Fromont and Risler, vol 3 | Page 7

boy, does the Suez Canal progress as you would wish?"
Madame Chebe, in whose thoughts Frantz had never ceased to be her future son-in-law, threw her arms around him, while Risler, tactless as usual in his gayety and his enthusiasm, waved his arms, talked of killing several fatted calves to celebrate the return of the prodigal son, and roared to the singing-mistress in a voice that echoed through the neighboring gardens:
"Madame Dobson, Madame Dobson--if you'll allow me, it's a pity for you to be singing there. To the devil with sadness for to-day! Play us something lively, a good waltz, so that I can take a turn with Madame Chebe."
"Risler, Risler, are you crazy, my son-in-law?"
"Come, come, mamma! We must dance."
And up and down the paths, to the strains of an automatic six-step waltz- a genuine valse de Vaucanson--he dragged his breathless mamma-in-law, who stopped at every step to restore to their usual orderliness the dangling ribbons of her hat and the lace trimming of her shawl, her lovely shawl bought for Sidonie's wedding.
Poor Risler was intoxicated with joy.
To Frantz that was an endless, indelible day of agony. Driving, rowing on the river, lunch on the grass on the Ile des Ravageurs--he was spared none of the charms of Asnieres; and all the time, in the dazzling sunlight of the roads, in the glare reflected by the water, he must laugh and chatter, describe his journey, talk of the Isthmus of Suez and the great work undertaken there, listen to the whispered complaints of M. Chebe, who was still incensed with his children, and to his brother's description of the Press. "Rotary, my dear Frantz, rotary and dodecagonal!" Sidonie left the gentlemen to their conversation and seemed absorbed in deep thought. From time to time she said a word or two to Madame Dobson, or smiled sadly at her, and Frantz, not daring to look at her, followed the motions of her blue-lined parasol and of the white flounces of her skirt.
How she had changed in two years! How lovely she had grown!
Then horrible thoughts came to his mind. There were races at Longchamps that day. Carriages passed theirs, rubbed against it, driven by women with painted faces, closely veiled. Sitting motionless on the box, they held their long whips straight in the air, with doll-like gestures, and nothing about them seemed alive except their blackened eyes, fixed on the horses' heads. As they passed, people turned to look. Every eye followed them, as if drawn by the wind caused by their rapid motion.
Sidonie resembled those creatures. She might herself have driven Georges' carriage; for Frantz was in Georges' carriage. He had drunk Georges' wine. All the luxurious enjoyment of that family party came from Georges.
It was shameful, revolting! He would have liked to shout the whole story to his brother. Indeed, it was his duty, as he had come there for that express purpose. But he no longer felt the courage to do it. Ah! the unhappy judge!
That evening after dinner, in the salon open to the fresh breeze from the river, Risler begged his wife to sing. He wished her to exhibit all her newly acquired accomplishments to Frantz.
Sidonie, leaning on the piano, objected with a melancholy air, while Madame Dobson ran her fingers over the keys, shaking her long curls.
"But I don't know anything. What do you wish me to sing?"
She ended, however, by being persuaded. Pale, disenchanted, with her mind upon other things, in the flickering light of the candles which seemed to be burning incense, the air was so heavy with the odor of the hyacinths and lilacs in the garden, she began a Creole ballad very popular in Louisiana, which Madame Dobson herself had arranged for the voice and piano:
"Pauv' pitit Mam'zelle Zizi, C'est l'amou, l'amou qui tourne la tete a li."
["Poor little Mam'zelle Zizi, 'Tis love, 'tis love that turns her head."]
And as she told the story of the ill-fated little Zizi, who was driven mad by passion, Sidonie had the appearance of a love-sick woman. With what heartrending expression, with the cry of a wounded dove, did she repeat that refrain, so melancholy and so sweet, in the childlike patois of the colonies:
"C'est l'amou, l'amou qui tourne la tete...."
It was enough to drive the unlucky judge mad as well.
But no! The siren had been unfortunate in her choice of a ballad. For, at the mere name of Mam'zelle Zizi, Frantz was suddenly transported to a gloomy chamber in the Marais, a long way from Sidonie's salon, and his compassionate heart evoked the image of little Desiree Delobelle, who had loved him so long. Until she was fifteen, she never had been called anything but Ziree or Zizi, and she was the pauv' pitit of the Creole ballad to the life, the ever-neglected, ever-faithful