# A Distinguished Provincial at Paris/Part 1/Section 5

In the Rue du Coq he stopped in front of a modest-looking shop, which he had passed before. He saw the inscription DOGUEREAU, BOOKSELLER, painted above it in yellow letters on a green ground, and remembered that he had seen the name at the foot of the title-page of several novels at Blosse's reading-room. In he went, not without the inward trepidation which a man of any imagination feels at the prospect of a battle. Inside the shop he discovered an odd-looking old man, one of the queer characters of the trade in the days of the Empire.
Doguereau wore a black coat with vast square skirts, when fashion required swallow-tail coats. His waistcoat was of some cheap material, a checked pattern of many colors; a steel chain, with a copper key attached to it, hung from his fob and dangled down over a roomy pair of black nether garments. The booksellers' watch must have been the size of an onion. Iron-gray ribbed stockings, and shoes with silver buckles completed is costume. The old man's head was bare, and ornamented with a fringe of grizzled locks, quite poetically scanty. "Old Doguereau," as Porchon styled him, was dressed half like a professor of belles-lettres as to his trousers and shoes, half like a tradesman with respect to the variegated waistcoat, the stockings, and the watch; and the same odd mixture appeared in the man himself. He united the magisterial, dogmatic air, and the hollow countenance of the professor of rhetoric with the sharp eyes, suspicious mouth, and vague uneasiness of the bookseller.
"M. Doguereau?" asked Lucien.
"That is my name, sir."
"You are very young," remarked the bookseller.
"My age, sir, has nothing to do with the matter."
"True," and the old bookseller took up the manuscript. "Ah, begad! The Archer of Charles IX., a good title. Let us see now, young man, just tell me your subject in a word or two."
"It is a historical work, sir, in the style of Scott. The character of the struggle between the Protestants and Catholics is depicted as a struggle between two opposed systems of government, in which the throne is seriously endangered. I have taken the Catholic side."
"Eh! but you have ideas, young man. Very well, I will read your book, I promise you. I would rather have had something more in Mrs. Radcliffe's style; but if you are industrious, if you have some notion of style, conceptions, ideas, and the art of telling a story, I don't ask better than to be of use to you. What do we want but good manuscripts?"
"When can I come back?"
"I am going into the country this evening; I shall be back again the day after to-morrow. I shall have read your manuscript by that time; and if it suits me, we might come to terms that very day."
Seeing his acquaintance so easy, Lucien was inspired with the unlucky idea of bringing the Marguerites upon the scene.
"I have a volume of poetry as well, sir——" he began.
"Oh! you are a poet! Then I don't want your romance," and the old man handed back the manuscript. "The rhyming fellows come to grief when they try their hands at prose. In prose you can't use words that mean nothing; you absolutely must say something."
"But Sir Walter Scott, sir, wrote poetry as well as——"
"That is true," said Doguereau, relenting. He guessed that the young fellow before him was poor, and kept the manuscript. "Where do you live? I will come and see you."
Lucien, all unsuspicious of the idea at the back of the old man's head, gave his address; he did not see that he had to do with a bookseller of the old school, a survival of the eighteenth century, when booksellers tried to keep Voltaires and Montesquieus starving in garrets under lock and key.
"The Latin Quarter. I am coming back that very way," said Doguereau, when he had read the address.
"Good man!" thought Lucien, as he took his leave. "So I have met with a friend to young authors, a man of taste who knows something. That is the kind of man for me! It is just as I said to David—talent soon makes its way in Paris."
Lucien went home again happy and light of heart; he dreamed of glory. He gave not another thought to the ominous words which fell on his ear as he stood by the counter in Vidal and Porchon's shop; he beheld himself the richer by twelve hundred francs at least. Twelve hundred francs! It meant a year in Paris, a whole year of preparation for the work that he meant to do. What plans he built on that hope! What sweet dreams, what visions of a life established on a basis of work! Mentally he found new quarters, and settled himself in them; it would not have taken much to set him making a purchase or two. He could only stave off impatience by constant reading at Blosse's.
Two days later old Doguereau come to the lodgings of his budding Sir Walter Scott. He was struck with the pains which Lucien had taken with the style of this his first work, delighted with the strong contrasts of character sanctioned by the epoch, and surprised at the spirited imagination which a young writer always displays in the scheming of a first plot—he had not been spoiled, thought old Daddy Doguereau. He had made up his mind to give a thousand francs for The Archer of Charles IX.; he would buy the copyright out and out, and bind Lucien by an engagement for several books, but when he came to look at the house, the old fox thought better of it.
"A young fellow that lives here has none but simple tastes," said he to himself; "he is fond of study, fond of work; I need not give more than eight hundred francs."
"Fourth floor," answered the landlady, when he asked for M. Lucien de Rubempre. The old bookseller, peering up, saw nothing but the sky above the fourth floor.
"This young fellow," thought he, "is a good-looking lad; one might go so far as to say that he is very handsome. If he were to make too much money, he would only fall into dissipated ways, and then he would not work. In the interests of us both, I shall only offer six hundred francs, in coin though, not paper."
He climbed the stairs and gave three raps at the door. Lucien came to open it. The room was forlorn in its bareness. A bowl of milk and a penny roll stood on the table. The destitution of genius made an impression on Daddy Doguereau.
"Let him preserve these simple habits of life, this frugality, these modest requirements," thought he.—Aloud he said: "It is a pleasure to me to see you. Thus, sir, lived Jean-Jacques, whom you resemble in more ways than one. Amid such surroundings the fire of genius shines brightly; good work is done in such rooms as these. This is how men of letters should work, instead of living riotously in cafes and restaurants, wasting their time and talent and our money."
He sat down.
"Your romance is not bad, young man. I was a professor of rhetoric once; I know French history, there are some capital things in it. You have a future before you, in fact."
"Oh! sir."
"No; I tell you so. We may do business together. I will buy your romance."
Lucien's heart swelled and throbbed with gladness. He was about to enter the world of literature; he should see himself in print at last.
"I will give you four hundred francs," continued Doguereau in honeyed accents, and he looked at Lucien with an air which seemed to betoken an effort of generosity.
"The volume?" queried Lucien.
"For the 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 the first representation; his wife pawned her clothes, they all lived on dry bread. On the day of the final rehearsal, the household owed fifty francs in the Quarter to the baker, the milkwoman, and the porter. The author had only the strictly necessary clothes—a coat, a shirt, trousers, a waistcoat, and a pair of boots. He felt sure of his success; he kissed his wife. The end of their troubles was at hand. 'At last! There is nothing against us now,' cried he.—'Yes, there is fire,' said his wife; 'look, the Odeon is on fire!'—The Odeon was on fire, monsieur. So do not you complain. You have clothes, you have neither wife nor child, you have a hundred and twenty francs for emergencies in your pocket, and you owe no one a penny.—Well, the piece went through a hundred and fifty representations at the Theatre Louvois. The King allowed the author a pension. 'Genius is patience,' as Buffon said. And patience after all is a man's nearest approach to Nature's processes of creation. What is Art, monsieur, but Nature concentrated?"
By this time the young men were striding along the walks of the Luxembourg, and in no long time Lucien learned the name of the stranger who was doing his best to administer comfort. That name has since grown famous. Daniel d'Arthez is one of the most illustrious of living men of letters; one of the rare few who show us an example of "a noble gift with a noble nature combined," to quote a poet's fine thought.
"There is no cheap route to greatness," Daniel went on in his kind voice. "The works of Genius are watered with tears. The gift that is in you, like an existence in the physical world, passes through childhood and its maladies. Nature sweeps away sickly or deformed creatures, and Society rejects an imperfectly developed talent. Any man who means to rise above the rest must make ready for a struggle and be undaunted by difficulties. A great writer is a martyr who does not die; that is all.—There is the stamp of genius on your forehead," d'Arthez continued, enveloping Lucien by a glance; "but unless you have within you the will of genius, unless you are gifted with angelic patience, unless, no matter how far the freaks of Fate have set you from your destined goal, you can find the way to your Infinite as the turtles in the Indies find their way to the ocean, you had better give up at once."
"Then do you yourself expect these ordeals?" asked Lucien.
"Trials of every kind, slander and treachery, and effrontery and cunning, the rivals who act unfairly, and the keen competition of the literary market," his companion said resignedly. "What is a first loss, if only your work was good?"
"Will you look at mine and give me your opinion?" asked Lucien.
"So be it," said d'Arthez. "I am living in the Rue des Quatre-Vents. Desplein, one of the most illustrious men of genius in our time, the greatest surgeon that the world has known, once endured the martyrdom of early struggles with the first difficulties of a glorious career in the same house. I think of that every night, and the thought gives me the stock of courage that I need every morning. I am living in the very room where, like Rousseau, he had no Theresa. Come in an hour's time. I shall be in."
The poets grasped each other's hands with a rush of melancholy and tender feeling inexpressible in words, and went their separate ways; Lucien to fetch his manuscript, Daniel d'Arthez to pawn his watch and buy a couple of faggots. The weather was cold, and his new-found friend should find a fire in his room.
Lucien was punctual. He noticed at once that the house was of an even poorer class than the Hotel de Cluny. A staircase gradually became visible at the further end of a dark passage; he mounted to the fifth floor, and found d'Arthez's room.
A bookcase of dark-stained wood, with rows of labeled cardboard cases on the shelves, stood between the two crazy windows. A gaunt, painted wooden bedstead, of the kind seen in school dormitories, a night-table, picked up cheaply somewhere, and a couple of horsehair armchairs, filled the further end of the room. The wall-paper, a Highland plaid pattern, was glazed over with the grime of years. Between the window and the grate stood a long table littered with papers, and opposite the fireplace there was a cheap mahogany chest of drawers. A second-hand carpet covered the floor—a necessary luxury, for it saved firing. A common office armchair, cushioned with leather, crimson once, but now hoary with wear, was drawn up to the table. Add half-a-dozen rickety chairs, and you have a complete list of the furniture. Lucien noticed an old-fashioned candle-sconce for a card-table, with an adjustable screen attached, and wondered to see four wax candles in the sockets. D'Arthez explained that he could not endure the smell of tallow, a little trait denoting great delicacy of sense perception, and the exquisite sensibility which accompanies it.
The reading lasted for seven hours. Daniel listened conscientiously, forbearing to interrupt by word or comment—one of the rarest proofs of good taste in a listener.
"Well?" queried Lucien, laying the manuscript on the chimney-piece.
"You have made a good start on the right way," d'Arthez answered judicially, "but you must go over your work again. You must strike out a different style for yourself if you do not mean to ape Sir Walter Scott, for you have taken him for your model. You begin, for instance, as he begins, with long conversations to introduce your characters, and only when they have said their say does description and action follow.
"This opposition, necessary in all work of a dramatic kind, comes last. Just put the terms of the problem the other way round. Give descriptions, to which our language lends itself so admirably, instead of diffuse dialogue, magnificent in Scott's work, but colorless in your own. Lead naturally up to your dialogue. Plunge straight into the action. Treat your subject from different points of view, sometimes in a side-light, sometimes retrospectively; vary your methods, in fact, to diversify your work. You may be original while adapting the Scots novelist's form of dramatic dialogue to French history. There is no passion in Scott's novels; he ignores passion, or perhaps it was interdicted by the hypocritical manners of his country. Woman for him is duty incarnate. His heroines, with possibly one or two exceptions, are all alike; he has drawn them all from the same model, as painters say. They are, every one of them, descended from Clarissa Harlowe. And returning continually, as he did, to the same idea of woman, how could he do otherwise than produce a single type, varied only by degrees of vividness in the coloring? Woman brings confusion into Society through passion. Passion gives infinite possibilities. Therefore depict passion; you have one great resource open to you, foregone by the great genius for the sake of providing family reading for prudish England. In France you have the charming sinner, the brightly-colored life of Catholicism, contrasted with sombre Calvinistic figures on a background of the times when passions ran higher than at any other period of our history.
"Every epoch which has left authentic records since the time of Charles the Great calls for at least one romance. Some require four or five; the periods of Louis XIV., of Henry IV., of Francis I., for instance. You would give us in this way a picturesque history of France, with the costumes and furniture, the houses and their interiors, and domestic life, giving us the spirit of the time instead of a laborious narration of ascertained facts. Then there is further scope for originality. You can remove some of the popular delusions which disfigure the memories of most of our kings. Be bold enough in this first work of yours to rehabilitate the great magnificent figure of Catherine, whom you have sacrificed to the prejudices which still cloud her name. And finally, paint Charles IX. for us as he really was, and not as Protestant writers have made him. Ten years of persistent work, and fame and fortune will be yours."