The Nabob

THE EXHIBITION

“SUPERB!”

“A tremendous success! Barye has never done anything so good before.”

“And the bust of the Nabob! What a marvel. How happy Constance Crenmitz is! Look at her trotting about!”

“What! That little old lady in the ermine cape is the Crenmitz? I thought she had been dead twenty years ago.”

Oh, no! Very much alive, on the contrary. Delighted, made young again by the triumph of her goddaughter, who had made what is decidedly the success of the exhibition, she passes about among the crowd of artists and fashionable people, who, wedged together and stifling themselves in order to get a look at the two points where the works sent by Felicia are exhibited, form as it were two solid masses of black backs and jumbled dresses. Constance, ordinarily so timid, edges her way into the front rank, listens to the discussions, catches, as they fly, disjointed phrases, formulas which she takes care to remember, approves with a nod, smiles, raises her shoulders when she hears a stupid remark made, inclined to murder the first person who should not admire.

Whether it be the good Crenmitz or another, you will always see it at every opening of the Salon, that furtive silhouette, prowling near wherever a conversation is going on, with an anxious manner and alert ear; sometimes a simple old fellow, some father, whose glance thanks you for any kind word said in passing, or assumes a grieved expression by reason of some epigram, flung at the work of art, that may wound some heart behind you. A figure not to be forgotten, certainly, if ever it should occur to any painter with a passion for modernity to fix on canvas that very typical manifestation of Parisian life, the opening of an exhibition in that vast conservatory of sculpture, with its paths of yellow sand, and its immense glass roof beneath which, half-way up, stand out the galleries of the first floor, lined by heads bent over to look down, and decorated with improvised flowing draperies.

In a rather cold light, made pallid by those green curtains that hang all around, in which one would fancy that the light-rays become rarefied, in order to give to the vision of the people walking about the room a certain contemplative justice, the slow crowd goes and comes, pauses, disperses itself over the seats in serried groups, and yet mixing up different sections of society more thoroughly than any other assembly, just as the weather, uncertain and changeable at this time of the year, produces a confusion in the world of clothes, causes to brush each other as they pass, the black laces, the imperious train of the great lady come to see how her portrait looks, and the Siberian furs of the actress just back from Russia and anxious that everybody should know it.

Here, no boxes, no stalls, no reserved seats, and it is this that gives to this premiere in full daylight so great a charm of curiosity. Genuine ladies of fashion are able to form an opinion of those painted beauties who receive so much commendation in an artificial light; the little hat, following a new mode of the Marquise de Bois l’Hery, confronts the more than modest toilette of some artist’s wife or daughter; while the model who posed for that beautiful Andromeda at the entrance, goes by victoriously, clad in too short a skirt, in wretched garments that hide her beauty beneath all the false lines of fashion. People observe, admire, criticise each other, exchange glances contemptuous, disdainful, or curious, interrupted suddenly at the passage of a celebrity, of that illustrious critic whom we seem still to see, tranquil and majestic, his powerful head framed in its long hair, making the round of the exhibits in sculpture followed by a dozen young disciples eager to hear the verdict of his kindly authority. If the sound of voices is lost beneath that immense dome, sonorous only under the two vaults of the entrance and the exit, faces take on there an astonishing intensity, a relief of movement and animation concentrated especially in the huge, dark bay where refreshments are served, crowded to overflowing and full of gesticulation, the brightly coloured hats of the women and the white aprons of the waiters gleaming against the background of dark clothes, and in the great space in the middle where the oval swarming with visitors makes a singular contrast with the immobility of the exhibited statues, producing the insensible palpitation with which their marble whiteness and their movements as of apotheosis are surrounded.

There are wings poised in giant flight, a sphere supported by four allegorical figures whose attitude of turning suggests some vague waltz-measure—a total effect of equilibrium well conveying the illusion of the sweeping onward of the earth; and there are arms raised to give the signal, bodies heroically risen, containing an allegory, a symbol which stamps them with death and immortality, secures to them a place in history, in legend, in that ideal world of museums which is visited by the curiosity or the admiration of the nations.

Although Felicia’s group in bronze had not the proportions of these large pieces, its exceptional merit had caused it to be selected to adorn one of the open spaces in the middle, from which at this moment the public was holding itself at a respectful distance, watching, over the hedge of custodians and policemen, the Bey of Tunis and his suite, an array of long bernouses falling in sculptural folds, which had the effect of placing living statues opposite the other ones.

The Bey, who had been in Paris since a few days before, and was the lion of all the premieres, had desired to see the opening of the exhibition. He was “an enlightened prince, a friend of art,” who possessed at the Bardo a gallery of remarkable Turkish paintings and chromo-lithographic reproductions of all the battles of the First Empire. The moment he entered, the sight of the big Arab greyhound had struck him as he passed. It was the sleughi all over, the true sleughi, delicate and nervous, of his own country, the companion of all his hunting expeditions. He laughed in his black beard, felt the loins of the animal, stroked its muscles, seemed to want to urge it on still faster, while with nostrils open, teeth showing, all its limbs stretched out and unwearying in their vigorous elasticity, the aristocratic beast, the beast of prey, ardent in love and the chase, intoxicated with their double intoxication, its eyes fixed, was already enjoying a foretaste of its capture with a little end of its tongue which hung and seemed to sharpen the teeth with a ferocious laugh. When you only looked at the hound you said to yourself, “He has got him!” But the sight of the fox reassured you immediately. Beneath the velvet of his lustrous coat, cat-like almost lying along the ground, covering it rapidly without effort, you felt him to be a veritable fairy; and his delicate head with its pointed ears, which as he ran he turned towards the hound, had an expression of ironical security which clearly marked the gift received from the gods.

While an Inspector of Fine Arts, who had rushed up in all haste, with his official dress in disorder, and a head bald right down to his back, explained to Mohammed the apologue of “The Dog and the Fox,” related in the descriptive catalogue with these words inscribed beneath, “Now it happened that they met,” and the indication, “The property of the Duc de Mora,” the fat Hemerlingue, perspiring and puffing by his Highness’s side, had great difficulty to convince him that this masterly piece of sculpture was the work of the beautiful young lady whom they had encountered the previous evening riding in the Bois. How could a woman, with her feeble hands, thus mould the hard bronze, and give to it the very appearance of the living body? Of all the marvels of Paris, this was the one which caused the Bey the most astonishment. He inquired consequently from the functionary if there was nothing else to see by the same artist.

“Yes, indeed, monseigneur, another masterpiece. If your Highness will deign to step this way I will conduct you to it.”

The Bey commenced to move on again with his suite. They were all admirable types, with chiselled features and pure lines, warm pallors of complexion of which even the reflections were absorbed by the whiteness of their haiks. Magnificently draped, they contrasted with the busts ranged on either side of the aisle they were following, which, perched on their high columns, looking slender in the open air, exiled from their own home, from the surroundings in which doubtless they would have recalled severe labours, a tender affection, a busy and courageous existence, had the sad aspect of people gone astray in their path, and very regretful to find themselves in their present situation. Excepting two or three female heads, with opulent shoulders framed in petrified lace, and hair rendered in marble with that softness of touch which gives it the lightness of a powdered wig, excepting, too, a few profiles of children with their simple lines, in which the polish of the stone seems to resemble the moistness of the living flesh, all the rest were only wrinkles, crow’s-feet, shrivelled features and grimaces, our excesses in work and in movement, our nervousness and our feverishness, opposing themselves to that art of repose and of beautiful serenity.

The ugliness of the Nabob had at least energy in its favour, the vulgar side of him as an adventurer, and that expression of benevolence, so well rendered by the artist, who had taken care to underlay her plaster with a layer of ochre, which gave it almost the weather-beaten and sunburned tone of the model. The Arabs, when they saw it, uttered a stifled exclamation, “Bou-Said!” (the father of good fortune). This was the surname of the Nabob in Tunis, the label, as it were, of his luck. The Bey, for his part, thinking that some one had wished to play a trick on him in thus leading him to inspect the bust of the hated trader, regarded his guide with mistrust.

“Jansoulet?” said he in his guttural voice.

“Yes, Highness: Bernard Jansoulet, the new deputy for Corsica.”

This time the Bey turned to Hemerlingue, with a frown on his brow.

“Deputy?”

“Yes, monseigneur, since this morning; but nothing is yet settled.”

And the banker, raising his voice, added with a stutter:

“No French Chamber will ever admit that adventurer.”

No matter. The stroke had fallen on the blind faith of the Bey in his baron financier. The latter had so confidently affirmed to him that the other would never be elected and that their action with regard to him need not be fettered or in any way hampered by the least fear. And now, instead of a man ruined and overthrown, there rose before him a representative of the nation, a deputy whose portrait in stone the Parisians were coming to admire; for in the eyes of the Oriental, an idea of distinction being mingled in spite of everything with this public exhibition, that bust had the prestige of a statue dominating a square. Still more yellow than usual, Hemerlingue internally accused himself of clumsiness and imprudence. But how could he ever have dreamed of such a thing? He had been assured that the bust was not finished. And in fact it had been there only since morning, and seemed quite at home, quivering with satisfied pride, defying its enemies with the good-tempered smile of its curling lip. A veritable silent revenge for the disaster of Saint-Romans.

For some minutes the Bey, cold and impassible as the sculptured image, gazed at it without saying anything, his forehead divided by a straight crease wherein his courtiers alone could read his anger; then, after two quick words in Arabic, to order the carriages and to reassemble his scattered suite, he directed his steps gravely towards the door of exit, without consenting to give even a glance to anything else. Who shall say what passes in these august brains surfeited with power? Even our sovereigns of the West have incomprehensible fantasies; but they are nothing compared with Oriental caprices. Monsieur the Inspector of Fine Arts, who had made sure of taking his Highness all round the exhibition and of thus winning the pretty red-and-green ribbon of the Nicham-Iftikahr, never knew the secret of this sudden flight.

At the moment when the white haiks were disappearing under the porch, just in time to see the last wave of their folds, the Nabob made his entry by the middle door. In the morning he had received the news, “Elected by an overwhelming majority”; and after a sumptuous luncheon, at which the new deputy for Corsica had been extensively toasted, he came, with some of his guests, to show himself, to see himself also, to enjoy all his new glory.

The first person whom he saw as he arrived was Felicia Ruys, standing, leaning on the pedestal of a statue, surrounded by compliments and tributes of admiration, to which he made haste to add his own. She was simply dressed, clad in a black costume embroidered and trimmed with jet, tempering the severity of her attire with a glittering of reflected lights, and with a delightful little hat all made of downy plumes, the play of colour in which her hair, curled delicately on her forehead and drawn back to the neck in great waves, seemed to continue and to soften.

A crowd of artists and fashionable people were assiduous in their attentions to so great a genius allied to so much beauty; and Jenkins, bareheaded, and puffing with warm effusiveness, was going from one to the other, stimulating their enthusiasm but widening the circle around this young fame of which he constituted himself at once the guardian and the trumpeter. His wife during this time was talking to the young girl. Poor Mme. Jenkins! She had heard that savage voice, which she alone knew, say to her, “You must go and greet Felicia.” And she had gone to do so, controlling her emotion; for she knew now what it was that hid itself at the bottom of that paternal affection, although she avoided all discussion of it with the doctor, as if she had been fearful of the issue.

After Mme. Jenkins, it is the turn of the Nabob to rush up, and taking the artist’s two long, delicately-gloved hands between his fat paws, he expresses his gratitude with a cordiality which brings the tears to his own eyes.

“It is a great honour that you have done me, mademoiselle, to associate my name with yours, my humble person with your triumph, and to prove to all this vermin gnawing at my heels that you do not believe the calumnies which have been spread with regard to me. Yes, truly, I shall never forget it. In vain I may cover this magnificent bust with gold and diamonds, I shall still be your debtor.”

Fortunately for the good Nabob, with more feeling than eloquence, he is obliged to make way for all the others attracted by a dazzling talent, the personality in view; extravagant enthusiasms which, for want of words to express themselves, disappear as they come; the conventional admirations of society, moved by good-will, by a lively desire to please, but of which each word is a douche of cold water; and then the hearty hand-shakes of rivals, of comrades, some very frank, others that communicate to you the weakness of their grasp; the pretentious great booby, at whose idiotic eulogy you must appear to be transported with gladness, and who, lest he should spoil you too much, accompanies it with “a few little reserves,” and the other, who, while overwhelming you with compliments, demonstrates to you that you have not learned the first word of your profession; and the excellent busy fellow, who stops just long enough to whisper in your ear “that so-and-so, the famous critic, does not look very pleased.” Felicia listened to it all with the greatest calm, raised by her success above the littleness of envy, and quite proud when a glorious veteran, some old comrade of her father, threw to her a “You’ve done very well, little one!” which took her back to the past, to the little corner reserved for her in the old days in her father’s studio, when she was beginning to carve out a little glory for herself under the protection of the renown of the great Ruys. But, taken altogether, the congratulations left her rather cold, because there lacked one which she desired more than any other, and which she was surprised not to have yet received. Decidedly he was more often in her thoughts than any other man had ever been. Was it love at last, the great love which is so rare in an artist’s soul, incapable as that is of giving itself entirely up to the sway of sentiment, or was it perhaps simply a dream of honest bourgeoise life, well sheltered against ennui, that spiritless ennui, the precursor of storms, which she had so much reason to dread? In any case, she was herself taken in by it, and had been living for some days past in a state of delicious trouble, for love is so strong, so beautiful a thing, that its semblances, its mirages, allure and can move us as deeply as itself.

Has it ever happened to you in the street, when you have been preoccupied with thoughts of some one dear to you, to be warned of his approach by meeting persons with a vague resemblance to him, preparatory images, sketches of the type to appear directly afterward, which stand out for you from the crowd like successive appeals to your overexcited attention? Such presentiments are magnetic and nervous impressions at which one should not be too disposed to smile, since they constitute a faculty of suffering. Already, in the moving and constantly renewed stream of visitors, Felicia had several times thought to recognise the curly head of Paul de Gery, when suddenly she uttered a cry of joy. It was not he, however, this time again, but some one who resembled him closely, whose regular and peaceful physiognomy was always now connected in her mind with that of her friend Paul through the effect of a likeness more moral than physical, and the gentle authority which both exercised over her thoughts.

“Aline!”

“Felicia!”

If nothing is more open to suspicion than the friendship of two fashionable ladies sharing the prerogatives of drawing-room royalty and lavishing on each other epithets, and the trivial graces of feminine fondness, the friendships of childhood keep in the grown woman a frankness of manner which distinguishes them, and makes them recognisable among all others, bonds woven naively and firm as the needlework of little girls in which an experienced hand had been prodigal of thread and big knots; plants reared in fresh soil, in flower, but with strong roots, full of vitality and new shoots. And what a joy, hand in hand—you glad dances of boarding-school days, where are you?—to retrace some steps of one’s way with somebody who has an equal acquaintance with it and its least incidents, and the same laugh of tender retrospection. A little apart, the two girls, for whom it has been sufficient to find themselves once more face to face to forget five years of separation, carry on a rapid exchange of recollections, while the little pere Joyeuse, his ruddy face brightened by a new cravat, straightens himself in pride to see his daughter thus warmly welcomed by such an illustrious person. Proud certainly he had reason to be, for the little Parisian, even in the neighbourhood of her brilliant friend, holds her own in grace, youth, fair candour, beneath her twenty smooth and golden years, which the gladness of this meeting brings to fresh bloom.

“How happy you must be! For my part, I have seen nothing yet; but I hear everybody saying it is so beautiful.”

“Happy above all to see you again, little Aline. It is so long—”

“I should think so, you naughty girl! Whose the fault?”

And from the saddest corner of her memory, Felicia recalls the date of the breaking off of their relations, coinciding for her with another date on which her youth came to its end in an unforgettable scene.

“And what have you been doing, darling, all this time?”

“Oh, I, always the same thing—or, nothing to speak of.”

“Yes, yes, we know what you call doing nothing, you brave little thing! Giving your life to other people, isn’t it?”

But Aline was no longer listening. She was smiling affectionately to some one straight in front of her; and Felicia, turning round to see who it was, perceived Paul de Gery replying to the shy and tender greeting of Mlle. Joyeuse.

“You know each other, then?”

“Do I know M. Paul! I should think so, indeed. We talk of you very often. He has never told you, then?”

“Never. He must be a terribly sly fellow.”

She stopped short, her mind enlightened by a flash; and quickly without heed to de Gery, who was coming up to congratulate her on her triumph, she leaned over towards Aline and spoke to her in a low voice. That young lady blushed, protested with smiles and words under her breath: “How can you think of such a thing? At my age—a ‘grandmamma’!” and finally seized her father’s arm in order to escape some friendly teasing.

When Felicia saw the two young people going off together, when she had realized the fact, which they had not yet grasped themselves, that they were in love with each other, she felt as it were a crumbling all around her. Then upon her dream, now fallen to the ground in a thousand fragments, she set herself to stamp furiously. After all, he was quite right to prefer this little Aline to herself. Would an honest man ever dare to marry Mlle. Ruys? She, a home, a family—what nonsense! A harlot’s daughter you are, my dear; you must be a harlot too if you want to become anything at all.

The day wore on. The crowd, more active now that there were empty spaces here and there, commenced to stream towards the door of exit after great eddyings round the successes of the year, satisfied, rather tired, but excited still by that air charged with the electricity of art. A great flood of sunlight, such as sometimes occurs at four o’clock in the afternoon, fell on the stained-glass rose-window, threw on the sand tracks of rainbow-coloured lights, softly bathing the bronze or the marble of the statues, imparting an iridescent hue to the nudity of a beautiful figure, giving to the vast museum something of the luminous life of a garden. Felicia, absorbed in her deep and sad reverie, did not notice the man who advanced towards her, superb, elegant, fascinating, through the respectfully opened ranks of the public, while the name of “Mora” was everywhere whispered.

“Well, mademoiselle, you have made a splendid success. I only regret one thing about it, and that is the cruel symbol which you have hidden in your masterpiece.”

As she saw the duke before her, she shuddered.

“Ah, yes, the symbol,” she said, lifting her face towards his with a smile of discouragement; and leaning against the pedestal of the large, voluptuous statue near which they happened to be standing, with the closed eyes of a woman who gives or abandons herself, she murmured low, very low:

“Rabelais lied, as all men lie. The truth is that the fox is utterly wearied, that he is at the end of his breath and his courage, ready to fall into the ditch, and that if the greyhound makes another effort——”

Mora started, became a shade paler, all the blood he had in his body rushing back to his heart. Two sombre flames met with their eyes, two rapid words were exchanged by lips that hardly moved; then the duke bowed profoundly, and walked away with a step gay and light, as though the gods were bearing him.

At that moment there was in the palace only one man as happy as he, and that was the Nabob. Escorted by his friends, he occupied, quite filled up, the principal bay with his own party alone, speaking loudly, gesticulating, proud to such a degree that he looked almost handsome, as though by dint of naive and long contemplation of his bust he had been touched by something of the splendid idealization with which the artist had haloed the vulgarity of his type. The head, raised to the three-quarters position, standing freely out from the wide, loose collar, drew contradictory remarks on the resemblance from the passers-by; and the name of Jansoulet, so many times repeated by the electoral ballot-boxes, was repeated over again now by the prettiest mouths, by the most authoritative voices, in Paris. Any other than the Nabob would have been embarrassed to hear uttered, as he passed, these expressions of curiosity which were not always friendly. But the platform, the springing-board, well suited that nature which became bolder under the fire of glances, like those women who are beautiful or witty only in society, and whom the least admiration transfigures and completes.

When he felt this delirious joy growing calmer, when he thought to have drunk the whole of its proud intoxication, he had only to say to himself, “Deputy! I am a Deputy!” And the triumphal cup foamed once more to the brim. It meant the embargo raised from all his possessions, the awakening from a nightmare that had lasted two months, the puff of cool wind sweeping away all his anxieties, all his inquietudes, even to the affront of Saint-Romans, very heavy though that was in his memory.

Deputy!

He laughed to himself as he thought of the baron’s face when he learned the news, of the stupefaction of the Bey when he had been led up to his bust; and suddenly, upon the reflection that he was no longer merely an adventurer stuffed with gold, exciting the stupid admiration of the crowd, as might an enormous rough nugget in the window of a money-changer, but that people saw in him, as he passed, one of the men elected by the will of the nation, his simple and mobile face grew thoughtful with a deliberate gravity, there suggested themselves to him projects of a career, of reform, and the wish to profit by the lessons that had been latterly taught by destiny. Already, remembering the promise which he had given to de Gery, for the household troop that wriggled ignobly at his heels, he made exhibition of certain disdainful coldnesses, a deliberate pose of authoritative contradiction. He called the Marquis de Bois l’Hery “my good fellow,” imposed silence very sharply on the governor, whose enthusiasm was becoming scandalous, and made a solemn vow to himself to get rid as soon as possible of all that mendicant and promising Bohemian set, when he should have occasion to begin the process.

Penetrating the crowd which surrounded him, Moessard—the handsome Moessard, in a sky-blue cravat, pale and bloated like a white embodiment of disease, and pinched at the waist in a fine frock-coat—seeing that the Nabob, after having gone twenty times round the hall of sculpture, was making for the door, dashed forward, and passing his arm through his, said:

“You are taking me with you, you know.”

Especially of late, since the time of the election, he had assumed, in the establishment of the Place Vendome, an authority almost equal to that of Monpavon, but more impudent; for, in point of impudence, the Queen’s lover was without his equal on the pavement that stretches from the Rue Drouot to the Madeleine. This time he had gone too far. The muscular arm which he pressed was shaken violently, and the Nabob answered very dryly:

“I am sorry, mon cher, but I have not a place to offer you.”

No place in a carriage that was as big as a house, and which five of them had come in!

Moessard gazed at him in stupefaction.

“I had, however, a few words to say to you which are very urgent. With regard to the subject of my note—you received it, did you not?”

“Certainly; and M. de Gery should have sent you a reply this very morning. What you ask is impossible. Twenty thousand francs! Tonnerre de Dieu! You go at a fine rate!”

“Still, it seems to me that my services—” stammered the beauty-man.

“Have been amply paid for. That is how it seems to me also. Two hundred thousand francs in five months! We will draw the line there, if you please. Your teeth are long, young man; you will have to file them down a little.”

They exchanged these words as they walked, pushed forward by the surging wave of the people going out. Moessard stopped:

“That is your last word?”

The Nabob hesitated for a moment, seized by a presentiment as he looked at that pale, evil mouth; then he remembered the promise which he had given to his friend:

“That is my last word.”

“Very well! We shall see,” said the handsome Moessard, whose switch-cane cut the air with the hiss of a viper; and, turning on his heel, he made off with great strides, like a man who is expected somewhere on very urgent business.

Jansoulet continued his triumphal progress. That day much more would have been required to upset the equilibrium of his happiness; on the contrary, he felt himself relieved by the so-quickly achieved fulfilment of his purpose.

The immense vestibule was thronged by a dense crowd of people whom the approach of the hour of closing was bringing out, but whom one of those sudden showers, which seem inseparable from the opening of the Salon, kept waiting beneath the porch, with its floor beaten down and sandy like the entrance to the circus where the young dandies strut about. The scene that met the eye was curious, and very Parisian.

Outside, great rays of sunshine traversing the rain, attaching to its limpid beads those sharp and brilliant blades which justify the proverbial saying, “It rains halberds”; the young greenery of the Champs-Elysees, the clumps of rhododendrons, rustling and wet, the carriages ranged in the avenue, the mackintosh capes of the coachmen, all the splendid harness-trappings of the horses receiving from the rain and the sunbeams an added richness and effect, and blue everywhere looming out, the blue of a sky which is about to smile in the interval between two downpours.

Within, laughter, gossip, greetings, impatience, skirts held up, satins bulging out above the delicate folds of frills, of lace, of flounces gathered up in the hands of their wearers in heavy, terribly frayed bundles. Then, to unite the two sides of the picture, these prisoners framed in by the vaulted ceiling of the porch and in the gloom of its shadow, with the immense background in brilliant light, footmen running beneath umbrellas, crying out names of coachmen or of masters, broughams coming up at walking pace, and flustered couples getting into them.

“M. Jansoulet’s carriage!”

Everybody turned round, but, as one knows, that did not embarrass him. And while the good Nabob, waiting for his suite, stood posing a little amid these fashionable and famous people, this mixed tout Paris which was there, with its every face bearing a well-known name, a nervous and well-gloved hand was stretched out to him, and the Duc de Mora, on his way to his brougham, threw to him, as he passed, these words, with that effusion which happiness gives to the most reserved of men:

“My congratulations, my dear deputy.”

It was said in a loud voice, and every one could hear it: “My dear deputy.”

There is in the life of all men one golden hour, one luminous peak, whereon all that they can hope of prosperity, joy, triumph, waits for them and is given into their hands. The summit is more or less lofty, more or less rugged and difficult to climb, but it exists equally for all, for powerful and humble alike. Only, like that longest day of the year on which the sun has shone with its utmost brilliance, and of which the morrow seems a first step towards winter, this summum of human existences is but a moment given to be enjoyed, after which one can but redescend. This late afternoon of the first of May, streaked with rain and sunshine, thou must forget it not, poor man—must fix forever its changing brilliance in thy memory. It was the hour of thy full summer, with its flowers in bloom, its fruits bending their golden boughs, its ripe harvests of which so recklessly thou wast plucking the corn. The star will now pale, gradually growing more remote and falling, incapable ere long of piercing the mournful night wherein thy destiny shall be accomplished.