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貝姨 Cousin Bette
  巴爾紮剋(1799~1850)是法國現實主義文學大師,他一生創作的91部長、中、短篇小說,全部收入《人間喜劇》中,除了廣為人知的《歐也妮·葛朗臺》、《高老頭》等,還有《貝姨》、《都蘭趣話》等。
  《貝姨》是他的一部著名小說。本書的主人公貝姨,是一個生在鄉下的姑娘,帶着一身的鄉裏氣息,由於美麗善良又得到高貴的堂姐的關切來到了法國巴黎城裏,性格倔強的貝姨一方面滿懷着對堂姐的妒忌,一方面又以自己好勝的忘我勤奮學習,成立了屬於自己的家庭,然而時代社會的動蕩萬變和本性的頑固不得不又一次下貶成工人,接下來的故事並不會就此平淡度過,貝姨沒有放棄和屈服於現狀,為着自己的目標繼續活着,堅強地拼搏,最終得到了他的滿足——有了一份自己的事業。
  貝姨是巴爾紮剋筆下相當特殊的一個形象。小說以其命名,可見作傢對她的重視。她為某種情欲所左右,但色調構成卻十分復雜。集“醜”與“惡”於一身,是這個人物給讀者的第一印象。作傢為她勾畫了一幅令人生厭、令人生畏的漫畫像,又賦予她同樣令人生厭、令人生畏的嫉妒心。這種仿佛與生俱來的怪癖心理,侵擾着她自己的靈魂,也破壞着別人的幸福;在與瓦萊麗的淫蕩結合後,更形成為一種巨大的,甚至能“毀滅整個城市”的邪惡力量。 但是,貝姨的形象又遠非“惡”的化身。


  La Cousine Bette (English: Cousin Betty or Cousin Bette) is an 1846 novel by French author Honoré de Balzac. Set in mid-19th century Paris, it tells the story of an unmarried middle-aged woman who plots the destruction of her extended family. Bette works with Valérie Marneffe, an unhappily married young lady, to seduce and torment a series of men. One of these is Baron Hector Hulot, husband to Bette's cousin Adeline. He sacrifices his family's fortune and good name to please Valérie, who leaves him for a tradesman named Crevel. The book is part of the Scènes de la vie parisienne section of Balzac's novel sequence La Comédie humaine.
  
  In the 1840s, a serial format known as the roman-feuilleton was highly popular in France, and the most acclaimed expression of it was the socialist writing of Eugène Sue. Balzac wanted to challenge Sue's supremacy, and prove himself the most capable feuilleton author in France. Writing quickly and with intense focus, Balzac produced La Cousine Bette, one of his longest novels, in two months. It was published in Le Constitutionnel at the end of 1846, then collected with a companion work, Le Cousin Pons, the following year.
  
  The novel's characters represent polarities of contrasting morality. The vengeful Bette and disingenuous Valérie stand on one side, with the merciful Adeline and her patient daughter Hortense on the other. The patriarch of the Hulot family, meanwhile, is consumed by his own sexual desire. Hortense's husband, the Polish exile Wenceslas Steinbock, represents artistic genius, though he succumbs to uncertainty and lack of motivation. Balzac based the character of Bette in part on his mother and the poet Marceline Desbordes-Valmore. At least one scene involving Baron Hulot was likely based on an event in the life of Balzac's friend, the novelist Victor Hugo.
  
  La Cousine Bette is considered Balzac's last great work. His trademark use of realist detail combines with a panorama of characters returning from earlier novels. Several critics have hailed it as a turning point in the author's career, and others have called it a prototypical naturalist text. It has been compared to William Shakespeare's Othello as well as Leo Tolstoy's War and Peace. The novel explores themes of vice and virtue, as well as the influence of money on French society. Bette's relationship with Valérie is also seen as an important exploration of homoerotic themes. A number of film versions of the story have been produced, including a 1971 BBC mini-series starring Margaret Tyzack and Dame Helen Mirren, and a 1998 feature film with Jessica Lange in the title role.
  
  By 1846 Honoré de Balzac had achieved tremendous fame as a writer, but his finances and health were deteriorating rapidly. After writing a series of potboiler novels in the 1820s, he published his first book under his own name, Les Chouans, in 1829. He followed this with dozens of well-received novels and stories, including La Peau de chagrin (1831), Le Père Goriot (1835), and the two-volume Illusions perdues (1837 and 1839). Because of his lavish lifestyle and penchant for financial speculation, however, he spent most of his life trying to repay a variety of debts. He wrote tirelessly, driven as much by economic necessity as by the muse and black coffee. This regimen of constant work exhausted his body and brought reprimands from his doctor.[2]
  
  As his work gained recognition, Balzac began corresponding with a Polish Baronness named Ewelina Hańska, who first contacted him through an anonymous 1832 letter signed "L'Étrangère". They developed an affectionate friendship in letters, and when she became a widow in 1841, Balzac sought her hand in marriage. He visited her often in Poland and Germany, but various complications prohibited their union. One of these was an affair Balzac had with his housekeeper, Louise Breugniot. As she became aware of his affection for Mme. Hanska, Breugniot stole a collection of their letters and used them to extort money from Balzac. Even after this episode, however, he grew closer to Mme. Hanska with each visit and by 1846 he had begun preparing a home to share with her. He grew hopeful that they could marry when she became pregnant, but she fell ill in December and suffered a miscarriage.[3]
  
  The mid-nineteenth century was a time of profound transformation in French government and society. The reign of King Charles X ended in 1830 when a wave of agitation and dissent forced him to abdicate. He was replaced by Louis-Philippe, who named himself "King of the French", rather than the standard "King of France" – an indication that he answered more to the nascent bourgeoisie than the aristocratic Ancien Régime. The change in government took place while the economy in France was moving from mercantilism to industrial development. This opened new opportunities for individuals hoping to acquire wealth, and led to significant changes in social norms. Members of the aristocracy, for example, were forced to relate socially to the nouveau riche, usually with tense results. The democratic spirit of the French Revolution also affected social interactions, with a shift in popular allegiance away from the church and the monarchy.[4]
  
  In the mid-nineteenth century, a new style of novel became popular in France. The serial format known as the roman-feuilleton presented stories in short regular installments, often accompanied by melodramatic plots and stock characters. Although Balzac's La Vielle fille (1836) was the first such work published in France,[5] the roman-feuilleton gained prominence thanks mostly to his friends Eugène Sue and Alexandre Dumas, père.[6] Balzac disliked their serial writing, however, especially Sue's socialist depiction of lower-class suffering.[7] Balzac wanted to dethrone what he called "les faux dieux de cette littérature bâtarde" ("the false gods of this bastard literature").[8] He also wanted to show the world that, despite his poor health and tumultuous career, he was "plus jeune, plus frais, et plus grand que jamais" ("younger, fresher, and greater than ever").[8] His first efforts to render a quality feuilleton were unsuccessful. Even though Splendeurs et misères des courtisanes (published in segments from 1838 to 1847) was celebrated by critics, Balzac complained to Mme. Hanska that he was "doing pue Sue".[9] He tried again in 1844 with Modeste Mignon, but public reactions were mixed.[10] Two years later Balzac began a new project, determined to create something from his "own old pen again".[9]
  Writing and publication
  Balzac first visited the Château de Saché in 1832, when he wrote the autobiographical novel Louis Lambert.[11]
  
  After resting for a week in June 1846 at the Château de Saché in Tours, Balzac returned to Paris and began working on a short story called "Le Parasite", which he eventually developed into the novel Le Cousin Pons. He intended from the start to pair it with another novel, collecting them under the title Les Parents pauvres ("The Poor Relations"). He based the second book on a story his sister Laure Surville had written called "La Cousine Rosalie" and published in 1844 in Le Journal des enfants.[12] Writing intensively, he produced the entire novel, named La Cousine Bette after the main character, in two months. This was a significant accomplishment owing to his bad health, but its length made Balzac's writing speed especially remarkable.[13] One critic calls the writing of Les Parents pauvres Balzac's "last explosion of creative energy".[14] Another suggests that this effort was "almost the last straw which broke down Balzac's gigantic strength".[15]
  
  Balzac's usual mode of revision involved vast, complicated edits made to galley proofs he received from the printer. When creating La Cousine Bette, however, he submitted the work to his editor piece by piece, without viewing a single proof.[15] The book was serialized in Le Constitutionnel from 8 October to 3 December, and Balzac rushed to keep up with the newspaper's rapid printing schedule. He produced an average of eight pages each day, but was struck by the unexpected enormity of the story as it evolved.[16] Balzac was paid 12,836 francs for the series, which was later published with Le Cousin Pons as a twelve-volume book by Chiendowski and Pétion.[17] The first collected edition of La Cousine Bette was organized into 132 chapters, but these divisions were removed when Balzac added it to his massive collection La Comédie humaine in 1848.[18]
  Plot summary
  While caring for him, Bette refers to Wenceslas Steinbock as "mon enfant ... un garçon qui se relève du cercueil" ("my child ... a son risen from the grave").[19]
  
  The first third of the novel provides a lengthy exploration of the characters' histories. Balzac makes this clear after 150 pages: "Ici se termine, en quelque sorte, l'introduction de cette histoire." ("Here ends what is, in a way, the introduction to this story.")[20] At the start of the novel, Adeline Hulot – wife of the successful Baron Hector Hulot – is being pressured into an affair by a wealthy perfumer named Célestin Crevel. His desire stems in part from an earlier contest in which the adulterous Baron Hulot had won the hand of the singer Josépha Mirah, also favored by Crevel. The Hulots' daughter, Hortense, has begun searching for a husband; their son Victorin is married to Crevel's daughter Celestine. Mme. Hulot resists Crevel's advances, and he turns his attention elsewhere.
  
  Mme. Hulot's cousin, Bette (also called Lisbeth), harbors a deep but hidden resentment of her relatives' success. A peasant woman with none of the physical beauty of her cousin, Bette has rejected a series of marriage proposals from middle-class suitors, and remains unmarried at the age of 42. One day she comes upon a young unsuccessful Polish sculptor named Wenceslas Steinbock, attempting suicide in the tiny apartment upstairs from her own. As she nourishes him back to health, she develops a maternal fondness for him. She also befriends Valérie, the wife of a War Department clerk named Marneffe; the two women form a bond of mutual affection and protection.
  
  Baron Hulot, meanwhile, is rejected by Josépha, who explains bluntly that she has chosen another man because of his larger fortune. Hulot's despair is quickly alleviated when he meets and falls in love with Valérie Marneffe. He showers her with gifts, and soon establishes a luxurious house for her and M. Marneffe, with whom he works at the War Department. These debts, compounded by the money he borrowed to lavish on Josépha, threaten the Hulot family's financial security. Panicked, he convinces his uncle Johann Fischer to quietly embezzle funds from a War Department outpost in Algiers. Hulot's woes are momentarily abated and Bette's happiness is shattered, when – at the end of the "introduction" – Hortense Hulot marries Wenceslas Steinbock.
  
  Crushed at having lost Steinbock's company, Bette swears vengeance on the Hulot family. She works behind the scenes with Valérie to extract more money from Baron Hulot. Valérie also seduces Crevel and watches with delight as they vie for her attention. With Bette's help, Valérie turns to Steinbock and draws him into her bedroom. When Hortense learns of his infidelity, she leaves Steinbock and returns with their son to live with her mother Adeline. Valérie also proclaims her love to a Brazilian Baron named Henri Montès de Montéjanos, and swears devotion constantly to each of the five men.
  When Baron Hulot marries the kitchen maid Agathe, his son Victorin concludes: "les enfants ne peuvent pas empêcher la folie des ancêtres en enfance" ("children cannot interfere with the insane acts of their parents in their second childhood").[21]
  
  Baron Hulot's brother, known as "le maréchal" ("the Marshal"), hires Bette as his housekeeper, and they develop a mild affection. He learns of his brother's infidelities (and the difficulties they have caused Adeline, who refuses to leave her husband), and promises to marry Bette if she will provide details. She agrees eagerly, delighted at the prospect of finally securing an enviable marriage. While investigating his brother's behavior, however, the Marshal discovers Baron Hulot's scheme in Algiers. He is overwhelmed by the disgrace, and his health deteriorates. Bette's last hope for a brighter future dies with him.
  
  When Valérie becomes pregnant, she tells each of her lovers (and her husband) that he is the father. She gives birth to a stillborn child, however, and her husband dies soon thereafter. Hulot and Crevel are ecstatic when they hear this news, each believing that he will become her only love once the official mourning period has passed. Valérie chooses Crevel for his comfortable fortune, and they quickly wed. This news outrages Baron Montès, and he devises a plot to poison the newlyweds. Crevel and Valérie die slowly, their bodies devoured by an exotic Brazilian toxin.
  
  Victorin Hulot is later visited by the Prince of Wissembourg, who delivers news of economic good fortune. The Marshal, prior to his death, had made arrangements for repayment of the Baron's debts, as well as employment for Adeline in a Catholic charity. Baron Hulot has disappeared, and Adeline spends her free time searching for him in houses of ill repute. She eventually finds him living with a fifteen-year-old courtesan, and begs him to return to the family. He agrees, but as he climbs into the carriage, Hulot asks: "mais pourrai-je emmener la petite?" ("But can I take the girl?")[22] The Hulot home is reunited for a time, and Bette's fury at their apparent happiness hastens her death. One evening after the funeral, Adeline overhears Hulot seducing a kitchen maid named Agathe. On her deathbed, Adeline delivers her first rebuke to her husband: "[D]ans un moment, tu seras libre, et tu pourras faire une baronne Hulot." ("In a moment, you will be free, and you can make another Baronne Hulot.")[23] Soon after burying his wife, Hulot marries Agathe.
  Characters and inspirations
  The death of Marshal Hulot has been called "one of the most moving in all of Balzac".[24]
  
  Balzac had written more than seventy novels when he began La Cousine Bette, and populated them with recurring characters. Many of the characters in the novel, therefore, appear with extensive back-stories and biographical depth. For example, Célestin Crevel first appeared in Balzac's 1837 novel César Birotteau, working for the title character. Having accumulated a considerable fortune in that book, Crevel spends his time in La Cousine Bette enjoying the spoils of his labor. Another important recurring character is Marshal Hulot, who first appeared as a colonel in Les Chouans. In the years between that story and La Cousine Bette, he became the Count of Forzheim; in a letter to the Constitutionnel, Balzac described how Marshal Hulot gained this title. The presence of Crevel and Marshal Hulot – among others – in La Cousine Bette allows a continuation of each character's life story, adding emphasis or complexity to earlier events.[25]
  
  Other recurring characters appear only briefly in La Cousine Bette; previous appearances, however, give deep significance to the characters' presence. This is the case with Vautrin, the criminal mastermind who tutors young Eugene de Rastignac in Balzac's 1835 novel Le Père Goriot. When he resurfaces in La Cousine Bette, he has joined the police and introduces the Hulot family to his aunt, Mme. Nourrison, who offers a morally questionable remedy for their woes. Although Vautrin's presence in La Cousine Bette is brief, his earlier adventures in Le Père Goriot provide instant recognition and emotional texture. Elsewhere, Balzac presents an entire world of experience by including characters from a particular sphere of society. For example, several scenes feature artists like Jean-Jacques Bixiou, who first appeared in 1837's Les Employés and in many other books thereafter. The world of Parisian nightlife is quickly brought to mind with the inclusion of several characters from Les Comédiens sans le savoir (1846), and Bianchon appears – as always – when a doctor is needed.[26]
  
  Balzac's use of recurring characters has been identified as a unique component of his fiction. It enables a depth of characterization that goes beyond simple narration or dialogue. "When the characters reappear", notes the critic Samuel Rogers, "they do not step out of nowhere; they emerge from the privacy of their own lives which, for an interval, we have not been allowed to see."[27] Some readers, however, are intimidated by the depth created by these interdependent stories, and feel deprived of important context for the characters. Detective novelist Arthur Conan Doyle said that he never tried to read Balzac, because he "did not know where to begin".[28] The characterization in La Cousine Bette is considered especially skillful. Anthony Pugh, in his book Balzac's Recurring Characters, says that the technique is employed "for the most part without that feeling of self-indulgence that mars some of Balzac's later work. Almost every example arises quite naturally out of the situation."[29] Biographer Noel Gerson calls the characters in La Cousine Bette "among the most memorable Balzac ever sketched".[30]
  Bette Fischer
  Lisbeth Fischer (Cousin Bette) is described as "maigre, brune ... les sourcils épais et réunis par un bouquet ... quelques verrues dans sa face longue et simiesque" ("lean, brown, with ... thick eyebrows joining in a tuft ... and some moles on her narrow simian face").[31]
  
  Descriptions of Bette are often connected to savagery and animal imagery. Her name, for example, is a homophone in French for "bête" ("beast"). One passage explains that "elle ressemblait aux singes habillés en femmes" ("she sometimes looked like one of those monkeys in petticoats");[32] elsewhere her voice is described as having "une jalousie de tigre" ("tiger-like jealousy").[33] Her beastly rage comes to the surface with ferocity when she learns of Steinbock's engagement to Hortense:
  
   La physionomie de la Lorraine était devenue terrible. Ses yeux noirs et pénétrants avaient la fixité de ceux des tigres. Sa figure ressemblait à celles que nous supposons aux pythonisses, elle serrait les dents pour les empêcher de claquer, et une affreuse convulsion faisait trembler ses membres. Elle avait glissé sa main crochue entre son bonnet et ses cheveux pour les empoigner et soutenir sa tête, devenue trop lourde; elle brûlait! La fumée de l'incendie qui la ravageait semblait passer par ses rides comme par autant de crevasses labourées par une éruption volcanique.
  
   The peasant-woman's face was terrible; her piercing black eyes had the glare of the tiger's; her face was like that we ascribe to a pythoness; she set her teeth to keep them from chattering, and her whole frame quivered convulsively. She had pushed her clenched fingers under her cap to clutch her hair and support her head, which felt too heavy; she was on fire. The smoke of the flame that scorched her seemed to emanate from her wrinkles as from the crevasses rent by a volcanic eruption.[34]
  
  When she learns that her cousin Adeline has been welcoming Steinbock into the Hulot home, Bette swears revenge: "Adeline! se dit Lisbeth, ô Adeline, tu me le payeras, je te rendrai plus laide que moi!" ("'Adeline!' muttered Lisbeth. 'Oh, Adeline, you shall pay for this! I will make you uglier than I am.'")[34] Her cruelty and lust for revenge lead critics to call her "demonic"[35] and "one of Balzac's most terrifying creations".[36] Because of her willingness to manipulate the people around her, Bette has been compared to Iago in William Shakespeare's play Othello.[37] Her fierce persona is attributed partly to her peasant background, and partly to her virginity, which provides (according to Balzac) "une force diabolique ou la magie noire de la volonté" ("diabolical strength, or the black magic of the Will").[38][39]
  
  In a letter to Mme. Hanska, Balzac indicated that he based the character of Bette on three women from his life: his mother, Mme. Hanska's aunt Rosalie Rzewuska, and the poet Marceline Desbordes-Valmore. Balzac had a tumultuous relationship with his mother for most of his life, and he incorporated some of her personality (particularly her "obstinate persistence in living",[40] as one critic calls it) into Bette.[41] Rosalie Rzewuska disapproved of Mme. Hanska's relationship with Balzac; biographers agree that her cold determination was part of the author's recipe for Bette.[42] Elements taken from Marceline Desbordes-Valmore are more complex; she faced many setbacks in life and she and Balzac became friends after she left the theatre to take up poetry.[43]
  Valérie Marneffe
  
  Bette's co-conspirator in the destruction of the Hulot family is beautiful and greedy Valérie Marneffe, the unsatisfied wife of a War Department clerk. They develop a deep friendship, which many critics consider an example of lesbian affection.[44] Because of their relationship and similar goals, the critic Frederic Jameson says that "Valérie serves as a kind of emanation of Bette".[45]
  Valérie Marneffe "attirait tous les regards, excitait tous les désirs, dans le cercle où elle rayonnait" ("attracted every eye, and excited every desire in the circle she shone upon").[46]
  
  Valérie is repulsed by her ugly husband and has gone five years without kissing him.[47] She explains bluntly that her position as a married woman provides subtleties and options unavailable to the common prostitute who has one set price; after Marneffe dies, Valérie jockeys for position between Hulot and Montés (while also sleeping with Steinbock), then discards them all to marry Crevel, who offers the most wealth. She amuses herself by mocking her lovers' devotion, and this wickedness – not to mention her gruesome demise – has led some critics to speculate that she is actually the focus of Balzac's morality tale.[48]
  
  In one important scene, Valérie models for Steinbock as Delilah, standing victorious over the ruined Samson. With obvious parallels to her own activities, she describes her vision for the piece: "Il s'agit d'exprimer la puissance de la femme. Samson n'est rien, là. C'est le cadavre de la force. Dalila, c'est la passion qui ruine tout." ("What you have to show is the power of woman. Samson is a secondary consideration. He is the corpse of dead strength. It is Delilah—passion—that ruins everything.")[49]
  
  Although Balzac did not draw specifically from the women in his life to create Valérie, parallels have been observed in some areas. The tumultuous end of his affair with Louise Breugniot and the advantage she gains from his devotion to Mme. Hanska is similar in some ways to Valérie's manipulation of Steinbock.[50] Critics also connect the pride and anguish felt by Balzac during Mme. Hanska's pregnancy and miscarriage to the same emotions felt by Baron Hulot when Valérie conceives and loses her child.[51] Although he never ascribed to Mme. Hanska any of the traits in Valérie's treacherous character, he felt a devotion similar to that of Hulot. He once wrote to her: "je fais pour mon Eve toute les folies qu'un Hulot fait pour une Marneffe, je te donnerai mon sang, mon honneur, ma vie" ("I commit for [you] all the follies that a Hulot commits for Madame Marneffe; I give you my blood, my honor, my life").[52]
  Hector and Adeline Hulot
  
  Baron Hector Hulot is a living manifestation of male sexual desire, unrestrained and unconcerned with its consequences for the man or his family. As the novel progresses, he becomes consumed by his libido, even in a physical sense. When Valérie tells him to stop dyeing his hair, he does so to please her. His financial woes and public disgrace lead him to flee his own home; by the end of the book he is an elderly, decrepit shell of a man. Baron Hulot is so overcome by his taste for female flesh that he even asks his wife – without irony – if he can bring home his fifteen-year-old mistress.[53]
  
  Adeline Hulot, on the other hand, is mercy personified. Like her cousin Bette, she comes from a peasant background, but has internalized the ideals of 19th-century womanhood, including devotion, grace, and deference. She reveals in the first scene that she has known for years about her husband's infidelities, but refuses to condemn him. Adeline's forgiving nature is often considered a significant character flaw. Some suggest that she is partly to blame for Hulot's wandering affection. C.A. Prendergast, for example, calls her forgiveness "an inadequate and even positively disastrous response" to her situation.[54] He further suggests that Adeline, by choosing the role of quiet and dutiful wife, has excised from herself the erotic power to which the Baron is drawn. "[O]ne could at the very least offer the tentative speculation that Hulot's obsessional debauchery is in part the result of a certain poverty in Adeline, that the terrible logic of Hulot's excess is partially shaped by a crucial deficiency in his wife."[55] Others are less accusatory; Adeline's nearly infinite mercy, they say, is evidence of foolishness. Critic Herbert J. Hunt declares that she shows "more imbecility than Christian patience",[56] and David Bellos points out that, like her husband, she is driven by passion – albeit of a different kind: "Adeline's desire (for good, for the family, for Hector, for God) is so radically different from the motivating desires of the other characters that she seems in their context to be without desire...."[57]
  
  Balzac's inspiration for the characters of Hector and Adeline remain unclear, but several critics have been eager to speculate. Three officers named Hulot were recognized for their valor in the Napoleonic Wars, and some suggest that Balzac borrowed the name of Comte Hector d'Aure. None of these men, however, were known for the sort of philandering or thievery exhibited by Baron Hulot in the novel. Instead, Balzac may have used himself as the model; his many affairs with women across the social spectrum lead some to suggest that the author "found much of Hulot in himself".[58] Balzac's friend Victor Hugo, meanwhile, was famously discovered in bed with his mistress in July 1845. The similarity of his name to Hector Hulot (and that of his wife's maiden name, Adèle Foucher, to Adeline Fischer) has been posited as a possible indication of the characters' origins.[59]
  Wenceslas Steinbock
  "Quoique Steinbock eût vingt-neuf ans, il paraissait, comme certains blonds, avoir cinq ou six ans de moins ... cette jeunesse ... avait cédé sous les fatigues et les misères de l'exil" ("Though Steinbock was nine-and-twenty, like many fair men, he looked five or six years younger ... his youth ... had faded under the fatigue and stress of life in exile".)[60]
  
  The Polish sculptor Wenceslas Steinbock is important primarily because of Bette's attachment to him. He offers Bette a source of pride, a way for her to prove herself worthy of her family's respect. When Hortense marries Steinbock, Bette feels as though she has been robbed. Prendergast insists that the incident "must literally be described as an act of theft".[61]
  
  Steinbock's relevance also lies in his background and profession, illustrating Balzac's conception of the Polish people, as well as himself. Having spent more than a decade befriending Mme. Hanska and visiting her family in Poland, Balzac believed he had insight into the national character (as he felt about most groups he observed). Thus, descriptions of Steinbock are often laced with commentary about the Polish people: "Soyez mon amie, dit-il avec une de ces démonstrations caressantes si familières aux Polonais, et qui les font accuser assez injustement de servilité." ("'Be my sweetheart,' he added, with one of the caressing gestures familiar to the Poles, for which they are unjustly accused of servility.")[62][63]
  
  Critics also consider Steinbock important because of his artistic genius. Like Louis Lambert and Lucien Chardon in Illusions perdues, he is a brilliant man – just as Balzac considered himself to be. Before he is nurtured and directed by Bette, however, Steinbock's genius languishes under his own inertia and he attempts suicide. Later, when he leaves Bette's circle of influence, he fails again. Thus he demonstrates Balzac's conviction that genius alone is useless without determination.[64] Bellos organizes Steinbock and Bette into a duality of weakness and strength; whereas the Polish artist is unable to direct his energies into productive work, Bette draws strength from her virginity and thus becomes powerful by denying the lust to which Steinbock falls prey.[65] Steinbock's drive is further eroded by the praise he receives for his art, which gives him an inflated sense of accomplishment. One critic refers to the artist's downfall as "vanity ... spoiled by premature renown".[66]
  Style
  
  If Balzac's goal was (as he claimed) to write a realist novel from his "own old pen" rather than mimic the style of Eugène Sue, history and literary criticism have declared him successful. William Stowe calls La Cousine Bette "a masterpiece of classical realism"[67] and Bellos refers to it as "one of the great achievements of nineteenth-century realism", comparing it to War and Peace.[68] Some sections of the book are criticized for being melodramatic, and Balzac biographer V. S. Pritchett even refers to a representative excerpt as "bad writing".[69] Most critics, however, consider the moralistic elements of the novel deceptively complex, and some point out that the roman-feuilleton format required a certain level of titillation to keep readers engaged.[70] Others indicate that Balzac's interest in the theatre was an important reason for the inclusion of melodramatic elements.[71]
  Émile Zola said that Balzac's fiction was "uniquement le compte-rendu brutal de ce que l'écrivain a observé" ("only the brutal report of what the writer has observed").[72]
  
  Balzac's trademark realism begins on the first page of the novel, wherein Crevel is described wearing a National Guard uniform, complete with the Légion d'honneur. Details from the 1830s also appear in the novel's geographic locations. The Hulot family home, for example, is found in the aristocratic area of Paris known as the Faubourg Saint-Germain.[73] Bette's residence is on the opposite end of the social spectrum, in the impoverished residential area which surrounded the Louvre: "Les ténèbres, le silence, l'air glacial, la profondeur caverneuse du sol concourent à faire de ces maisons des espèces de cryptes, des tombeaux vivants." ("Darkness, silence, an icy chill, and the cavernous depth of the soil combine to make these houses a kind of crypt, tombs of the living.")[74] Descriptions of her meager quarters are – as usual in Balzac's work – an acute reflection of her personality. The same is true of the Marneffe home at the outset: it contains "les trompeuses apparences de ce faux luxe" ("the illusory appearance of sham luxury"),[75] from the shabby chairs in the drawing-room to the dust-coated bedroom.[76]
  
  Precise detail is not spared in descriptions of decay and disease, two vivid elements in the novel. Marneffe, for example, represents crapulence. His decrepit body is a symbol of society's weakness at the time, worn away from years of indulgence. The poison which kills Valérie and Crevel is also described in ghastly detail. The doctor Bianchon explains: "Ses dents et ses cheveux tombent, elle a l'aspect des lépreux, elle se fait horreur à elle-même; ses mains, épouvantables à voir, sont enflées et couvertes de pustules verdâtres; les ongles déchaussés restent dans les plaies qu'elle gratte; enfin, toutes les extrémités se détruisent dans la sanie qui les ronge." ("She is losing her hair and teeth, her skin is like a leper's, she is a horror to herself; her hands are horrible, covered with greenish pustules, her nails are loose, and the flesh is eaten away by the poisoned humors.")[77]
  
  La Cousine Bette is unapologetic in its bleak outlook, and makes blunt connections between characters' origins and behavior. For these reasons, it is considered a key antecedent to naturalist literature. Novelist Émile Zola called it an important "roman expérimental" ("experimental novel"),[78] and praised its acute exploration of the characters' motivations.[79][80] Some critics note that La Cousine Bette showed an evolution in Balzac's style – one which he had little time to develop. Pointing to the nuance of plot and comprehensive narration style, Stowe suggests that the novel "might in happier circumstances have marked the beginning of a new, mature 'late Balzac'".[81]
  Themes
  Passion, vice, and virtue
  
  Valérie's line about Delilah being "la passion qui ruine tout" ("passion which ruins everything") is symbolic, coming as it does from a woman whose passion accelerates the ruin of most people around her – including herself. Baron Hulot, meanwhile, is desire incarnate; his wandering libido bypasses concern for his wife, brother, children, finances, and even his own health. Bette, of course, is living vengeance, and Adeline desperately yearns for the happy home she imagined in the early years of marriage. Each character is driven by a fiery passion, which in most cases consumes the individual.[82] As Balzac puts it: "La passion est un martyre." ("Passion is martyrdom.")[83]
  After acknowledging herself as Delilah, Valérie warns her guests: "Prenez garde à vos toupets, messieurs!" ("Take care of your wigs, gentlemen!")[84]
  
  The intensity of passion, and the consequences of its manifestation, result in a stark contrast of vice and virtue. Bette and Valérie are pure wickedness, and even celebrate the ruin of their targets. As one critic says, "life's truths are viewed in their most atrocious form".[85] Mocking the use of the guillotine during the French Revolution while acknowledging her own malicious intent, Valérie says with regard to Delilah: "La vertu coupe la tête, le Vice ne vous coupe que les cheveux." ("Virtue cuts off your head; vice only cuts off your hair.")[84] Hulot is not intentionally cruel, but his actions are no less devastating to the people around him.[86]
  
  On the other side of the moral divide, Adeline and her children stand as shining examples of virtue and nobility – or so it would seem. Hortense ridicules her aunt when Bette mentions her protégé Wenceslas Steinbock, providing a psychological catalyst for the ensuing conflict.[87] Victorin repeatedly expresses outrage at his father's philandering, yet crosses a significant moral boundary when he agrees to fund Mme. Nourrison's plan to eradicate Valérie. As one critic puts it, Victorin's decision marks a point in the novel where "the scheme of right versus wrong immediately dissolves into a purely amoral conflict of different interests and passions, regulated less by a transcendent moral law than by the relative capacity of the different parties for cunning and ruthlessness."[88] The cruelties of the Hulot children are brief but significant, owing as much to their obliviousness (intentional in the case of Victorin, who asks not to learn the details of Mme. Nourrison's scheme) as to malicious forethought.[89]
  
  The question of Adeline's virtue is similarly complicated. Although she is forgiving to the point of absurdity, she is often considered more of a dupe than a martyr. Some have compared her to Balzac's title character in Le Père Goriot, who sacrifices himself for his daughters.[90] As Bellos puts it: "Adeline's complicity with Hector certainly makes her more interesting as a literary character, but it undermines her role as the symbol of virtue in the novel."[91] This complicity reaches an apex when she unsuccessfully attempts to sell her affections to Crevel (who has since lost interest) in order to repay her husband's debts. Her flirtation with prostitution is sometimes considered more egregious than Valérie's overt extortion, since Adeline is soiling her own dignity in the service of Baron Hulot's infidelity. For the remainder of the novel, Adeline trembles uncontrollably, a sign of her weakness.[92] Later, when she visits the singer Josépha (on whom her husband once doted), Adeline is struck by the splendor earned by a life of materialistic seduction. She wonders aloud if she is capable of providing the carnal pleasures Hulot seeks outside of their home.[93]
  
  Ultimately, both vice and virtue fail. Valérie is devoured by Montés' poison, a consequence of her blithe attitude toward his emotion. Bette is unsuccessful in her effort to crush her cousin's family, and dies (as one critic puts it) "in the margins".[94] Adeline's Catholic mercy, on the other hand, fails to redeem her husband, and her children are similarly powerless – as Victorin finally admits on the novel's last page. Like Raphael de Valentin in Balzac's 1831 novel La Peau de chagrin, Hulot is left with nothing but "vouloir": desire, a force which is both essential for human existence and eventually apocalyptic.[95]
  Gender and homoeroticism
  
  Gender roles, especially the figure of the ideal woman, are central to La Cousine Bette. The four leading female characters (Bette, Valérie, Adeline, and Hortense) embody stereotypically feminine traits. Each pair of women revolves around a man, and they compete for his attention: Valérie and Adeline for Baron Hulot; Bette and Hortense for Wenceslas Steinbock. Balzac's study of masculinity is limited to the insatiable lust of Hulot and the weak-willed inconstancy of Steinbock, with the occasional appearance of Victorin as a sturdy patriarch in his father's absence.[96]
  French painter Henri de Toulouse-Lautrec depicted lesbian relationships similar to (though more explicit than) that of Bette and Valérie, as in his 1893 painting "In Bed".[97]
  
  Critics pay special attention to Bette's lack of traditional femininity, and her unconventional relationships with two characters. She is described from the outset as having "des qualités d'homme" ("certain manly qualities"),[98] with similar descriptions elsewhere. Her relationship and attitude toward Steinbock, moreover, hint at her masculinity. She commands him into submission, and even binds him with economic constraints by lending him the money to develop his sculpture. Her domination is tempered by maternal compassion, but the couple's relationship is compared to an abusive marriage: "Il fut comme une femme qui pardonne les mauvais traitements d'une semaine à cause des caresses d'un fugitif raccommodement." ("He was like a woman who forgives a week of ill-usage for the sake of a kiss and a brief reconciliation.")[99][100]
  
  Bette's relationship with Valérie is layered with overtones of lesbianism. Early in the book Bette is "captée" ("bewitched")[101] by Valérie, and quickly declares to her: "Je vous aime, je vous estime, je suis à vous!" ("I love you, I esteem you, I am wholly yours!")[102] This affection may have been platonic, but neighbors of the Marneffes – along with many readers – suspect that their bond transcends friendship.[103] As with Steinbock, Bette and Valérie assume butch and femme roles; the narration even mentions "Le contraste de la mâle et sèche nature de la Lorraine avec la jolie nature créole de Valérie" ("The contrast between Lisbeth's dry masculine nature and Valerie's creole prettiness").[104] The homoeroticism evolves through the novel, as Bette feeds on Valérie's power to seduce and control the Hulot men. As one critic says: "Valérie's body becomes, at least symbolically, the locus of Bette's only erotic pleasure."[105]
  Wealth and society
  Balzac once wrote: "The worst fault of the July Revolution is that it did not allow Louis-Philippe three months of dictatorship in which to put the rights of the people and the throne on a secure basis."[106]
  
  As with many of his novels, Balzac analyzes the influence of history and social status in La Cousine Bette. The book takes places between 1838 and 1846, when the reign of Louis-Philippe reflected and directed significant changes in the social structure. Balzac was a legitimist favoring the House of Bourbon, and idolized Napoleon Bonaparte as a paragon of effective absolutist power. Balzac felt that French society under the House of Orléans lacked strong leadership, and was fragmented by the demands of parliament. He also believed that Catholicism provided guidance for the nation, and that its absence heralded moral decay.[107]
  
  Balzac demonstrated these beliefs through the characters' lives in La Cousine Bette. The conflict between Baron Hulot and the perfumer Crevel mirrors the animosity between the aristocracy of the Ancien Régime and the newly-developed bourgeoisie of traders and industrial entrepreneurs. Although he despised the socialist politics of Eugène Sue, Balzac worried that bourgeois desperation for financial gain drove people from life's important virtues. The characters – especially Bette, Valérie, and Crevel – are fixated on their need for money, and do whatever they must to obtain it.[108] As Crevel explains to Adeline: "Vous vous abusez, cher ange, si vous croyez que c'est le roi Louis-Philippe qui règne ... au-dessus de la Charte il y a la sainte, la vénérée, la solide, l'aimable, la gracieuse, la belle, la noble, la jeune, la toute-puissante pièce de cent sous!" ("You are quite mistaken, my angel, if you suppose that King Louis-Philippe rules us ... supreme above the Charter reigns the holy, venerated, substantial, delightful, obliging, beautiful, noble, ever-youthful, and all-powerful five-franc piece!")[109]
  
  Themes of corruption and salvation are brought to the fore as Valérie and Crevel lie dying from the mysterious poison. When his daughter urges him to meet with a priest, Crevel angrily refuses, mocking the church and indicating that his social stature will be his salvation: "la mort regarde à deux fois avant de frapper un maire de Paris!" ("Death thinks twice of it before carrying off a Mayor of Paris.")[110] Valérie, meanwhile, makes a deathbed conversion and urges Bette to abandon her quest for revenge. Ever the courtesan, Valérie describes her new Christianity in terms of seduction: "je ne puis maintenant plaire qu'à Dieu! je vais tâcher de me réconcilier avec lui, ce sera ma dernière coquetterie!" ("I can please no one now but God. I will try to be reconciled to Him, and that will be my last flirtation...!")[111]
  Reception and adaptations
  In 1921 actor Bette Davis, born Ruth Elizabeth Davis, chose Bette as her stage name in honor of Balzac's character.[112]
  
  The critical reaction to La Cousine Bette was immediate and positive, which Balzac did not expect. Whether due to the intensity of its creation or the tumult of his personal life, the author was surprised by the praise he received. He wrote: "I did not realize how good La Cousine Bette is.... There is an immense reaction in my favour. I have won!"[113] The collected edition sold consistently well, and was reprinted nineteen times before the turn of the century. 20th-century critics remain enthusiastic in their praise for the novel; Saintsbury insists it is "beyond all question one of the very greatest of [Balzac's] works".[114] Biographer Graham Robb calls La Cousine Bette "the masterpiece of his premature old age".[115]
  
  Some 19th-century critics attacked the book, on the grounds that it normalized vice and corrupt living. Chief among these were disciples of the utopian theorist Charles Fourier; they disapproved of the "immorality" inherent in the novel's bleak resolution. Critics like Alfred Nettement and Eugène Marron declared that Balzac's sympathy lay with Baron Hulot and Valérie Marneffe. They lambasted him for not commenting more on the characters' degenerate behavior – the same stylistic choice later celebrated by naturalist writers Émile Zola and Hippolyte Taine.[116]
  
  Balzac's novel has been adapted several times for the screen. The first was in 1927, when French filmmaker Max DeRieux directed Alice Tissot in the title role.[117] Margaret Tyzack played the role of Bette in the five part serial Cousin Bette aired on the BBC, which also starred Helen Mirren as Valérie Marneffe.[118] The film Cousin Bette was released in 1998, directed by Des McAnuff. Jessica Lange starred in the title role, joined by Bob Hoskins as Crevel, and Elisabeth Shue as the singer Jenny Cadine. Screenwriters Lynn Siefert and Susan Tarr changed the story significantly, and eliminated Valérie. The 1998 film was panned by critics for its generally poor acting and awkward dialogue. Stephen Holden of the New York Times commented that the movie "treats the novel as a thoroughly modern social comedy peopled with raging narcissists, opportunists and flat-out fools".[119][120]
  
  La Cousine Bette was adapted for the stage by Jeffrey Hatcher, best known for his screenplay Stage Beauty (based on his stage play Compleat Female Stage Beauty). The Antaeus Company in North Hollywood produced a workshop in 2008 and presented the world premiere of Cousin Bette in early 2010 in North Hollywood, California.[121] The adaptation retains many of the main characters but places Bette as the story's narrator.
貝姨 一-1
  一八三八年七月中旬,一輛在巴黎街頭新流行的叫做爵爺的馬車,在大學街上走着,車上坐了一個中等身材的胖子,穿着國民自衛軍上尉的。
   在那般以風雅為人詬病的巴黎人中間,居然有一些自以為穿上軍服比便服不知要體面多少,並且認為女人們目光淺陋,衹消羽毛高聳的軍帽和全副武裝,便會給她們一個好印象。
   這位第二軍團的上尉,眉宇之間流露出一派心滿意足的神氣,使他紅堂堂的皮色和着實肥胖的臉龐顯得更光彩。單憑這道靠買賣掙來的財富罩在退休的小店老闆們額上的金光,我們便可猜到他是個巴黎的得意人物,至少也是本區的助理區長之類。所以,象普魯士人那樣鼓得老高的胸脯上,榮譽勳位的綬帶是决計少不了的。趾高氣揚的坐在車廂的一角,這個佩帶勳飾的男子左顧右盼;巴黎的行人往往就在這種情形下遇到一些滿面春風的笑臉,其實那副笑臉是為他心中的美人兒的。
   爵爺到了狩獵街和勃艮第大街中間的一段,在一座大房子門前停下;那是在附有花園的舊宅空地上新起的,舊宅本身並沒改動,在去掉了一半的院子另一頭保持原狀。
   衹要看上尉下車時怎樣接受馬夫的侍候,便可知道他是五十開外的人了。有些顯而易見的笨重的舉動,象出生證一樣藏不了秘密。上尉把黃手套重新戴上右手,也不嚮門房問訊,徑自朝屋子底層的石級走去,神氣仿佛是說:“她是我的了!”巴黎看門人的眼力是很高明的,凡是佩帶勳飾,穿着藍衣服①,腳步沉重的人,他們决不阻攔;總之他們認得出有錢的人。
   ①藍色是國民自衛軍的顔色。
   底層全部是於洛·德·埃爾維男爵一傢住的。男爵在共和政府時代當過後勤司令兼軍法官,在隊伍裏當過軍需總監,現任陸軍部某個極重要的署的署長,兼參議官,榮譽勳位二級勳章獲得者,其他頭銜,不勝備載。
   於洛男爵改用他的出生地埃爾維做姓氏,以便和他的哥哥區分開來。哥哥是有名的於洛將軍,前帝國禁衛軍上校,一八○九年戰役之後由拿破侖册封為福芝罕伯爵。這位長兄為照顧弟弟起見,以父親那樣周密的心思,老早把他安插在軍事機關,後來由於弟兄兩人的勞跡,男爵得到了拿破侖應有的賞識。從一八○七年起,他已經是駐西班牙大軍的軍需總監。
   按過門鈴,民團上尉①費了好大勁纔把他凸起的肚子牽動得前翻後捲的衣服恢復原狀。一個穿號衣的當差一看見他,馬上請進,這個威風十足的要人便跟着進去,僕人打開客廳的門通報:
   “剋勒韋爾先生到!”
   ①當時的國民自衛軍全由中産階級及工商界組成,故亦稱民團。
   一聽到這個名副其實的姓氏①,一位高身量,金頭髮,保養得很好的女子象被電擊了似地忙不迭的站起,急急忙忙對在旁刺綉的女兒說:
   “奧棠絲,好孩子,跟你貝姨到花園裏去吧。”
   奧棠絲·於洛小姐很文雅的對上尉行過禮,帶着一個老處女從玻璃門出去了。那幹癟的老姑娘雖然比男爵夫人小五歲,看上去卻蒼老得多。
   “那是關係你的親事呢,”貝姨附在甥女奧棠絲耳邊說。男爵夫人打發她們時對她隨隨便便的態度,她似乎並沒有生氣。
   這種不拘禮數的待遇,可以從她的衣着上得到解釋。
   老處女穿一件科林斯②葡萄幹顔色的毛料衣衫,裁剪和滾邊都是王政復闢時代的款式,一條挑綉領圍大概值三法郎,一頂係着舊緞帶結子的草帽,結子周圍鑲着草辮,象巴黎中央菜市場上的女菜販戴的。看到那雙式樣明明是起碼鞋匠做的羊皮鞋,生客就不敢把貝姨當做主人的親戚招呼,因為她完全象個做零工的女裁縫。可是老姑娘出去之前,照樣對剋勒韋爾先生打一個親熱的招呼,剋勒韋爾先生會心的點點頭,說:“你明天來的吧,斐歇爾小姐?”
   ①Crevol(剋勒韋爾)與Crevé,讀音相仿,前者是姓氏,後者意思是大胖子。
   ②科林斯,希臘地名,以盛産葡萄著稱。
   “沒有外客嗎?”貝姨問。
   “除了你,就是我幾個孩子。”客人答道。
   “那麽,”她回答說,“我一定去。”
   民團上尉對男爵夫人重新行了一個禮,說道:
   “夫人,我特來聽你的吩咐,”說話之間他嚮男爵夫人飛了一個眼風,活象飾演答爾丟夫①的外省戲子,在普瓦捷或庫唐斯一類的城裏,以為非這樣望一眼艾爾密耳,就顯不出他角色的意義。
   ①答爾丟夫,莫裏哀喜劇《偽君子》中的主人公,是一個招搖撞騙的偽君子,想把奧爾恭的太太艾爾密耳和她的女兒一齊騙到手。
   “先生,請隨我來,談正經事還是那兒比客廳好,”於洛夫人一邊說一邊指着隔壁的一間房,從屋子的格局來看,那應當是打牌的房間。
   和小房隔開一道薄薄的板壁,另有一間窗子臨着花園的上房。於洛太太讓剋勒韋爾等着,因為她覺得上房的窗和門應當關嚴,免得有人偷聽。她還鄭重其事的關上大客廳的玻璃門,順便對坐在花園深處舊亭子裏的女兒和貝姨微微一笑。回來,她敞開打牌間的門,以便有人進來,就可聽見大客廳的門聲。這樣來來往往的時候,沒有什麽旁觀的人在場,所以男爵夫人的心事全都擺明在臉上;要是有人看到她,一定會因她的慌亂而吃驚的。但她從客廳的大門走嚮打牌間時,臉上立刻挂起一道莫測高深的幕,那是所有的亥子,連最爽直的在內,都會運用自如的。
   她這些準備工作看起來真是古怪得很。那時,上尉正在打量小客廳裏的傢具陳設。本是紅色的綢窗簾,給太陽曬成了紫色,縐褶快要磨破,地毯的顔色已經褪盡,傢具上的金漆已經剝落完了,布滿污點的花綢面子露出大塊的經緯:看到這些,暴發商人平板的臉上,天真地流露出先是鄙夷,再是自滿,而後是希望的表情。他照着帝國式舊座鐘上面的鏡子,把自己上上下下端詳一番,忽然一陣子衣衫窸窣的聲音報告男爵夫人來了,於是他立刻擺好姿勢。
   男爵夫人揀了一張三十年前當然很漂亮的小雙人沙發坐下,讓客人坐在一張靠手盡頭雕着斯芬剋司①的頭、的漆已經剝落而露出白木的靠椅上。
   ①斯芬剋司,即獅身人面像。
   “太太,你這樣的防範周密,倒很象招待一個……”
   “招待一個情人是不是?”她截住了他的話。
   “這樣說還差點兒勁,”他把右手放在心口,眨巴着眼睛,那神氣在一個冷靜的女子看來是永遠要發笑的,“情人!情人!
   應當說神魂顛倒的情人……”
   “聽我說,剋勒韋爾先生,”男爵夫人一股正經勁兒使他笑也笑不出來,“我知道你今年五十,比於洛小十歲;可是在我的年紀,一個女人再要胡闹,必需有些特殊的理由,不是為了美貌,便是為了年輕,為了名望,為了功跡,為了一點子衝昏我們的頭腦、使我們忘掉一切,甚至忘掉我們年紀的烜赫的光華。你雖然有五萬法郎的收入,你的年齡也把你的財富抵銷了;女人認為必不可少的條件,你一樣也沒有……”
   “有愛情還不成嗎?”他站起身來嚮前走了一步,“而且那愛情……”
   “不,先生,那是你死心眼兒!”男爵夫人打斷了他的話,不讓他老是無聊。
   “對啊,就是愛情的死心眼兒呀,並且還不止這一點,還有權利……”
   “權利?”於洛太太嚷道。她又是鄙薄,又是輕衊,又是憤慨。“得了吧,這一套說下去是沒得完的;我請你來,也不是舊話重提,要談當初使你這位至親不能上門的那回事……”
   “我倒以為……”
   “又來了!先生,我能這樣輕鬆的,滿不在乎的提到情人,愛情,那些使女人最為難的題目,你難道還看不出我完全把得住自己嗎?我甚至毫無顧忌,不怕跟你兩人關在這間屋裏。
   沒有把握的女人會這樣嗎?你明明知道我為什麽請你來!……”
   “不知道,太太,”剋勒韋爾扮起一副冰冷的臉,抿緊了嘴,重新擺好姿勢。
   “好吧,我的話不會多,省得彼此多受罪,”男爵夫人望着剋勒韋爾說。
   剋勒韋爾帶着譏諷意味行了個禮。這一下,內行人就可看出他從前當過跑街的氣派。
   “我們的兒子娶了你的女兒……”
   “怎麽,還要重新來過嗎?”剋勒韋爾說。
   “那我怕這頭親事不會成功的了,”男爵夫人很快當的回答。“可是你也沒有什麽好抱怨。我的兒子不但是巴黎第一流的律師,並且已經當了一年議員,在國會裏初期的表現相當精彩,不久就有當大臣的希望。維剋托蘭做過兩次重要法案的報告員,要是他願意,他早已當上最高法院的首席檢察官。
   所以,倘使你的意思是說你攪上了一個沒有財産的女婿……”
   “哼,一個要我維持的女婿,”剋勒韋爾回答,“我覺得這個比沒有財産更糟,太太。我給女兒的五十萬法郎陪嫁,二十萬天知道花到哪兒去了……令郎拿去還債,把屋子裝扮得金碧輝煌,——一所五十萬法郎的屋子,收入還不到一萬五,因為他自己住了最好的一部份;他還欠二十六萬法郎的屋價……收來的房租衹夠付屋價的利息。今年我給了女兒兩萬法郎,她纔敷衍過去。我女婿當律師的收入一年有三萬,哎,聽說他為了國會倒不在乎業務了……”
   “先生,這些仍不過是閑文,衹能岔開我們的本題。總括一句,倘使我兒子當了大臣,給你的榮譽勳位勳章晉一級,再給你弄一個巴黎市政府參議,那麽,象你這樣花粉商出身的人也沒有什麽好抱怨的了……”
   “啊!太太,提到這個來了。對,我是做小買賣的,開鋪子的,賣杏仁餅,葡萄牙香水跟頭痛油的,我應當覺得很榮幸,把獨養女兒攀上了於洛·德·埃爾維男爵的公子,小女將來是男爵夫人呀。這是攝政王派,路易十五派,宮廷派!好極……我喜歡賽萊斯蒂納,就象人傢喜歡一個獨養女兒一樣,因為我疼她,因為連兄弟姊妹都不想給她添一個,所以雖是在巴黎鰥居多麽不方便,(而且在我年富力強的時候,太太!)我照樣忍受;可是請你明白,儘管我溺愛女兒,我卻不肯為了你的兒子動搖我的産業,在我做過買賣的人看來,他的用度有些不清不楚……”
   “先生,在商務部裏,眼前就有一位包比諾先生,從前在倫巴第街上開藥鋪的……”
   “是我的老朋友啊,太太!……”退休的花粉商人說:“因為我,賽萊斯坦·剋勒韋爾,本是賽查·皮羅托老頭手下的大夥計,他的鋪子是我盤下的;皮羅托是包比諾的丈人,包比諾當時在店裏不過是個小夥計,而這些還是他跟我提的,因為他,說句公平話,對有身傢的人,對一年有六萬法郎進款的人並不驕傲。”
   “那麽先生,可見你所謂的攝政王派的觀念已經過時了,現在大傢看人衹看他本身的價值;你把女兒嫁給我的兒子也是為此……”
   “你纔不知道那頭親事是怎麽成功的呢!……”剋勒韋爾大聲說道。“啊!單身漢的生活真是該死!要不是我生活亂七八糟,今天賽萊斯蒂納早已當上包比諾子爵夫人了!”
   “告訴你,既成事實不用提了,”男爵夫人斬釘截鐵的說。
   “我要談的是我氣不過你那種古怪的行為。小女奧棠絲的親事是可以成功的,那完全操在你手裏,我以為你寬宏大量,以為你對一個心中衹有丈夫沒有別人的女子,一定會主持公道,以為你能夠體諒我不招待你,免得受你牽纍,以為你能夠顧到至親的體面,而促成奧棠絲和勒巴參議官的婚事……卻不料你先生竟壞了我們的事……”
   “夫人,我不過是老實人說老實話。人傢問我奧棠絲小姐的二十萬法郎陪嫁能不能兌現。我說:‘那我不敢擔保。於洛傢裏把那筆陪嫁派給我的女婿負擔,可是他自己就有債務,而且我認為,要是於洛·德·埃爾維先生明天故世,他的寡婦就要餓肚子。’就是這樣,好太太。”
   於洛太太眼睛釘住了剋勒韋爾,問道:
   “先生,倘使我為了你而有損婦道,你還會不會說這番話呢?……”
   “那我沒有權利說了,親愛的阿黛莉娜,”這個古怪的情人截住了男爵夫人的話,“因為在那個情形之下,你可以在我的荷包裏找到那份陪嫁了。”
   為表示說到做到,胖子剋勒韋爾當堂脆下,捧着於洛太太的手親吻;她氣得說不上話,他卻當做她遲疑不决。
   “用這個代價來換我女兒的幸福?……噢!先生,你起來,要不然我就打鈴了……”
   老花粉商很費事的站起身子,那種尷尬局面使他大為氣憤,立刻擺好了姿勢。差不多所有的男人都會裝出某種功架,以為能夠顯出自己的美點。剋勒韋爾的功架,是把手臂擺成拿破侖式,側着四分之三的腦袋,學着畫傢在肖像上替拿破侖安排的目光,望着天邊。他裝做不勝憤慨的樣子,說:
   “嚇!死心塌地的信任,信任一個好色……”
   “信任一個值得信任的丈夫,”於洛太太打斷了剋勒韋爾的話,不讓他說出一個她不願意聽的字眼。
   “呃,太太,你寫信叫我來,你要知道我為什麽那樣做,而你拿出王後一般的神氣,用那麽瞧不起人,欺侮人的態度逼我。你不是當我奴才看嗎?真的,你可以相信,我有權利來,來……追求你……因為……嘔,不,我太愛你了,不能說……”
   “說吧,先生,再過幾天我就四十八歲了,我也不是什麽假貞潔的傻女人,什麽話都能聽……”
   “那麽你能不能拿貞潔做擔保,——唉,算我倒黴,你的確是貞潔的女人,——你能不能擔保不提我的名字,不泄露是我告訴你的秘密?”
   “假使這是揭穿秘密的條件,那麽你等會告訴我的荒唐事兒,我發誓對誰都不說從哪兒聽來的,對我丈夫也不說。”
   “對啦,因為這件事就跟你夫婦倆有關……”
   於洛太太立刻臉色發了白。
   “啊!要是你還愛於洛,你要難受的!我還是不說的好。”
   “說吧,先生,因為照你的說法,你應當表明一下為什麽要對我講那些瘋話,為什麽你死乞白賴,要折磨一個象我這等年紀的女人,我衹要嫁了女兒,就可以安安心心的死了!”
   “你瞧你已經在傷心了……”
   “我?”
   “是啊,我的高貴美麗的人哪!”剋勒韋爾叫道,“你就是太苦了,我的乖……”
   “先生,出去!要不然,放規矩些!”
   “哎,太太,你可知道於洛大人跟我是怎麽認識的嗎?……
   在咱們的情人傢裏哪,太太。”
   “噢!先生……”
   “在咱們的情人傢裏哪,太太,”剋勒韋爾用舞臺上說白似的音調重複了一遍,同時舉起右手比了一個手勢。
   “那麽以後呢,先生?”男爵夫人語氣的鎮靜,叫剋勒韋爾愣住了。
   心思卑鄙的好色之徒,是永遠不會瞭解偉大的心靈的。
   “那時我已經鰥居了五年,”剋勒韋爾象講故事一般的說,“我挺喜歡女兒,為了她的利益,我不願意續娶,也不願意在傢裏發生什麽關係,雖然我當時有一個很漂亮的女賬房;這樣,我就弄了一處俗語所說的小公館,養着一個十五歲的女工,簡直是天仙似的美人兒,老實說,我愛她愛得魂都沒有了。所以,太太,我把鄉下的姨母接出來,跟小媳婦兒一塊住,監督她,使她在這個……這個不三不四的地位上盡可能的安分守己。小乖乖很有音樂天才,我替她請了教師,給她受教育。(總得有點事兒給她解解悶啊。)再說,我想同時做她的父親,恩人,兼帶……推開天窗說亮話,情人;做了件好事,得了個情婦,不是一舉兩得嗎?我快活了五年。小乖乖的嗓子可以教一傢戲院發財,除了說她是女人之中的杜潑雷①,我沒有法子形容。單為栽培她的歌唱,我每年就花上兩千法郎。她使我對音樂着了迷,為了她和我的女兒,我在意大利劇院長期有一個包廂,今天帶賽萊斯蒂納去,明天帶約瑟法去……”
   ①杜潑雷(1806—1896),當時有名的男高音歌唱傢。
   “怎麽,就是那個有名的歌唱傢?……”
   “是啊,太太,”剋勒韋爾很得意的回答,“這個有名的約瑟法哪一樣不是靠了我……話說回來,一八三四年,小乖乖二十歲,我以為她對我永遠不會變心了,我把她也寵得厲害,想給她一點兒消遣,介紹她認識了一個漂亮的女戲子珍妮·卡迪訥,珍妮的命運跟她有好些地方相象。她一切都靠一個後臺費盡心機培養成功的。這後臺便是於洛男爵……”
   “我知道,先生,”男爵夫人鎮靜的聲音,一成不變。
   “噢……!”剋勒韋爾越來越詫異了。“好吧!可是你知道沒有,你那個老妖精的丈夫照顧珍妮·卡迪訥的時候,她衹有十三歲?”
   “那麽先生,以後呢?”
   “珍妮·卡迪訥認識約瑟法的時候,兩人都是二十歲,男爵從一八二六年起,就象路易十五對待德·羅曼小姐,那時你比現在還要小十二歲……”
   “先生,我放任於洛是有我的理由的。”
   “太太,你這種謊話,沒有問題可以把你所有的罪孽一筆勾銷,使你堂,”剋勒韋爾狡獪的神氣,使男爵夫人紅了臉。“我敬愛的偉大的太太,你這句話可以對旁人說,卻不能對我剋勒韋爾老頭說。你得明白,我跟你那個壞蛋丈夫花天酒地,混得太久了,决不會不知道你的好處!兩杯酒下肚,他有時會一五一十說出你的優點,把自己駡一頓。呃!我對你知道得太清楚了:你是一個天使。把你跟一個二十歲的少女放在一起,一個好色的人也許還委决不下,我可决不猶豫。”
   “先生!……”
   “好,我不說了……可是告訴你,聖潔的太太,做丈夫的一朝喝醉了,會把太太的事一古腦兒說給情婦們聽,把她們笑痛肚子的。”
   於洛太太美麗的睫毛中間,亮起又羞又憤的淚珠,剋勒韋爾頓時把話咽了下去,連擺姿勢都忘記了。
   “言歸正傳,”他又說,“因為娘兒們的關係,我跟男爵交了朋友。象所有的好色鬼一樣,男爵和氣得很,人也痛快。噢!那時我多喜歡他,這小子!真的,他玩意兒多得很。過去的回憶不用提啦……總之,我們兩個象弟兄一樣……這壞蛋,一派攝政時期①的作風,拚命想教壞我,在男女關係上宣傳那套各盡所能,各取所需的話,告訴我怎樣叫做王爺氣派,宮廷氣派;可是我,憑我對那小姑娘的愛情,真想把她娶過來,要是不怕生孩子的話。以當時的交情,我們兩老怎麽不想結個兒女親傢呢?賽萊斯蒂納嫁了三個月之後,於洛(我簡直不知道叫他什麽好,這混蛋!他把你我兩個都欺騙了,太太!……),歐,這混蛋把我的小約瑟法偷上了。那時珍妮·卡迪訥在舞臺上越來越走紅,那壞東西知道她的心已經給一個年輕的參議官和一個藝術傢(真是饑不擇食!)占去了,他便來搶我可憐的小情人,一個如花似玉的美人兒;噢!你一定在意大利劇院看見過,那是靠他的情面進去的。你的丈夫可不象我有分寸,不比我井井有條的象一頁五綫譜,(他為了珍妮·卡迪訥已經破費不少,每年花上近三萬法郎。)這一回,你知道,他為了約瑟法終於把錢攪光了。約瑟法,太太,是猶太人,姓彌拉(Mirah),是希蘭(Hiram)一字的顛倒,人傢為了辨認起見特意做的猶太標記,因為她是小時候被人丟在德國的。(我的調查,證明她是一個猶太銀行傢的私生女兒。)在我管教之下,她一嚮很規矩,不大花錢;可是一進戲院,再加珍妮·卡迪訥、匈茲太太,瑪拉迦、卡拉比訥一夥人教會了她怎樣應付老頭兒,把她早期希伯來人喜歡金銀珠寶,喜歡金犢的本性點醒了。成名以後的歌女,變成貪得無厭,衹想搞錢,搞大錢。人傢為她揮霍的,她决不拿來揮霍。她拿於洛老太爺做試驗品,軟騙硬詐,把他颳得精光。且不說那般專捧約瑟法的無名的群衆;該死的於洛先得跟凱勒傢裏的一個弟兄和埃斯格裏尼翁侯爵鬥法,兩人都是給約瑟法迷住了的;而後,來了一個大財主,自命為提倡藝術的公爵,把她搶了去。你們叫他什麽的……矮東瓜是不是,那個埃魯維爾公爵?這位闊佬存心要把約瑟法獨占,風月場中的人都在談論這件事,就剩男爵一個人不知道;在私情方面,好象別的方面一樣,他完全蒙在鼓裏:情人,跟丈夫一樣,總是最後一個知道的。現在,我所謂的權利,你懂了吧?好太太,你丈夫把我的幸福,自從我鰥居以後唯一的樂趣奪去了。是的,要不是我倒黴,遇到這個老風流,到現在約瑟法還是我的;因為,告訴你,我永遠不會送她進戲院,她不會出名,她會安安分分的守着我。噢!要是你在八年之前看到她:瘦瘦的,神經質的,金黃的皮膚安達盧西亞②美女,烏油油的頭髮象緞子,眼睛在褐色的睫毛中間發出閃光,舉止大方,好比一個公爵夫人,又樸素,又莊重,象野鹿一般惹人憐愛。由於於洛大爺一人之過,這些風韻,這種純潔,一切變了陷人坑,變了銷金窟。這小女人象俗語所說的,變成了淫惡之母。現在她油腔滑調,從前她什麽都不懂,連油嘴滑舌這個字眼都不知道的。”
   ①一七一五至一七二三年法國奧爾良公爵攝政時期,宮廷風習極為奢糜腐化。
   ②安達盧西亞,西班牙地名。
貝姨 一-2
  說到這裏,老花粉商抹了抹眼淚。痛苦的真實性感動了於洛太太,把她恍恍惚惚的心收了回來。
   “你想,太太,一個人到了五十二歲,還能找到一個這樣的寶貝嗎?在這個年齡,愛情的代價要三萬法郎一年,這個數目是從你丈夫那裏知道的;而且我也太喜歡賽萊斯蒂納了,不能讓她的財産受到損害。在你第一次招待我們的晚會上一看見你,我就不明白於洛這小子為什麽要養一個珍妮·卡迪訥……你氣概象皇后……太太,你還不到三十歲,看上去年輕得很,而且真美。老實說,那天我真動了心,私下盤算着:‘要是我沒有約瑟法,那麽於洛老頭既然把他的女人丟在一邊,她對我倒象手套一樣合適。’啊!對不起,又是一句生意人的口頭禪。我常常要露出花粉商的馬腳,嚇得我不敢再想當議員。——對兩個象我們這樣的老夥計,朋友的情婦是神聖不可侵犯的;因此,一朝男爵把我那麽卑鄙的欺騙了,我就發誓要把他的妻子弄上手。這纔公道。男爵沒有話說的,咱們倆應當扯直。不料我剛開口說出我心裏的話,你就把我當癩狗一樣趕了出去;可是你那一下更加強了我的愛情,加強了我的死心眼兒,如果你喜歡這麽說;而且你遲早是我的。”
   “怎麽會?”
   “我不知道,可是一定的。告訴你,太太,心中衹有一個念頭的,蠢頭蠢腦的花粉商,(已經告老的,別忘了!)比那種念頭成千纍萬、聰明伶俐的人,要強得多。我為你瘋癲了,而且你是我報仇的工具!這等於把我的熱情增加了一倍。我這是開誠布公對你說的,拿定了主意說的。正如你對我說:‘我决不會是你的’,我對你的說話也是一樣的冷靜。總之,象俗語所說的,我把牌攤明在桌上打。是的,到了某一個時期,你一定是我的……噢!哪怕你五十歲吧,你還是要做我的情婦,沒有問題,因為我,我料到你丈夫有一天……”
   於洛太太對這個老謀深算的市儈,害怕得直瞪着眼,剋勒韋爾以為她瘋了,不敢再往下說。
   “這是你自己招來的,你瞧不起我,挑撥我,教我不得不說!”他覺得剛纔幾句狠毒的話,需要表白一下。
   “噢!我的女兒,我的女兒!”男爵夫人嚷着,聲音象一個快要死去的人。
   “啊!我簡直弄不明白了,”剋勒韋爾接着說。“約瑟法給騙走的那一天,我好比一頭雌虎給人搶去了小虎兒……對啦,就跟你現在一樣。哼,你的女兒!便是我徵服你的手段。不錯,我破壞了你女兒的婚姻!……沒有我幫忙,她休想嫁人!
   不管奧棠絲小姐生得多美,總得有一份陪嫁……”
   “唉!可憐,正是哪。”男爵夫人抹了抹眼睛。
   “你問男爵要一萬法郎試試看,”剋勒韋爾說着又擺好了姿勢。
   他歇了一會,象戲子把道白特意表明段落似的。然後他尖着喉嚨:
   “即使他有,也是要給替補約瑟法的女人的。走上了這條路,還會懸崖勒馬嗎?先是他太喜歡女人了!(咱們的王上說得好:一切都有個中庸之道。①)再加虛榮心作怪!他是一個美男子呀!他為了自己快活,會叫你們睡草墊的。而且,你們已經走上救濟院的路了。你瞧,自從我不上門之後,你們就沒有能換這客廳的傢具。所有椅套的鑲邊上,都擺明着窮酸兩字。上等人傢的窮是最可怕的,你這種遮掩不了的窘相,哪個女婿見了不嚇跑?我開過鋪子,我是內行。巴黎的生意人衹要眼睛一瞥,就能看出是真有錢還是假有錢……你是沒有錢了,”他把聲音放低了說。“處處看得出,從你們當差的衣服上也看得出。還有一件瞞着你的秘密,要不要我告訴你?……”
   ①法王路易-菲力浦即位初期曾經這樣說明他的不左不右的對內政策。即:“我們將努力奉行中庸之道。”巴爾紮剋在這裏提到王上顯然具有諷刺意味。
   “先生,夠了!夠了!”於洛太太哭得快把手帕都浸濕了。
   “哎,哪,我的女婿把錢給他老子呢,開頭我說你兒子的用度,就是指這一點。可是我决不讓我女兒吃虧……你放心。”
   “噢!女兒嫁了人,我就可以死了!……”可憐的女人叫着,沒有了主意。
   “要嫁女兒,有的是辦法呀!”老花粉商說。
   於洛太太抱着滿腔希望,瞅着剋勒韋爾,按說這一眨眼之間轉悲為喜的表情,大可引起這個男人的憐憫,而放棄他可笑的計劃的。
   “你還可以漂亮十年,”剋勒韋爾說着,重新擺好了姿勢,“衹要你對我好,奧棠絲小姐的親事就成功了。我已經說過,於洛給了我權利,可以老實不客氣的提出我的條件,他不能生氣的。三年以來,我在調度我的資金;因為我的荒唐是有節制的。除了原來的傢産之外,我多了三十萬法郎,這筆錢就是你的……”
   “出去,先生,出去,永遠不許再在我面前出現。要不是你對奧棠絲的親事行為卑鄙……是的,卑鄙……”她看見剋勒韋爾做了一個姿勢,便重複一遍。“你怎麽能對一個可憐的女孩子,一個美麗的無辜的女孩子,下這種毒手?……要不是我想知道你這種行為的動機,要不是我受傷的母性逼得我非知道你的理由不可,你今天决不能再跟我說話,决不能再上我的門。一個女人三十二年的名譽,三十二年的清白,决不為你屈服,為你剋勒韋爾先生……”
   “剋勒韋爾,退休的花粉商,賽查·皮羅托的後任,聖奧諾雷街上玫瑰皇后的老闆,前任助理區長,現任自衛軍上尉,特授榮譽勳位五級勳章,跟我的老東傢一模一樣。”剋勒韋爾嘻嘻哈哈的說。
   “先生,於洛規矩了二十年之後,可能對他的妻子厭倦,那衹是我的事兒,跟旁人不相幹;可是你瞧,他還把他的不忠實瞞得緊緊的,因為我不知道在約瑟法小姐的心裏,是他接替了你的位置……”
   “噢!”剋勒韋爾叫道,“用多少黃金買的,太太!……兩年之中,這個歌女花了他不止十萬。哼!哼!你的苦難還沒有完呢……”
   “這些話都不用提了,剋勒韋爾先生。我要在擁抱孩子們的時候,永遠沒有一點兒慚愧,我要受全家的敬重、愛戴,我要把我的靈魂一塵不染的還給上帝:這些我决不為你犧牲的。”
   “阿門!”剋勒韋爾臉上惡狠狠的,又羞又惱,正如一般害單相思的人又碰了一個釘子一樣。“你還沒有咂摸到最後一步的苦處呢,羞愧,……恥辱……我本想點醒你,想救你跟你的女兒!……好吧,越老越昏的浪子這個新名詞,你將來要一個字一個字的咂摸出它的滋味。你的眼淚跟你的傲氣使我很感動,因為看一個心愛的人淌眼淚是最難受的!……”剋勒韋爾說到這裏,坐了下來。“我所能答應你的,親愛的阿黛莉娜,是决不做一件難為你或是難為你丈夫的事;可是別打發人傢來嚮我探聽府上的虛實。如此而已。”
   “那可怎麽辦呢?”於洛太太嚷道。
   至此為止,男爵夫人很勇敢的熬住了三重刑罰,因為她在女性、母性、妻子三方面都受到恥辱。衹要親傢傲慢無禮的威逼她,她為了抵抗市儈的兇橫,倒還能鼓足勇氣;可是失意的情人,受到屈辱的體面上尉,在無可奈何中忽然軟化,卻讓她緊張到快要破裂的神經鬆弛了下來;她擰着自己的手,哭做一團,昏昏沉沉的,連剋勒韋爾跪着吻她的手都不曾抗拒。
   “天哪!怎麽辦呢?”她抹了抹眼淚,“做母親的能夠硬着心腸眼看女兒憔悴嗎?她將來怎辦呢:這樣的人品,天賦那麽厚,在母親旁邊過着那麽貞潔的生活!有些日子,她一個人在花園裏散步,就無緣無故的悲傷;我還發現她眼睛淚汪汪的……”
   “她二十一歲啦,”剋勒韋爾說。
   “要不要送她進修道院呢?遇到這等危機,宗教也往往壓製不了天性,受過最虔誠的教養的姑娘,也會失掉理性的!——哎,先生,你起來呀,你還不明白,我們之間一切都完了嗎?我對你厭惡到了極點,做母親的最後的希望都給你毀掉了!……”
   “要是我把你的希望救回來呢?……”他說。
   於洛太太瞅着剋勒韋爾,那副精神錯亂的表情,使他的心軟了一軟;可是想到那句我對你厭惡到極點的話,他又把心中的憐憫壓了下去。正人君子往往過於耿直,不知道利用性情氣質,微言奧旨,去拐彎抹角的應付一個為難的局面。
   “這個年月,象奧棠絲小姐那樣漂亮的姑娘,沒有陪嫁就沒有人要,”剋勒韋爾板着臉說,“她那種美女,做丈夫的見了要害怕的;好比一匹名貴的馬,需要太多的錢照料,决不會有多少買主。你能攙着這等女人在街上走嗎?大傢都要瞅着你,跟在你後面,打你太太的主意。這種招搖,凡是不想跟情敵决鬥的男人都要覺得頭痛,因為結果,情敵决不止一個兩個。照你的處境,要嫁掉女兒衹有三條路:由我幫忙,你卻不願意!這是一條;找一個六十歲的老頭,很有錢,沒有孩子而想要孩子的;這種人固然不容易找,可是還能碰上;養着約瑟法和珍妮·卡迪訥的老頭兒有的是,幹嗎就找不到一個用明媒正娶的方法做這種傻事的人?……要是我沒有賽萊斯蒂納和兩個外孫,我就會娶奧棠絲;這是第二條!最後一條路是最方便的……”
   於洛夫人擡起頭來,不勝焦急的瞅着老花粉商。
   “巴黎是一切有魄力的人集中的地方,他們象野生的植物,在法國土地上自生自發的長起來;其中有的是無傢無室的人才,有的是無所不為的勇氣,發財的勇氣……嘔,那些人哪……(在下當年就是其中一個,我還認得不少呢!……二十年之前,杜·蒂耶有些什麽?包比諾有些什麽?……兩個人都在皮羅托老頭鋪子裏鬼混,除了嚮上爬的欲望以外,什麽資金都沒有!可是我認為,志氣跟大資本一樣值錢!……資本是吃得完的,志氣是吃不完的!……我自己又有些什麽?還不是一心嚮上,還不是一股勇氣罷了!杜·蒂耶,今天跟哪個大人物都比得上。小傢夥包比諾,倫巴第街上最殷實的藥材商,當了議員,如今又當了大臣……)嘔!巴黎衹有那般做買賣的、寫文章的、畫畫的冒險傢,纔會娶一個不名一文的漂亮女子,因為他們具備各種各樣的勇氣。包比諾先生娶皮羅托小姐的時候,根本沒有想要一個錢的陪嫁。這些人都是瘋子!他們相信愛情,就象他們相信自己的運氣,相信自己的能力一樣!……你不妨去找一個有魄力的人,他要是愛上了你女兒,會不顧眼前而娶她的。你得承認,我這種敵人是夠慷慨的了,因為我給你出的主意對我是不利的。”
   “啊!剋勒韋爾先生,如果你想做我的朋友,就應該放棄你荒謬的念頭!……”
   “荒謬?太太,不要自暴自棄,你看看你自己吧……我愛你,你早晚會依我的!我要有朝一日能夠對於洛說:“你搶了我的約瑟法,我占了你的老婆!……’這是以牙還牙的老法律!我一定要實現我的計劃,除非你變得奇醜。而且我一定成功,你聽我的理由,”他重新擺正姿勢,瞅着於洛太太,停了一會,又說:“你既找不到一個老頭兒,也找不到一個癡情的青年人。你疼你的女兒,决不肯把她送給一個老色鬼擺布;同時你,於洛男爵夫人,帝國禁衛軍榴霰兵團司令的弟媳婦,决沒有勇氣招一個苦幹的光棍做女婿,他眼前的地位就教你受不了,因為他也許衹是一個普通工人——現在某個百萬富翁,十年之前就不過是一個機器匠;——也許衹是一個監工,一個什麽廠裏的工頭之類。等到後來,眼見你二十歲的女兒很可能因衝動而失節的時候,你就會對自己說:‘那還不如讓我來失節;如果剋勒韋爾老頭肯替我守秘密,我就好賺到女兒的陪嫁,二十萬法郎,代價是十年的關係,跟這個從前的花粉商,剋勒韋爾老頭!……’我惹你心煩,我說的是極不道德的話,是不是?可是如果你疼女兒的熱情揪着你的心,你自會跟一般愛兒女的母親一樣,想出理由來依我……總而言之,奧棠絲的利益,早晚會使你想出理由,逼你的良心投降的……”
   “奧棠絲還有個舅公呢。”
   “誰?斐歇爾老頭嗎?……他自顧還不周呢,而且又是受男爵的纍,凡是他搜括得到的地方都給他搜括到了。”
   “還有於洛伯爵……”
   “噢!太太,你丈夫已經把老將軍的積蓄擠幹了,裝修他歌女的公館去了……嘔,難道你不給我一點兒希望就讓我走嗎?”
   “再會,先生。你為我這種年紀的女人害的相思病,是容易治好的,你會棄邪歸正。上帝保佑苦難的人……”
   男爵夫人站起身子,叫上尉非告辭不可,她把他逼進了大客廳。
   “這種破落地方是美麗的於洛太太住的嗎?”
   說罷他指着一盞舊燈,一座鍍金褪盡的吊燈,經緯畢露的地毯,以及一切破爛東西,使這間白地描金的大客廳,成為帝政時代大場面的殘骸。
   “先生,這些都照出貞潔的光輝。我不想要什麽富麗堂皇的傢具,而把承你誇奬的我的美貌,變了陷人坑,變了銷金窟!”
   剋勒韋爾咬咬嘴唇,聽出那兩句是他剛纔駡約瑟法貪心的話。
   “苦苦守節,為着誰喲?”他說。
   這時男爵夫人已經把老花粉商打發到客廳門口。
   “為一個好色之徒!……”他補上一句,裝出一副百萬傢私的正人君子的嘴臉。
   “要是你的話不錯,先生,那麽我的守節也就不無可取了。
   這不是說完了嗎?”
   她象打發一個討厭人似的,對上尉行了禮,急急忙忙回身進去,不曾看到他最後一次的擺姿勢,也沒有留神到他告別時帶着威嚇意味的態度。她跑去打開窗門,走路的神氣高傲而莊嚴,仿佛羅馬鬥獸場中的殉道者。可是她筋疲力盡,在全部都是藍顔色的上房中,望便榻上頽然坐下,好似一個快要病倒的人。她直瞪着眼,瞅着女兒和貝姨在那裏唧唧噥噥的破亭子。
   從結婚的最初幾天一直到這個時候,男爵夫人愛她的丈夫,象約瑟芬愛拿破侖一樣,是那種欽佩的,母性的,一味護短的愛。她雖不知道剋勒韋爾剛纔說的細節,卻很知道二十年來男爵幾次三番的對她不忠實;她故意閉上眼睛裝不看見,衹是默默的流淚,嘴裏從來不溜出一言半語的埋怨。這種天使般的溫柔,博得了丈夫的敬重,把她當做神明一般的禮贊。一個妻子對丈夫的溫情,把他捧得高高在上的敬意,在家庭中是有傳染性的。奧棠絲一嚮把父親當做一個模範丈夫。至於小於洛,從小衹知道佩服男爵,——誰都當他是輔翼拿破侖的一個元勳。他知道靠了父親的姓氏,地位和庇護,他纔有今日。而且童年的印象往往有久遠的影響,他還見了父親害怕呢。因此,即使他猜疑到剋勒韋爾所說的那些荒唐,他不但因為敬畏之故而不敢加以非難,並且為了自己在這種問題上對一般男人的看法,還會加以原諒。
   現在我們應當解釋為什麽這個又美麗又偉大的女子,對丈夫忠貞不二到這個地步。下面便是她一生簡短的歷史。
   在洛林省邊境的極端,靠着孚日山腳的一個村子裏,有三個姓斐歇爾的兄弟,都是農夫,在共和政府徵兵的時候加入了萊茵部隊。
   一七九九年,三兄弟中的老二,安德烈,於洛太太的父親,因為妻子死了,把女兒交給長兄皮埃爾·斐歇爾照顧。皮埃爾在一七九九年受了傷不得不退伍之後,靠了後勤司令於洛·德·埃爾維男爵撐腰,在軍事運輸方面經營一小部分事業。於洛有事上斯特拉斯堡,碰巧見到了斐歇爾一傢。那時阿黛莉娜的父親和他的兄弟,都在阿爾薩斯省幹供應糧秣的事。
   十六歲的阿黛莉娜,很可以跟大名鼎鼎的杜巴裏夫人①相比,同樣是洛林省出身。她是那種十全十美,動人心弦的美人,是塔利安夫人一流,造物主特別加工的出品;她有最寶貴的天賦:體面,高雅,嫵媚,細膩,大方,與衆不同的皮膚,調勻得特別美好的皮色。這一類的美女彼此都很相象。比昂加·卡佩洛(她的肖像是勃竜齊諾的傑作之一),狄安娜·德·普瓦蒂埃(冉·古戎把她作為維納斯的素材),奧林匹亞夫人(她的畫像藏在多裏亞美術館),還有尼儂,杜巴裏夫人,塔利安夫人,喬治小姐,雷卡米埃夫人,所有這些女子,儘管上了年紀,儘管經過情海風波,儘管窮奢極欲,可是永遠光豔照人;她們的身段、骨骼、美的品質,都有極明顯的相似之處,仿佛一代又一代的人海中真有一股美女的潮流,在同一陣浪花中産生出這些維納斯。②
   這般仙女群中最美的一個,阿黛莉娜·斐歇爾,象天生的後妃一般,具備最完美的優點,蜿蜒麯折的綫條,簡直是傾國傾城的人品,上帝傳給夏娃的那種金黃頭髮,皇后般的身段,雍容華貴的氣派,輪廓莊嚴的側影,素淡的鄉村情調,會教路上所有的男子凝眸註視,象鑒賞傢遇到一幅拉斐爾作品那樣悠然神往。後勤司令一見阿黛莉娜·斐歇爾小姐,便在法定期限滿期之後立刻把她娶了過去③,使那幾位崇拜上司的斐歇爾兄弟大為驚訝。
   ①杜巴裏夫人(1743—1793),路易十五的情婦。
   ②據希臘神話傳說,維納斯是從海浪的水沫中出生的。
   ③法國民法規定,婚姻須先經區政府公開佈告,滿十日後方可舉行婚禮。此言滿期之後立刻……,謂其迫不及待。
   皮埃爾·斐歇爾,一七九二年入伍的軍人,維桑布爾①一役中受了重傷,對拿破侖和有關大軍的一切,一嚮是崇拜得五體投地的。安德烈和若安,提起於洛司令都敬重非凡,並且他們的地位是全靠這位拿破侖的親信得來的;因為於洛·德·埃爾維覺得他們聰明誠實,把他們從運輸隊中提拔起來,當緊急工程的主管。在一八○四的戰役中,三兄弟立了功,戰後,於洛替他們在阿爾薩斯弄上這個供應糧秣的差事,當時並沒想到自己後來會奉派到斯特拉斯堡準備一八○六年的戰事。
   ①維桑布爾,德國城名,一八七○年八月四日普魯士軍隊大破法軍於此。
   這門親事,對年輕的鄉下姑娘簡直是白日飛升。美麗的阿黛莉娜,從本村的泥淖中,平步青雲,一腳踏進了帝室宮廷的天堂。那時後勤司令是一軍中最能幹、最誠實、最活躍的一個,封了男爵,被拿破侖皇帝召入中樞服務,編入帝國禁衛軍。美麗的鄉下姑娘愛丈夫愛得發瘋一般,竟然為了他而鼓足勇氣把自己教育起來。並且於洛就好似阿黛莉娜在男人身上的翻版。他是屬於優秀的美男子群的。高大、結實、金黃頭髮、藍眼睛裏那股熱情,那種變化,那些微妙的表情,自有不可抵抗的魅力。身腰秀美,在奧爾賽,福爾班,烏弗拉爾一流人中獨具一格,總之他是帝政時代美男子隊伍中的人物。情場得意的男子,對於女人又抱着十八世紀末期的觀念,他為了夫婦之愛,居然有好幾年把風流豔事擱過一邊。
   因此,在阿黛莉娜心目中,一開場男爵便似神明一般,不會有錯失的。她的一切都得之於丈夫:先是財富,她有了府第,有了車馬,有了當時一切奢華的享用;然後是幸福,人人知道丈夫愛她;然後是頭銜,她是男爵夫人;然後是聲名,在巴黎大傢稱她為美麗的於洛夫人;最後她還很榮幸的謝絶了皇帝的青睞,他賜了她一條鑽石項鏈,常常在人前提起她,不時問:“美麗的於洛夫人,還是那麽安分嗎?”言下大有誰要在他失敗的事情上成功,他會加以報復的意思。
   所以,於洛夫人除了愛情以外對丈夫的迷信,用不到什麽聰明的人,就能在她純潔,天真,優美的心靈中,找出它的動機。她先是深信丈夫永遠不會對不起她,而後她對她的創造者存心要做一個謙恭、忠誠、盲目的僕人。她生來就極明事理,象平民那樣的明白事理,使她的教育更紮實。在交際場中她不大開口,不說任何人壞話,不露鋒芒;她聽着人傢,對每件事情加以思索,以最規矩最有身分的女人為榜樣。
   一八一五年,於洛和他的知交維桑布爾親王采取一致行動,幫着組織那支臨時湊合的軍隊,就是滑鐵盧一仗把拿破侖的事業結束了的那支軍隊。一八一六年,男爵變成了費爾特大人①的眼中釘,直到一八二三年纔重新起用,進了軍需機構,因為對西班牙的戰爭需要他。一八三○年,路易-菲力浦起用拿破侖舊部時,於洛又在內閣中出現。他是擁護波旁王室的幼支②的,對路易-菲力浦的登臺特別出過力,所以從一八三○年起,他成為陸軍部中一個必不可少的署長。同時他已經得了元帥銜,除了任命他做部長或貴族院議員之外,王上也沒有別的方法可以寵遇他了。
   ①費爾特(1765—1818),即剋拉爾剋將軍,當時的陸軍大臣。
   ②即路易-菲力浦的一支。
   在一八一八到一八二三這段賦閑的時期中,於洛男爵在脂粉隊裏大肆活動。於洛夫人知道,她的埃剋托最早的不忠實要追溯到帝政結束的時代。由此可見男爵夫人的寵擅專房,一共是十二年功夫。之後,她照樣受到往日的溫情:凡是妻子自甘隱忍,衹做一個溫柔賢淑的伴侶時,丈夫當然會對她保持一種年深月久的感情。她明知衹要一句埋怨的話,無論哪個情敵都打發得了,可是她閉上眼睛,蒙着耳朵,不願知道丈夫在外邊的行為。總之,她對她的埃剋托有如一個母親對待一個驕養的孩子。在上面那段對話的前三年,奧棠絲瞥見她的父親在多藝劇院正廳的包廂裏陪着珍妮·卡迪訥,不由得叫道:
   “呦!爸爸!”
   “你看錯了,孩子,他今晚在元帥傢裏呢,”男爵夫人回答。
   其實她明明看到珍妮·卡迪訥;雖然發現她很美,男爵夫人並沒感到醋意,衹暗忖道:“埃剋托這壞東西一定很快活哩。”可是她仍免不了心中難受,常常暗裏氣憤得要死;但一見埃剋托的面,她又看到十二年純粹的幸福,連一點點埋怨他的勇氣都沒有了。她很希望男爵對她推心置腹,但為了尊敬他,從來不讓他覺察她知道他的荒唐。這種過分的體貼,衹有受了打擊不還手的、平民出身的女子纔會有,她們的血裏還保留一點兒初期殉道者的血統。世傢出身的女人,因為和丈夫平等,存着睚眥必報的心,覺得需要把他們折磨一下,把她們的寬容象記錄臺球的輸贏一般,用幾句辛辣的話記下來,以便顯出自己的優越,或是保留日後回敬的權利。
   欽佩男爵夫人到極點的是她的大伯於洛將軍,前帝國禁衛軍榴霰兵司令,德高望重,晚年眼見要晉升元帥的。一七九九到一八○○年之間,這位老人曾經在布列塔尼各省作過戰,一八三○到一八三四年之間又當了一任同一地區的軍司令長官,然後回到巴黎住下,靠近着兄弟,那是他一嚮象父親對兒子一般關切的。老軍人對弟媳婦極有好感,稱贊她是女性中最聖潔最高尚的一個;他沒有結婚,因為想找一個阿黛莉娜第二,而在他南徵北討跑過的地方從來沒有能遇上。拿破侖提到他時曾經說:“於洛這個好漢是最固執的共和黨,可是他永遠不會反叛我的。”為了不辜負這個一生清白、無可指摘的老共和黨的期許,阿黛莉娜即使遇到比剛纔更慘酷的痛苦也肯忍受。然而這個七十二歲的老人,百戰之餘已經心力交瘁,滑鐵盧一役又受了第二十七次的傷,衹能做阿黛莉娜的一個崇拜者而非保護人。可憐的伯爵,除了別的殘廢之外,衹有靠了聽筒才能聽見人傢說話。
   衹要於洛·德·埃爾維不失其為美男子,他的私情還不致影響他的財産;但到了五十歲,就得在外表和風度上做功夫了。在這個年紀,老年人的愛情已經成為惡癖;其中還有荒謬的虛榮心作祟。所以從那時起,阿黛莉娜發現丈夫對他自身的修飾出乎意外的苛求,他染着頭髮與鬢腳,束着腰帶,穿着胸褡。他不顧一切的要保持他的美。從前他嘲笑人傢的修飾,現在他自己就把這一套講究得無微不至。最後,阿黛莉娜又發現男爵的情婦們揮金如土的用度,原來都是颳的她的錢。八年之間,很大的一筆傢私給花得幹幹淨淨,以致兩年前兒子成傢的時候,男爵不得不告訴太太,他們的全部財産衹有他的薪水了。阿黛莉娜說了句:
   “這樣下去,我們如何得了?”
   “你放心,”男爵回答,“我把辦公費留給你們;至於奧棠絲的陪嫁和我們將來的生活費,讓我幹些買賣來張羅。”
   丈夫的權勢、聲價、才能、勇氣,都是她深信不疑的,所以她一時的憂慮也就過去了。
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