Germinie Lacerteux

PREFACE TO FIRST EDITION

We must ask pardon of the public for offering it this book, and give it due warning of what it will find therein.

The public loves fictitious novels! this is a true novel.

It loves books which make a pretence of introducing their readers to fashionable society: this book deals with the life of the street.

It loves little indecent books, memoirs of courtesans, alcove confessions, erotic obscenity, the scandal tucked away in pictures in a bookseller's shop window: that which is contained in the following pages is rigidly clean and pure. Do not expect the photograph of Pleasure décolletée: the following study is the clinic of Love.

Again, the public loves to read pleasant, soothing stories, adventures that end happily, imaginative works that disturb neither its digestion nor its peace of mind: this book furnishes entertainment of a melancholy, violent sort calculated to disarrange the habits and injure the health of the public.

Why then have we written it? For no other purpose than to annoy the public and offend its tastes?

By no means.

Living as we do in the nineteenth century, in an age of universal suffrage, of democracy, of liberalism, we asked ourselves the question whether what are called "the lower classes" had no rights in the novel; if that world beneath a world, the common people, must needs remain subject to the literary interdict, and helpless against the contempt of authors who have hitherto said no word to imply that the common people possess a heart and soul. We asked ourselves whether, in these days of equality in which we live, there are classes unworthy the notice of the author and the reader, misfortunes too lowly, dramas too foul-mouthed, catastrophes too commonplace in the terror they inspire. We were curious to know if that conventional symbol of a forgotten literature, of a vanished society, Tragedy, is definitely dead; if, in a country where castes no longer exist and aristocracy has no legal status, the miseries of the lowly and the poor would appeal to public interest, emotion, compassion, as forcibly as the miseries of the great and the rich; if, in a word, the tears that are shed in low life have the same power to cause tears to flow as the tears shed in high life.

These thoughts led us to venture upon the humble tale, Sœur Philomène, in 1861; they lead us to put forth Germinie Lacerteux to-day.

Now, let the book be spoken slightingly of; it matters little. At this day, when the sphere of the Novel is broadening and expanding, when it is beginning to be the serious, impassioned, living form of literary study and social investigation, when it is becoming, by virtue of analysis and psychological research, the true History of contemporary morals, when the novel has taken its place among the necessary elements of knowledge, it may properly demand its liberty and freedom of speech. And to encourage it in the search for Art and Truth, to authorize it to disclose misery and suffering which it is not well for the fortunate people of Paris to forget, and to show to people of fashion what the Sisters of Charity have the courage to see for themselves, what the queens of old compelled their children to touch with their eyes in the hospitals: the visible, palpitating human suffering that teaches charity; to confirm the novel in the practice of that religion which the last century called by the vast and far-reaching name, Humanity: – it needs no other warrant than the consciousness that that is its right.

Paris, October, 1864.

SECOND PREFACE

July 22, 1862.– The disease is gradually doing its work of destruction in our poor Rose. It is as if the immaterial manifestations of life that formerly emanated from her body were dying one by one. Her face is entirely changed. Her expression is not the same, her gestures are not the same; and she seems to me as if she were putting off every day more and more of that something, humanly speaking indefinable, which makes the personality of a living being. Disease, before making an end of its victim, introduces into his body something strange, unfamiliar, something that is not he, makes of him a new being, so to speak, in whom we must seek to find the former being – he, whose joyous, affectionate features have already ceased to exist.

July 31.– Doctor Simon is to tell me very soon whether our dear old Rose will live or die. I am waiting to hear his ring, which to me, is equivalent to that of a jury at the assizes, announcing their return to the court room with their verdict. "It is all over, there is no hope, it is simply a question of time. The disease has progressed very rapidly. One lung is entirely gone and the other substantially." And we must return to the invalid, restore her serenity with a smile, give her reason to hope for convalescence in every line of our faces. Then we feel an unconquerable longing to rush from the room and from the poor creature. We leave the house, we wander at random through the streets; at last, overdone with fatigue, we sit down at a table in a café. We mechanically take up a copy of L'Illustration and our eyes fall at once upon the solution of its last riddle: Against death, there is no appeal!

Monday, August 11.– The disease of the lungs is complicated with peritonitis. She has terrible pains in the bowels, she cannot move without assistance, she cannot lie on her back or her left side. In God's name, is not death enough? must she also endure suffering, aye, torture, as the final implacable breaking-up of the human organism? And she suffers thus, poor wretch! in one of the servant's rooms, where the sun, shining in through a window in the sloping roof, makes the air as stifling as in a hothouse, and where there is so little room that the doctor has to put his hat on the bed. We struggled to the last to keep her, but finally we had to make up our minds to let her go away. She was unwilling to go to Maison Dubois, where we proposed to take her; it seems that twenty-five years ago, when she first came to us, she went there to see the nurse in charge of Edmond, who died there, and so that particular hospital represents to her the place where people die. I am waiting for Simon who is to bring her a permit to go to Lariboisière. She passed almost a good night. She is all ready, in high spirits, in fact. We have covered everything up from her as well as we could. She longs to be gone. She is in a great hurry. She feels that she is going to get well there. At two o'clock Simon arrives: "Here it is, all right." She refuses to have a litter: "I should think I was dead!" she says. She is dressed. As soon as she leaves her bed, all the signs of life to be seen upon her face disappear. It is as if the earth had risen under her skin. She comes down into our apartments. Sitting in the dining-room, with a trembling hand, the knuckles of which knock against one another, she draws her stockings on over a pair of legs like broomsticks, consumptive legs. Then, for a long moment, she looks about at the familiar objects with dying eyes that seem desirous to take away with them the memory of the places they are leaving – and the door of the apartment closes upon her with a noise as of farewell. She reaches the foot of the stairs, where she rests for an instant on a chair. The concierge, in a bantering tone, assures her that she will be well in six weeks. She bows and says "yes," an inaudible "yes." The cab drives up to the door. She rests her hand on the concierge's wife. I hold her against the pillow she has behind her back. With wide open, vacant eyes she vaguely watches the houses pass, but she does not speak. At the door of the hospital she tries to alight without assistance. "Can you walk so far?" the concierge asks. She makes an affirmative gesture and walks on. Really I cannot imagine where she procured the strength to walk as she does. Here we are at last in the great hall, a high, cold, bare, clean place with a litter standing, all ready for use, in the centre. I seat her in a straw armchair by a door with a glazed wicket. A young man opens the wicket, asks my name and age and writes busily for quarter of an hour, covering ten or more sheets of paper with a religious figure at the head. At last, everything is ready, and I embrace her. A boy takes one arm, the housekeeper the other. – After that, I saw nothing more.

Thursday, August 14.– We have been to Lariboisière. We found Rose quiet, hopeful, talking of her approaching discharge – in three weeks at most, – and so free from all thought of death that she told us of a furious love scene that took place yesterday between a woman in the bed next hers and a brother of the Christian schools, who was there again to-day. Poor Rose is death, but death engrossed with life. Near her bed was a young woman, whose husband, a mechanic, had come to see her. "You see, as soon as I can walk, I shall walk about the garden so much that they'll have to send me home!" she said. And the mother in her added: "Does the child ask for me sometimes?"

"Sometimes, oh! yes," the man replied.

Saturday, August 16.– This morning, at ten o'clock, someone rings the bell. I hear a colloquy at the door between the housekeeper and the concierge. The door opens, the concierge enters with a letter. I take the letter; it bears the stamp of Lariboisière. Rose died this morning at seven o'clock.

Poor girl! So it is all over! I knew that she was doomed; but she was so animated, so cheerful, almost happy, when we saw her Thursday! And here we are both walking up and down the salon, filled with the thought that a fellow-creature's death inspires: We shall never see her again! – an instinctive thought that recurs incessantly within you. What a void! what a gap in our household! A habit, an attachment of twenty-five years growth, a girl who knew our whole lives and opened our letters in our absence, and to whom we told all our business. When I was a bit of a boy I trundled my hoop with her, and she bought me apple-tarts with her own money, when we went to walk. She would sit up for Edmond till morning, to open the door for him, when he went to the Bal de l'Opéra without our mother's knowledge. She was the woman, the excellent nurse, whose hands mother placed in ours when she was dying. She had the keys to everything, she managed everything, she did everything for our comfort. For twenty-five years she tucked us up in bed every night, and every night there were the same never-ending jokes about her ugliness and her disgraceful physique. Sorrows and joys alike she shared with us. She was one of those devoted creatures upon whose solicitude you rely to close your eyes. Our bodies, when we were ill or indisposed, were accustomed to her attentions. She was familiar with all our hobbies. She had known all our mistresses. She was a piece of our life, part of the furniture of our apartment, a stray memory of our youth, at once loving and scolding and care-taking, like a watchdog whom we were accustomed to having always beside us and about us, and who ought to last as long as ourselves. And we shall never see her again! It is not she moving about the rooms; she will never again come to our rooms to bid us good-morning! It is a great wrench, a great change in our lives, which seems to us, I cannot say why, like one of those solemn breaks in one's existence, when, as Byron says, destiny changes horses.

Sunday, August 17.– This morning we are to perform all the last sad duties. We must return to the hospital, enter once more the reception hall, where I seem to see again, in the armchair against the wicket, the ghost of the emaciated creature I seated there less than a week ago. "Will you identify the body?" the attendant hurls the question at me in a harsh voice. We go to the further end of the hospital, to a high yellow door, upon which is written in great black letters: Amphitheatre. The attendant knocks. After some moments the door is partly opened, and a head like a butcher's boy's appears, with a short pipe in its mouth: a head which suggests the gladiator and the grave-digger. I fancied that I was at the circus, and that he was the slave who received the gladiators' bodies; and he does receive the slain in that great circus, society. They made us wait a long while before opening another door, and during those moments of suspense, all our courage oozed away, as the blood of a wounded man who is forced to remain standing oozes away, drop by drop. The mystery of what we were about to see, the horror of a sight that rends your heart, the search for the one body amid other bodies, the scrutiny and recognition of that poor face, disfigured doubtless – the thought of all this made us as timid as children. We were at the end of our strength, at the end of our will-power, at the end of our nervous tension, and, when the door opened, we said: "We will send some one," and fled. From there we went to the mayor's office, riding in a cab that jolted us and shook our heads about like empty things. And an indefinable horror seized upon us of death in a hospital, which seems to be only an administrative formality. One would say that in that abode of agony, everything is so well administered, regulated, reduced to system, that death opens it as if it were an administrative bureau.

While we were having the death registered, —Mon Dieu! the paper, all covered with writing and flourishes for a poor woman's death! – a man rushed out of an adjoining room, in joyous exultation, and looked at the almanac hanging on the wall to find the name of the saint of the day and give it to his child. As he passed, the skirt of the happy father's coat swept the sheet on which the death was registered from the desk to the floor.

When we returned home, we must look through her papers, get her clothes together, sort out the clutter of phials, bandages and innumerable things that sickness collects – jostle death about, in short. It was a ghastly thing to enter that attic, where the crumbs of bread from her last meal were still lying in the folds of the bedclothes. I threw the coverlid up over the bolster, like a sheet over the ghost of a dead man.

Monday, August 18.– The chapel is beside the amphitheatre. In the hospital God and the dead body are neighbors. At the mass said for the poor woman beside her coffin, two or three others were placed near by to reap the benefit of the service. There was an unpleasant promiscuousness of salvation in that performance: it resembled the common grave in the prayer. Behind me, in the chapel, Rose's niece was weeping – the little girl she had at our house for a short time, who is now a young woman of nineteen, a pupil at the convent of the Sisters of Saint-Laurent: a poor, weazened, pale, stunted creature, rickety from starvation, with a head too heavy for her body, back bent double, and the air of a Mayeux – the last sad remnant of that consumption-ridden family, awaited by Death and with his hand even now heavy upon her, – in her soft eyes there is already a gleam of the life beyond.

Then from the chapel to the extreme end of the Montmartre cemetery, – vast as a necropolis and occupying a whole quarter of the city, – walking at slow steps through mud that never ends. Lastly the intoning of the priests, and the coffin laboriously lowered by the gravediggers' arms to the ends of the ropes, as a cask of wine is lowered into a cellar.

Wednesday, August 20.– Once more I must return to the hospital. For since the visit I paid Rose on Thursday and her sudden death the next day, there has existed for me a mystery which I force from my thoughts, but which constantly returns; the mystery of that agony of which I know nothing, of that sudden end. I long to know and I dread to learn. It does not seem to me as if she were dead; I think of her simply as of a person who has disappeared. My imagination returns to her last hours, gropes for them in the darkness and reconstructs them, and they torture me with their veiled horrors! I need to have my doubts resolved. At last, this morning, I took my courage in both hands. Again I see the hospital, again I see the red-faced, obese concierge, reeking with life as one reeks with wine, and the corridors where the morning light falls upon the pale faces of smiling convalescents.

In a distant corner, I rang at a door with little white curtains. It was opened and I found myself in a parlor where a Virgin stood upon a sort of altar between two windows. On the northern wall of the room, the cold, bare room, there are – why, I cannot explain – two framed views of Vesuvius, wretched water-colors which seem to shiver and to be entirely expatriated there. Through an open door behind me, from a small room in which the sun shines brightly, I hear the chattering of sisters and children, childish joys, pretty little bursts of laughter, all sorts of fresh, clear vocal notes: a sound as from a dovecote bathed in the sun. Sisters in white with black caps pass and repass; one stops in front of my chair. She is short, badly developed, with an ugly, sweet face, a poor face by the grace of God. She is the mother of the Salle Saint-Joseph. She tells me how Rose died, in hardly any pain, feeling that she was improving, almost well, overflowing with encouragement and hope. In the morning, after her bed was made, without any suspicion that death was near, suddenly she was taken with a hemorrhage, which lasted some few seconds. I came away, much comforted, delivered from the thought that she had had the anticipatory taste of death, the horror of its approach.

Thursday, October 21.

In the midst of our dinner, which was rendered melancholy enough by the constant hovering of the conversation around the subject of death, Maria, who came to dinner to-night, cried out, after two or three nervous blows with her fingers upon her fluffy blonde locks: – "My friends, while the poor girl was alive, I kept the professional secret of my trade. But, now that she is under ground, you must know the truth."

And thereupon we learned things concerning the unhappy creature that took away our appetites, leaving in our mouths the bitter taste of fruit cut with a steel knife. And a whole strange, hateful, repugnant, deplorable existence was revealed to us. The notes she signed, the debts she has left behind her at all the dealers, have the most unforeseen, the most amazing, the most incredible basis. She kept men: the milkwoman's son, for whom she furnished a chamber; another to whom she carried our wine, chickens, food of all sorts. A secret life of nocturnal orgies, of nights passed abroad, of fierce nymphomania, that made her lovers say: "Either she or I will stay on the field!" A passion, passions with her whole head and heart and all her senses at once, and complicated by all the wretched creatures' diseases, consumption which adds frenzy to pleasure, hysteria, the beginning of insanity. She had two children by the milkwoman's son, one of whom lived six months. Some years ago, when she told us that she was going on a visit to her province, it was to lie in. And, with regard to these men, her passion was so extravagant, so unhealthy, so insane, that she, who was formerly honesty personified, actually stole from us, took twenty franc pieces out of rolls of a hundred francs, so that the lovers she paid might not leave her. Now, after these involuntarily dishonest acts, these petty crimes extorted from her upright nature, she plunged into such depths of self-reproach, remorse, melancholy, such black despair, that in that hell in which she rolled on from sin to sin, desperate and unsatisfied, she had taken to drinking to escape herself, to save herself from the present, to drown herself and founder for a few moments in the heavy slumber, the lethargic torpor in which she would lie wallowing across her bed for a whole day, just as she fell when she tried to make it. The miserable creature! how great an incentive, how many motives and reasons she found for devouring her suffering, and bleeding internally: in the first place the rejection at intervals of religious ideas by the terrors of a hell of fire and brimstone; then jealousy, that characteristic jealousy of everything and everybody that poisoned her life; then, then – then the disgust which these men, after a time, brutally expressed for her ugliness, and which drove her deeper and deeper into sottishness, – caused her one day to have a miscarriage, and she fell half dead on the floor. Such a frightful tearing away of the veil we have worn over our eyes is like the examination of a pocketful of horrible things in a dead body suddenly opened. From what we have heard I suddenly seem to realize what she must have suffered for ten years past: the dread of an anonymous letter to us or of a denunciation from some dealer; and the constant trepidation on the subject of the money that was demanded of her, and that she could not pay; and the shame felt by that proud creature, perverted by the vile Quartier Saint-Georges, because of her intimacy with low wretches whom she despised; and the lamentable consciousness of the premature senility caused by drunkenness; and the inhuman exactions and brutality of the Alphonses of the gutter; and the temptations to suicide which caused me to pull her away from a window one day, when I found her leaning far out – and lastly all the tears that we believed to be without cause – all these things mingled with a very deep and heartfelt affection for us, and with a vehement, feverish devotion when either of us was ill. And this woman possessed an energetic character, a force of will, a skill in mystification, to which nothing can be compared. Yes, yes, all those frightful secrets kept under lock and key, hidden, buried deep in her own heart, so that neither our eyes, nor our ears, nor our powers of observation ever detected aught amiss, even in her hysterical attacks, when nothing escaped her but groans: a mystery preserved until her death, and which she must have believed would be buried with her. And of what did she die? She died, because, all through one rainy winter's night, eight months ago, at Montmartre, she spied upon the milkwoman's son, who had turned her away, in order to find out with what woman he had filled her place; a whole night leaning against a ground-floor window, as a result of which she was drenched to the bones with deadly pleurisy!

Poor creature, we forgive her; indeed, a vast compassion for her fills our hearts, as we reflect upon all that she has suffered. But we have become suspicious, for our lives, of the whole female sex, and of women above us as well as of women below us in station. We are terror-stricken at the double lining of their hearts, at the marvelous faculty, the science, the consummate genius of falsehood with which their whole being is instinct.

The above extracts are from our journal: Journal des Goncourts —Mémoires de la Vie Littéraire; they are the documentary foundation upon which, two years later, my brother and I composed Germinie Lacerteux, whom we made a study of and taught when she was in the service of our venerable cousin, Mademoiselle de C – t, of whom we were writing a veracious biography, after the style of a biography of modern history.

Auteuil, April, 1886.

I

"Saved! so you are really out of danger, mademoiselle!" exclaimed the maid with a cry of joy, as she closed the door upon the doctor, and, rushing to the bed on which her mistress lay, she began, in a frenzy of happiness and with a shower of kisses to embrace, together with the bed covers, the old woman's poor, emaciated body, which seemed, in the huge bed, as small as a child's.

The old woman took her head, silently, in both hands, pressed it against her heart, heaved a sigh, and muttered: "Ah, well! so I must live on!"

This took place in a small room, through the window of which could be seen a small patch of sky cut by three black iron pipes, various neighboring roofs, and in the distance, between two houses that almost touched, the leafless branch of a tree, whose trunk was invisible.

On the mantelpiece, in a mahogany box, was a square clock with a large dial, huge figures and bulky hands. Beside it, under glass covers, were two candlesticks formed by three silver swans twisting their necks around a golden quiver. Near the fireplace an easy chair à la Voltaire, covered with one of the pieces of tapestry of checker-board pattern, which little girls and old women make, extended its empty arms. Two little Italian landscapes, a flower piece in water-colors after Bertin, with a date in red ink at the bottom, and a few miniatures hung on the walls.