short sentences exchanged if their mother left them for a moment, contained more ideas than the words themselves expressed. Often a glance, concealed from other eyes, by which they conveyed to each other their emotions, was like a poem of bitter melancholy. The sight of a cloudless sky, the fragrance of flowers, a turn in the garden, arm in arm,—these were their joys. The finishing of a piece of embroidery was to them a source of enjoyment.
Their mother's social circle, far from opening resources to their hearts or stimulating their minds, only darkened their ideas and depressed them; it was made up of rigid old women, withered and graceless, whose conversation turned on the differences which distinguished various preachers and confessors, on their own petty indispositions, on religious events insignificant even to the "Quotidienne" or "l'Ami de la Religion." As for the men who appeared in the Comtesse de Granville's salon, they extinguished any possible torch of love, so cold and sadly resigned were their faces. They were all of an age when mankind is sulky and fretful, and natural sensibilities are chiefly exercised at table and on the things relating to personal comfort. Religious egotism had long dried up those hearts devoted to narrow duties and entrenched behind pious practices. Silent games of cards occupied the whole evening, and the two young girls under the ban of that Sanhedrim enforced by maternal severity, came to hate the dispiriting personages about them with their hollow eyes and scowling faces.
On the gloom of this life one sole figure of a man, that of a music-master, stood vigorously forth. The confessors had decided that music was a Christian art, born of the Catholic Church and developed within her. The two Maries were therefore permitted to study music. A spinster in spectacles, who taught singing and the piano in a neighboring convent, wearied them with exercises; but when the eldest girl was ten years old, the Comte de Granville insisted on the importance of giving her a master. Madame de Granville gave all the value of conjugal obedience to this needed concession,—it is part of a devote's character to make a merit of doing her duty.
The master was a Catholic German; one of those men born old, who seem all their lives fifty years of age, even at eighty. And yet, his brown, sunken, wrinkled face still kept something infantile and artless in its dark creases. The blue of innocence was in his eyes, and a gay smile of springtide abode upon his lips. His iron-gray hair, falling naturally like that of the Christ in art, added to his ecstatic air a certain solemnity which was absolutely deceptive as to his real nature; for he was capable of committing any silliness with the most exemplary gravity. His clothes were a necessary envelope, to which he paid not the slightest attention, for his eyes looked too high among the clouds to concern themselves with such materialities. This great unknown artist belonged to the kindly class of the self-forgetting, who give their time and their soul to others, just as they leave their gloves on every table and their umbrella at all doors. His hands were of the kind that are dirty as soon as washed. In short, his old body, badly poised on its knotted old legs, proving to what degree a man can make it the mere accessory of his soul, belonged to those strange creations which have been properly depicted only by a German,—by Hoffman, the poet of that which seems not to exist but yet has life.
Such was Schmucke, formerly chapel-master to the Margrave of Anspach; a musical genius, who was now examined by a council of devotes, and asked if he kept the fasts. The master was much inclined to answer, "Look at me!" but how could he venture to joke with pious dowagers and Jansenist confessors? This apocryphal old fellow held such a place in the lives of the two Maries, they felt such friendship for the grand and simple-minded artist, who was happy and contented in the mere comprehension of his art, that after their marriage, they each gave him an annuity of three hundred francs a year,—a sum which sufficed to pay for his lodging, beer, pipes, and clothes. Six hundred francs a year and his lessons put him in Eden. Schmucke had never found courage to confide his poverty and his aspirations to any but these two adorable young girls, whose hearts were blooming beneath the snow of maternal rigor and the ice of devotion. This fact explains Schmucke and the girlhood of the two Maries.
No one knew then, or later, what abbe or pious spinster had discovered the old German then vaguely wandering about Paris, but as soon as mothers of families learned that the Comtesse de Granville had found a music-master for her daughters, they all inquired for his name and address. Before long, Schmucke had thirty pupils in the Marais. This tardy success was manifested by steel buckles to his shoes, which were lined with horse-hair soles, and by a more frequent change of linen. His artless gaiety, long suppressed by noble and decent poverty, reappeared. He gave vent to witty little remarks and flowery speeches in his German-Gallic patois, very observing and very quaint and said with an air which disarmed ridicule. But he was so pleased to bring a laugh to the lips of his two pupils, whose dismal life his sympathy had penetrated, that he would gladly have made himself wilfully ridiculous had he failed in being so by nature.
According to one of the nobler ideas of religious education, the young girls always accompanied their master respectfully to the door. There they would make him a few kind speeches, glad to do anything to give him pleasure. Poor things! all they could do was to show him their womanhood. Until their marriage, music was to them another life within their lives, just as, they say, a Russian peasant takes his dreams for reality and his actual life for a troubled sleep. With the instinct of protecting their souls against the pettiness that threatened to overwhelm them, against the all-pervading asceticism of their home, they flung themselves into the difficulties of the musical art, and spent themselves upon it. Melody, harmony, and composition, three daughters of heaven, whose choir was led by an old Catholic faun drunk with music, were to these poor girls the compensation of their trials; they made them, as it were, a rampart against their daily lives. Mozart, Beethoven, Gluck, Paesiello, Cimarosa, Haydn, and certain secondary geniuses, developed in their souls a passionate emotion which never passed beyond the chaste enclosure of their breasts, though it permeated that other creation through which, in spirit, they winged their flight. When they had executed some great work in a manner that their master declared was almost faultless, they embraced each other in ecstasy and the old man called them his Saint Cecilias.
The two Maries were not taken to a ball until they were sixteen years of age, and then only four times a year in special houses. They were not allowed to leave their mother's side without instructions as to their behavior with their partners; and so severe were those instructions that they dared say only yes or no during a dance. The eye of the countess never left them, and she seemed to know from the mere movement of their lips the words they uttered. Even the ball-dresses of these poor little things were piously irreproachable; their muslin gowns came up to their chins with an endless number of thick ruches, and the sleeves came down to their wrists. Swathing in this way their natural charms, this costume gave them a vague resemblance to Egyptian hermae; though from these blocks of muslin rose enchanting little heads of tender melancholy. They felt themselves the objects of pity, and inwardly resented it. What woman, however innocent, does not desire to excite envy?
No dangerous idea, unhealthy or even equivocal, soiled the pure pulp of their brain; their hearts were innocent, their hands were horribly red, and they glowed with health. Eve did not issue more innocent from the hands of God than these two girls from their mother's home when they went to the mayor's office and the church to be married, after receiving the simple but terrible injunction to obey in all things two men with whom they were henceforth to live and sleep by day and by night. To their minds, nothing could be worse in the strange houses where they were to go than the maternal convent.
Why did the father of these poor girls, the Comte de Granville, a wise and upright magistrate (though sometimes led away by politics), refrain from protecting the helpless little creatures from such crushing despotism? Alas! by mutual understanding, about ten years after marriage, he and his wife were separated while living under one roof. The father had taken upon himself the education of his sons, leaving that of the daughters to his wife. He saw less danger for women than for men in the application of his wife's oppressive system. The two Maries, destined as women to endure tyranny, either of love or marriage, would be, he thought, less injured than boys, whose minds ought to have freer play, and whose manly qualities would deteriorate under the powerful compression of religious ideas pushed to their utmost consequences. Of four victims the count saved two.
The countess regarded her sons as too ill-trained to admit of the slightest intimacy with their sisters. All communication between the poor children was therefore strictly watched. When the boys came home from school, the count was careful not to keep them in the house. The boys always breakfasted with their mother and sisters, but after that the count took them off to museums, theatres, restaurants, or, during the summer season, into the country. Except on the solemn days of some family festival, such as the countess's birthday or New Year's day, or the day of the distribution of prizes, when the boys remained in their father's house and slept there, the sisters saw so little of their brothers that there was absolutely no tie between them. On those days the countess never left them for an instant alone together. Calls of "Where is Angelique?"—"What is Eugenie about?"—"Where are my daughters?" resounded all day. As for the mother's sentiments towards her sons, the countess raised to heaven her cold and macerated eyes, as if to ask pardon of God for not having snatched them from iniquity.
Her exclamations, and also her reticences on the subject of her sons, were equal to the most lamenting verses in Jeremiah, and completely deceived the sisters, who supposed their sinful brothers to be doomed to perdition.
When the boys were eighteen years of age, the count gave them rooms in his own part of the house, and sent them to study law under the supervision of a solicitor, his former secretary. The two Maries knew nothing therefore of fraternity, except by theory. At the time of the marriage of the sisters, both brothers were practising in provincial courts, and both were detained by important cases. Domestic life in many families which might be expected to be intimate, united, and homogeneous, is really spent in this way. Brothers are sent to a distance, busy with their own careers, their own advancement, occupied, perhaps, about the good of the country; the sisters are engrossed in a round of other interests. All the members of such a family live disunited, forgetting one another, bound together only by some feeble tie of memory, until, perhaps, a sentiment of pride or self-interest either joins them or separates them in heart as they already are in fact. Modern laws, by multiplying the family by the family, has created a great evil,—namely, individualism.
In the depths of this solitude where their girlhood was spent, Angelique and Eugenie seldom saw their father, and when he did enter the grand apartment of his wife on the first floor, he brought with him a saddened face. In his own home he always wore the grave and solemn look of a magistrate on the bench. When the little girls had passed the age of dolls and toys, when they began, about twelve, to use their minds (an epoch at which they ceased to laugh at Schmucke) they divined the secret of the cares that lined their father's forehead, and they recognized beneath that mask of sternness the relics of a kind heart and a fine character. They vaguely perceived how he had yielded to the forces of religion in his household, disappointed as he was in his hopes of a husband, and wounded in the tenderest fibres of paternity,—the love of a father for his daughters. Such griefs were singularly moving to the hearts of the two young girls, who were themselves deprived of all tenderness. Sometimes, when pacing the garden between his daughters, with an arm round each little waist, and stepping with their own short steps, the father would stop short behind a clump of trees, out of sight of the house, and kiss them on their foreheads; his eyes, his lips, his whole countenance expressing the deepest commiseration.
"You are not very happy, my dear little girls," he said one day; "but I shall marry you early. It will comfort me to have you leave home."
"Papa," said Eugenie, "we have decided to take the first man who offers."
"Ah!" he cried, "that is the bitter fruit of such a system. They want to make saints, and they make—" he stopped without ending his sentence.
Often the two girls felt an infinite tenderness in their father's "Adieu," or in his eyes, when, by chance, he dined at home. They pitied that father so seldom seen, and love follows often upon pity.
This stern and rigid education was the cause of the marriages of the two sisters welded together by misfortune, as Rita-Christina by the hand of Nature. Many men, driven to marriage, prefer a girl taken from a convent, and saturated with piety, to a girl brought up to worldly ideas. There seems to be no middle course. A man must marry either an educated girl, who reads the newspapers and comments upon them, who waltzes with a dozen young men, goes to the theatre, devours novels, cares nothing for religion, and makes her own ethics, or an ignorant and innocent young girl, like either of the two Maries. Perhaps there may be as much danger with the one kind as with the other. Yet the vast majority of men who are not so old as Arnolphe, prefer a religious Agnes to a budding Celimene.
The two Maries, who were small and slender, had the same figure, the same foot, the same hand. Eugenie, the younger, was fair-haired, like her mother, Angelique was dark-haired, like the father. But they both had the same complexion,—a skin of the pearly whiteness which shows the richness and purity of the blood, where the color rises through a tissue like that of the jasmine, soft, smooth, and tender to the touch. Eugenie's blue eyes and the brown eyes of Angelique had an expression of artless indifference, of ingenuous surprise, which was rendered by the vague manner with which the pupils floated on the fluid whiteness of the eyeball. They were both well-made; the rather thin shoulders would develop later. Their throats, long veiled, delighted the eye when their husbands requested them to wear low dresses to a ball, on which occasion they both felt a pleasing shame, which made them first blush behind closed doors, and afterwards, through a whole evening in company.
On the occasion when this scene opens, and the eldest, Angelique, was weeping, while the younger, Eugenie, was consoling her, their hands and arms were white as milk. Each had nursed a child,—one a boy, the other a daughter. Eugenie, as a girl, was thought very giddy by her mother, who had therefore treated her with especial watchfulness and severity. In the eyes of that much-feared mother, Angelique, noble and proud, appeared to have a soul so lofty that it would guard itself, whereas, the more lively Eugenie needed restraint. There are many charming beings misused by fate,—beings who ought by rights to prosper in this life, but who live and die unhappy, tortured by some evil genius, the victims of unfortunate circumstances. The innocent and naturally light-hearted Eugenie had fallen into the hands and beneath the malicious despotism of a self-made man on leaving the maternal prison. Angelique, whose nature inclined her to deeper sentiments, was thrown into the upper spheres of Parisian social life, with the bridle lying loose upon her neck.