The Cold Embrace | Page 4

wet
hands are clasped upon his breast. He asks himself if he is mad. "Up,
Leo!" he shouts. "Up, up, boy!" and the Newfoundland leaps to his
shoulders--the dog's paws are on the dead hands, and the animal utters
a terrific howl, and springs away from his master.
The student stands in the moonlight, the dead arms around his neck,
and the dog at a little distance moaning piteously.
Presently a watchman, alarmed by the howling of the dog, comes into
the square to see what is wrong.
In a breath the cold arms are gone.
He takes the watchman home to the hotel with him and gives him
money; in his gratitude he could have given the man half his little
fortune.
Will it ever come to him again, this embrace of the dead?
He tries never to be alone; he makes a hundred acquaintances, and
shares the chamber of another student. He starts up if he is left by

himself in the public room of the inn where he is staying, and runs into
the street. People notice his strange actions, and begin to think that he
is mad.
But, in spite of all, he is alone once more; for one night the public room
being empty for a moment, when on some idle pretence he strolls into
the street, the street is empty too, and for the second time he feels the
cold arms round his neck, and for the second time, when he calls his
dog, the animal shrinks away from him with a piteous howl.
After this he leaves Cologne, still travelling on foot--of necessity now,
for his money is getting low. He joins travelling hawkers, he walks side
by side with labourers, he talks to every foot-passenger he falls in with,
and tries from morning till night to get company on the road.
At night he sleeps by the fire in the kitchen of the inn at which he stops;
but do what he will, he is often alone, and it is now a common thing for
him to feel the cold arms around his neck.
Many months have passed since his cousin's death--autumn, winter,
early spring. His money is nearly gone, his health is utterly broken, he
is the shadow of his former self, and he is getting near to Paris. He will
reach that city at the time of the Carnival. To this he looks forward. In
Paris, in Carnival time, he need never, surely, be alone, never feel that
deadly caress; he may even recover his lost gaiety, his lost health, once
more resume his profession, once more earn fame and money by his
art.
How hard he tries to get over the distance that divides him from Paris,
while day by day he grows weaker, and his step slower and more
heavy!
But there is an end at last; the long dreary roads are passed. This is
Paris, which he enters for the first time--Paris, of which he has dreamed
so much--Paris, whose million voices are to exorcise his phantom.
To him to-night Paris seems one vast chaos of lights, music, and
confusion--lights which dance before his eyes and will not be

still--music that rings in his ears and deafens him--confusion which
makes his head whirl round and round.
But, in spite of all, he finds the opera-house, where there is a masked
ball. He has enough money left to buy a ticket of admission, and to hire
a domino to throw over his shabby dress. It seems only a moment after
his entering the gates of Paris that he is in the very midst of all the wild
gaiety of the opera-house ball.
No more darkness, no more loneliness, but a mad crowd, shouting and
dancing, and a lovely Debardeuse hanging on his arm.
The boisterous gaiety he feels surely is his old light-heartedness come
back. He hears the people round him talking of the outrageous conduct
of some drunken student, and it is to him they point when they say
this--to him, who has not moistened his lips since yesterday at noon, for
even now he will not drink; though his lips are parched, and his throat
burning, he cannot drink. His voice is thick and hoarse, and his
utterance indistinct; but still this must be his old light-heartedness come
back that makes him so wildly gay.
The little Debardeuse is wearied out--her arm rests on his shoulder
heavier than lead--the other dancers one by one drop off.
The lights in the chandeliers one by one die out.
The decorations look pale and shadowy in that dim light which is
neither night nor day.
A faint glimmer from the dying lamps, a pale streak of cold grey light
from the new-born day, creeping in through half-opened shutters.
And by this