Artists Wives | Page 3

is henceforward turned from its course, and from its tranquillity. Ah! how many of these ill-matched couples have I known, where the wife was sometimes executioner, sometimes victim, but more often executioner, and nearly always unwittingly so! The other evening I was at Dargenty's, the musician. There were but a few guests, and he was asked to play. Hardly had he begun one off those pretty mazurkas with a Polish rhythm, which make him the successor of Chopin, when his wife began to talk, quite low at first, then a little louder. By degrees the fire of conversation spread. At the end of a minute I was the only listener. Then he shut the piano, and said to me with a heart-rent smile: "It is always like this here--my wife does not care for music." Can you imagine anything more terrible than to marry a woman who does not care for your art? Take my word for it, my friend, and don't marry. You are alone, you are free; keep as precious things, your liberty and your loneliness.
THE POET.
That is all very well! You talk at your ease of solitude. Presently, when I am gone, if some idea occurs to you, you will gently follow it by the side of your dying embers, without feeling around you that atmosphere of isolation, so vast, so empty, that in it inspiration evaporates and disperses. And one may yet fear to be alone in the hours of work; but there are moments of discouragement and weariness, when one doubts oneself ones art even. That is the moment when it must be happiness to find a faithful and loving heart, ever ready to sympathize with one's depression, to which one may appeal without fearing to disconcert a confidence and enthusiasm that are, in fact, unalterable. And then the child. That sweet unconscious baby smile, is not that the best moral rejuvenescence one can have? Ah! I have often thought over that. For us artists, vain as all must be who live by success, by that superficial esteem, capricious and fleeting, that we call the vogue; for us, above all others, children are indispensable. They alone can console us for growing old. All that we lose, the child gains. The success we have missed, we think: "He will have it" and in proportion as our hair grows thin, we have the joy of seeing it grow again, curly, golden, full of life, on a little fair head at our side.
THE PAINTER.
Ah, poet! poet! have you thought also of all the mouthfuls by which with the end of pen or brush we must nourish a brood?
THE POET.
Well! say what you like, the artist is made for family life, and that is so true, that those among us who do not marry, take refuge in temporary companionships, like travellers who, tired of being always home-less, end by settling in a room in some hotel, and pass their lives under the hackneyed notice of the signboard: "Apartments by the month or night?"
THE PAINTER.
Such are all in the wrong. They accept the worries of wedlock and will never know its joys.
THE POET.
"You acknowledge then that there are some joys?"
Here the painter, instead of replying, rose, searched out from among drawings and sketches a much-thumbed manuscript, and returning to his companion:
"We might argue like this," said he, "for ever so long without either convincing the other. But since, notwithstanding my observations, you seem determined to try marriage, here is a little work I beg you to read. It is written--I would have you note--by a married man, much in love with his wife, very happy in his home, an observer who, spending his life among artists, amused himself by sketching one or two such households as I spoke of just now. From the first to the last line of this book, all is true, so true that the author would never publish it. Read it, and come to me when you have read it. I think you will have changed your mind."
The poet took the manuscript and carried it home with him; but he did not keep the little book with all the needful care, for I have been able to detach a few leaves from it and boldly offer them to the public.
[Illustration: p023-034]

MADAME HEURTEBISE.
She was certainly not intended for an artist's wife, above all for such an artist as this outrageous fellow, impassioned, uproarious and exuberant, who, with his nose in the air and bristling moustaches, rushed through life defiantly flaunting the eccentric and whirlwind-like name of Heurtebise,* like a challenge thrown down to all the absurd conventionalities and prejudices of the bourgeois class. How, and by what strange charm had the little woman, brought up in a jeweller's shop, behind rows of watch chains and strings of