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Revolt of the Angels

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<h2>CHAPTER XXIII</h2> <div class="blockquot">wherein we are permitted to observe the admirable character of bouchotte, who resists violence but yields to love. after that let no one call the author a misogynist </div> <div class='clearfix'><div class="figleft"> <ANTIMG src="images/imgo.jpg" width-obs="75" height-obs="80" alt="" title="" /></div> N coming away from the Baron Everdingen's, Prince Istar went to have a few oysters and a bottle of white wine at an eating-house in the Market. Then, being prudent as well as powerful, he paid a visit to his friend, Théophile Belais, for his pockets were full of bombs, and he wanted to secrete them in the musician's cupboard. The composer of Aline, Queen of Golconda was not at home. However, the Kerûb found Bouchotte busily working up the rôle of Zigouille; for the young artiste was booked to play the principal part in Les Apaches, an operetta that was then being rehearsed in one of the big music halls. The part in question was that of a street-walker who by her obscene gestures lures a passer-by into a trap, and then, while her victim is being gagged and bound, repeats with fiendish[228] cruelty the lascivious motions by which he had been led astray. The part required that she should appear both as mime and singer, and she was in a state of high enthusiasm about it. </div> The accompanist had just left. Prince Istar seated himself at the piano, and Bouchotte resumed her task. Her movements were unseemly and delicious. Her tawny hair was flying in all directions in wild disordered curls; her skin was moist, it exhaled a scent of violets and alkaline salts which made the nostrils throb; even she herself felt the intoxication. Suddenly, inebriated with her intoxicating presence, Prince Istar arose, and with never a word or a look, caught her into his arms and drew her on to the couch, the little couch with the flowered tapestry which Théophile had procured at one of the big shops by promising to pay ten francs a month for a long term of years. Now Istar might have solicited Bouchotte's favours; he might have invited her to a rapid, and, withal, a mutual embrace, and, despite her preoccupation and excitement, she would not have refused him. But Bouchotte was a girl of spirit. The merest hint of coercion awoke all her untamable pride. She would consent of her own accord, yes; but be mastered, never! She would readily yield to love, curiosity, pity, to less than that even, but she would die rather than yield to force. Her surprise immediately gave place to fury. She fought her aggressor with all her heart and soul.[229] With nails, to which fury lent an added edge, she tore at the cheeks and eyelids of the Kerûb, and, though he held her as in a vice, she arched herself so stiffly and made such excellent play with knee and elbow, that the human-headed bull, blinded with blood and rage, was sent crashing into the piano which gave forth a prolonged groan, while the bombs, tumbling out of his pockets, fell on the floor with a noise like thunder. And Bouchotte, with dishevelled locks, and one breast bare, beautiful and terrible, stood brandishing the poker over the prostrate giant, crying: "Be off with you, or I'll put your eyes out!" Prince Istar went to wash himself in the kitchen, and plunged his gory visage into a basin where some haricot beans lay soaking; then he withdrew without anger or resentment, for he had a noble soul. Scarcely had he gone when the door-bell rang. Bouchotte, calling upon the absent maid in vain, slipped on a dressing-gown and opened the door herself. A young man, very correct in appearance and rather good-looking, bowed politely, and apologising for having to introduce himself, gave his name. It was Maurice d'Esparvieu. Maurice was still seeking his guardian angel. Upheld by a desperate hope, he sought him in the queerest places. He enquired for him at the houses of sorcerers, magicians, and thaumaturgists, who in filthy hovels lay bare the ineffable secrets of[230] the future, and who, though masters of all the treasures of the earth, wear trousers without any seats to them, and eat pigs' brains. That very day, having been to a back street in Montmartre to consult a priest of Satan, who practised black magic by piercing waxen images, Maurice had gone on to Bouchotte's, having been sent by Madame de la Verdelière, who, being about to give a fête in aid of the fund for the Preservation of Country Churches, was anxious to secure Bouchotte's services, since she had suddenly become—no one knew why—a fashionable artiste. Bouchotte invited the visitor to sit down on the little flowered couch; at his request she seated herself beside him, and our young man of fashion explained to the singer what Madame de la Verdelière desired of her. The lady wished Bouchotte to sing one of those apache songs which were giving such delight in the fashionable world. Unfortunately Madame de la Verdelière could only offer a very modest fee, one out of all proportion to the merits of the artiste, but then it was for a good cause. Bouchotte agreed to take part, and accepted the reduced fee with the accustomed liberality of the poor towards the rich and of artists towards society people. Bouchotte was not a selfish girl; the work for the preservation of country churches interested her. She remembered with sobs and tears her first[231] communion, and she still retained her faith. When she passed by a church she wanted to enter it, especially in the evening. And so she did not love the Republic which had done its utmost to destroy both the Church and the Army. Her heart rejoiced to see the re-birth of national sentiment. France was lifting up her head. What was most applauded in the music halls were songs about the soldiers and the kind nuns. Meanwhile Maurice inhaled the odour of her tawny hair, the subtle bitter perfume of her body, all the odours of her person, and desire grew in him. He felt her near him on the little couch, very warm and very soft. He complimented the artiste on her great talent. She asked him what he liked best in all her repertory. He knew nothing about it, still he made replies that satisfied her. She had dictated them herself without knowing it. The vain creature spoke of her talent, of her success, as she wished others to speak of them. She never ceased talking of her triumphs, yet withal she was candour itself. Maurice in all sincerity praised Bouchotte's beauty, her fresh skin, her purity of line. She attributed this advantage to the fact that she never made up and never "put messes on her face." As to her figure, she admitted that there was enough everywhere and none too much, and to illustrate this assertion she passed her hand over all the contours of her charming body, rising lightly to follow the delightful curves on which she reposed.[232] Maurice was quite moved by it. It began to grow dark; she offered to light up. He begged her to do nothing of the sort. Their talk, at first gay and full of laughter, grew more intimate and very sweet, with a certain languor in its tone. It seemed to Bouchotte that she had known Monsieur Maurice d'Esparvieu for a long time, and holding him for a man of delicacy, she gave him her confidence. She told him that she was by nature a good woman, but that she had had a grasping and unscrupulous mother. Maurice recalled her to the consideration of her own beauty, and exalted by subtle flattery the excellent opinion she had of herself. Patient and calculating, in spite of the burning desire growing in him, he aroused and increased in the desired one the longing to be still further admired. The dressing-gown opened and slipped down of its own accord, the living satin of her shoulders gleamed in the mysterious light of evening. He—so prudent, so clever, so adroit,—let her sink in his arms, ardent and half swooning before she had even perceived she had granted anything at all. Their breath and their murmurs intermingled. And the little flowery couch sighed in sympathy with them. When they recovered the power to express their feelings in words, she whispered in his ear that his cheek was even softer than her own. He answered, holding her embraced:[233] "It is charming to hold you like this. One would think you had no bones." She replied, closing her eyes: "It is because I love you. Love seems to dissolve my bones; it makes me as soft and melting as a pig's foot à la Ste. Menebould." Hereupon Théophile came in, and Bouchotte called upon him to thank Monsieur Maurice d'Esparvieu, who had been amiable enough to be the bearer of a handsome offer from Madame la Comtesse de la Verdelière. The musician was happy, feeling the quiet and peace of the house after a day of fruitless applications, of colourless lessons, of failure and humiliation. Three new collaborators had been thrust upon him who would add their signatures to his on his operetta, and receive their share of the author's rights, and he had been told to introduce the tango into the Court of Golconda. He pressed young d'Esparvieu's hand and dropped wearily on to the little couch, which, being now at the end of its strength, gave way at the four legs and suddenly collapsed. And the angel, precipitated to the ground, rolled terror-struck on to the watch, match-box and cigarette-case that had fallen from Maurice's pocket, and on to the bombs Prince Istar had left behind him. <hr style="width: 65%;" />[234] <div style="break-after:column;"></div>

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