LITMIR.BIZ

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him what intrigue or manoeuvre he was to set about. This official sybarite dressed, dined, and visited a dozen or fifteen salons between eight at night and three in the morning. At the opera he talked with journalists, for he stood high in their favor; a perpetual exchange of little services went on between them; he poured into their ears his misleading news and swallowed theirs; he prevented them from attacking this or that minister on such or such a matter, on the plea that it would cause real pain to their wives or their mistresses.

      "Say that his bill is worth nothing, and prove it if you can, but do not say that Mariette danced badly. The devil! haven't we all played our little plays; and which of us knows what will become of him in times like these? You may be minister yourself to-morrow, you who are spicing the cakes of the 'Constitutionel' to-day."

      Sometimes, in return, he helped editors, or got rid of obstacles to the performances of some play; gave gratuities and good dinners at the right moment, or promised his services to bring some affair to a happy conclusion. Moreover, he really liked literature and the arts; he collected autographs, obtained splendid albums gratis, and possessed sketches, engravings, and pictures. He did a great deal of good to artists by simply not injuring them and by furthering their wishes on certain occasions when their self-love wanted some rather costly gratification. Consequently, he was much liked in the world of actors and actresses, journalists and artists. For one thing, they had the same vices and the same indolence as himself. Men who could all say such witty things in their cups or in company with a danseuse, how could they help being friends? If des Lupeaulx had not been a general-secretary he would certainly have been a journalist. Thus, in that fifteen years' struggle in which the harlequin sabre of epigram opened a breach by which insurrection entered the citadel, des Lupeaulx never received so much as a scratch.

      As the young fry of clerks looked at this man playing bowls in the gardens of the ministry with the minister's children, they cracked their brains to guess the secret of his influence and the nature of his services; while, on the other hand, the aristocrats in all the various ministries looked upon him as a dangerous Mephistopheles, courted him, and gave him back with usury the flatteries he bestowed in the higher sphere. As difficult to decipher as a hieroglyphic inscription to the clerks, the vocation of the secretary and his usefulness were as plain as the rule of three to the self-interested. This lesser Prince de Wagram of the administration, to whom the duty of gathering opinions and ideas and making verbal reports thereon was entrusted, knew all the secrets of parliamentary politics; dragged in the lukewarm, fetched, carried, and buried propositions, said the Yes and the No that the ministers dared not say for themselves. Compelled to receive the first fire and the first blows of despair and wrath, he laughed or bemoaned himself with the minister, as the case might be. Mysterious link by which many interests were in some way connected with the Tuileries, and safe as a confessor, he sometimes knew everything and sometimes nothing; and, in addition to all these functions came that of saying for the minister those things that a minister cannot say for himself. In short, with his political Hephaestion the minister might dare to be himself; to take off his wig and his false teeth, lay aside his scruples, put on his slippers, unbutton his conscience, and give way to his trickery. However, it was not all a bed of roses for des Lupeaulx; he flattered and advised his master, forced to flatter in order to advise, to advise while flattering, and disguise the advice under the flattery. All politicians who follow this trade have bilious faces; and their constant habit of giving affirmative nods acquiescing in what is said to them, or seeming to do so, gives a certain peculiar turn to their heads. They agree indifferently with whatever is said before them. Their talk is full of "buts," "notwithstandings," "for myself I should," "were I in your place" (they often say "in your place"),—phrases, however, which pave the way to opposition.

      In person, Clement des Lupeaulx had the remains of a handsome man; five feet six inches tall, tolerably stout, complexion flushed with good living, powdered head, delicate spectacles, and a worn-out air; the natural skin blond, as shown by the hand, puffy like that of an old woman, rather too square, and with short nails—the hand of a satrap. His foot was elegant. After five o'clock in the afternoon des Lupeaulx was always to be seen in open-worked silk stockings, low shoes, black trousers, cashmere waistcoat, cambric handkerchief (without perfume), gold chain, blue coat of the shade called "king's blue," with brass buttons and a string of orders. In the morning he wore creaking boots and gray trousers, and the short close surtout coat of the politician. His general appearance early in the day was that of a sharp lawyer rather than that of a ministerial officer. Eyes glazed by the constant use of spectacles made him plainer than he really was, if by chance he took those appendages off. To real judges of character, as well as to upright men who are at ease only with honest natures, des Lupeaulx was intolerable. To them, his gracious manners only draped his lies; his amiable protestations and hackneyed courtesies, new to the foolish and ignorant, too plainly showed their texture to an observing mind. Such minds considered him a rotten plank, on which no foot should trust itself.

      No sooner had the beautiful Madame Rabourdin decided to interfere in her husband's administrative advancement than she fathomed Clement des Lupeaulx's true character, and studied him thoughtfully to discover whether in this thin strip of deal there were ligneous fibres strong enough to let her lightly trip across it from the bureau to the department, from a salary of eight thousand a year to twelve thousand. The clever woman believed she could play her own game with this political roue; and Monsieur des Lupeaulx was partly the cause of the unusual expenditures which now began and were continued in the Rabourdin household.

      The rue Duphot, built up under the Empire, is remarkable for several houses with handsome exteriors, the apartments of which are skilfully laid out. That of the Rabourdins was particularly well arranged,—a domestic advantage which has much to do with the nobleness of private lives. A pretty and rather wide antechamber, lighted from the courtyard, led to the grand salon, the windows of which looked on the street. To the right of the salon were Rabourdin's study and bedroom, and behind them the dining-room, which was entered from the antechamber; to the left was Madame's bedroom and dressing-room, and behind them her daughter's little bedroom. On reception days the door of Rabourdin's study and that of his wife's bedroom were thrown open. The rooms were thus spacious enough to contain a select company, without the absurdity which attends many middle-class entertainments, where unusual preparations are made at the expense of the daily comfort, and consequently give the effect of exceptional effort. The salon had lately been rehung in gold-colored silk with carmelite touches. Madame's bedroom was draped in a fabric of true blue and furnished in a rococo manner. Rabourdin's study had inherited the late hangings of the salon, carefully cleaned, and was adorned by the fine pictures once belonging to Monsieur Leprince. The daughter of the late auctioneer had utilized in her dining-room certain exquisite Turkish rugs which her father had bought at a bargain; panelling them on the walls in ebony, the cost of which has since become exorbitant. Elegant buffets made by Boulle, also purchased by the auctioneer, furnished the sides of the room, at the end of which sparkled the brass arabesques inlaid in tortoise-shell of the first tall clock that reappeared in the nineteenth century to claim honor for the masterpieces of the seventeenth. Flowers perfumed these rooms so full of good taste and of exquisite things, where each detail was a work of art well placed and well surrounded, and where Madame Rabourdin, dressed with that natural simplicity which artists alone attain, gave the impression of a woman accustomed to such elegancies, though she never spoke of them, but allowed the charms of her mind to complete the effect produced upon her guests by these delightful surroundings. Thanks to her father, Celestine was able to make society talk of her as soon as the rococo became fashionable.

      Accustomed as des Lupeaulx was to false as well as real magnificence in all their stages, he was, nevertheless, surprised at Madame Rabourdin's home. The charm it exercised over this Parisian Asmodeus can be explained by a comparison. A traveller wearied with the rich aspects of Italy, Brazil, or India, returns to his own land and finds on his way a delightful little lake, like the Lac d'Orta at the foot of Monte Rosa, with an island resting on the calm waters, bewitchingly simple; a scene of nature and yet adorned; solitary, but well surrounded with choice plantations and foliage and statues of fine effect. Beyond lies a vista of shores both wild and cultivated; tumultuous grandeur towers above, but in itself all proportions are human. The world that the traveller has lately viewed is here in miniature, modest and pure; his soul, refreshed, bids him remain where a charm of melody and poesy surrounds him with harmony and awakens

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