George Sand - George Sand - The Collected Works (The Greatest Novelists of All Time – Book 11)

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Table of Contents

On a certain cool, rainy evening in autumn, in a small château in Brie, three pensive individuals were gravely occupied in watching the wood burn on the hearth and the hands of the clock move slowly around the dial. Two of these silent guests seemed to give way unreservedly to the vague ennui that weighed upon them; but the third gave signs of open rebellion: he fidgeted about on his seat, stifled half audibly divers melancholy yawns, and tapped the snapping sticks with the tongs, with a manifest intention of resisting the common enemy.

This person, who was much older than the other two, was the master of the house, Colonel Delmare, an old warrior on half-pay, once a very handsome man, now over-corpulent, with a bald head, gray moustache and awe-inspiring eye; an excellent master before whom everybody trembled, wife, servants, horses and dogs.

At last he left his chair, evidently vexed because he did not know how to break the silence, and began to walk heavily up and down the whole length of the salon, without laying aside for an instant the rigidity which characterizes all the movements of an ex-soldier, resting his weight on his loins and turning the whole body at once, with the unfailing self-satisfaction peculiar to the man of show and the model officer.

But the glorious days had passed, when Lieutenant Delmare inhaled triumph with the air of the camps; the retired officer, forgotten now by an ungrateful country, was condemned to undergo all the consequences of marriage. He was the husband of a young and pretty wife, the proprietor of a commodious manor with its appurtenances, and, furthermore, a manufacturer who had been fortunate in his undertakings; in consequence whereof the colonel was ill-humored, especially on the evening in question; for it was very damp, and the colonel had rheumatism.

He paced gravely up and down his old salon, furnished in the style of Louis XV., halting sometimes before a door surmounted by nude Cupids in fresco, who led in chains of flowers well-bred fawns and good-natured wild boars; sometimes before a panel overladen with paltry, over-elaborated sculpture, whose tortuous vagaries and endless intertwining the eye would have wearied itself to no purpose in attempting to follow. But these vague and fleeting distractions did not prevent the colonel, whenever he turned about, from casting a keen and searching glance at the two companions of his silent vigil, resting upon them alternately that watchful eye which for three years past had been standing guard over a fragile and priceless treasure, his wife.

For his wife was nineteen years of age; and if you had seen her buried under the mantel of that huge fire-place of white marble inlaid with burnished copper; if you had seen her, slender, pale, depressed, with her elbow resting on her knee, a mere child in that ancient household, beside that old husband, like a flower of yesterday that had bloomed in a gothic vase, you would have pitied Colonel Delmare's wife, and the colonel even more perhaps than his wife.

The third occupant of this lonely house was also sitting under the same mantel, at the other end of the burning log. He was a man in all the strength and all the bloom of youth, whose glowing cheeks, abundant golden hair and full whiskers presented a striking contrast to the grizzly hair, weather-beaten complexion and harsh countenance of the master of the house; but the least artistic of men would none the less have preferred Monsieur Delmare's harsh and stern expression to the younger man's regular but insipid features. The bloated face carved in relief on the sheet of iron that formed the back of the fire-place, with its eye fixed constantly on the burning logs, was less monotonous perhaps than the pink and white fair-haired character in this narrative, absorbed in like contemplation. However, his strong and supple figure, the clean-cut outline of his brown eyebrows, the polished whiteness of his forehead, the tranquil expression of his limpid eyes, the beauty of his hands, and even the rigorously correct elegance of his hunting costume, would have caused him to be considered a very comely cavalier in the eyes of any woman who had conceived a passion for the so-called philosophic tastes of another century. But perhaps Monsieur Delmare's young and timid wife had never as yet examined a man with her eyes; perhaps there was an entire absence of sympathy between that pale and unhappy woman and that sound sleeper and hearty eater. Certain it is that the conjugal Argus wearied his hawklike eye without detecting a glance, a breath, a palpitation, between these two very dissimilar beings. Thereupon, being assured that he had not the slightest pretext for jealousy to occupy his mind, he relapsed into a state of depression more profound than before, and abruptly plunged his hands into his pockets.

The only cheerful and attractive face in the group was that of a beautiful hunting dog, of the large breed of pointers, whose head was resting on the knees of the younger man. She was remarkable by reason of her long body, her powerful hairy legs, her muzzle, slender as a fox's, and her intelligent face, covered with disheveled hair, through which two great tawny eyes shone like topazes. Those dog's eyes, so fierce and threatening during the chase, had at that moment an indefinable expression of affectionate melancholy; and when her master, the object of that instinctive love, sometimes so superior to the deliberate affection of man, ran his fingers through the beautiful creature's silky silver locks, her eyes sparkled with pleasure, while her long tail swept the hearth in regular cadence, and scattered the ashes over the inlaid floor.

It was a fitting subject for Rembrandt's brush, that interior, dimly lighted by the fire on the hearth. At intervals fugitive white gleams lighted up the room and the faces, then, changing to the red tint of the embers, gradually died away; the gloom of the salon varying as the fitful gleams grew more or less dull. Each time that Monsieur Delmare passed in front of the fire, he suddenly appeared, like a ghost, then vanished in the mysterious depths of the salon. Strips of gilding stood forth in the light now and then on the oval frames, adorned with wreaths and medallions and fillets of wood, on furniture, inlaid with ebony and copper, and even on the jagged cornices of the wainscoting. But when a brand went out, resigning its brilliancy to some other blazing point, the objects which had been in the light a moment before withdrew into the shadow, and other projections stood forth from the obscurity. Thus one could have grasped in due time all the details of the picture, from the console supported by three huge gilded tritons, to the frescoed ceiling, representing a sky studded with stars and clouds, and to the heavy hangings of crimson damask, with long tassels, which shimmered like satin, their ample folds seeming to sway back and forth as they reflected the flickering light.

One would have said, from the immobility of the two figures in bold relief before the fire, that they feared to disturb the immobility of the scene; that they had been turned to stone where they sat, like the heroes of a fairy tale, and that the slightest word or movement would bring the walls of an imaginary city crumbling about their ears. And the dark-browed master, who alone broke the silence and the shadow with his regular tread, seemed a magician who held them under a spell.

At last the dog, having obtained a smile from her master, yielded to the magnetic power which the eye of man exerts over that of the lower animals. She uttered a low whine of timid affection and placed her fore paws on her beloved's shoulders with inimitable ease and grace of movement.

"Down, Ophelia, down!"