Literary Love

by Gabrielle Vigot

  “‘Signed, Beaurepaire, Deschamps, and Lecharpal.’“

  When Franz had finished reading this account, so dreadful for a son; when Valentine, pale with emotion, had wiped away a tear; when Villefort, trembling, and crouched in a corner, had endeavored to lessen the storm by supplicating glances at the implacable old man,—“Sir,” said d’Epinay to Noirtier, “since you are well acquainted with all these details, which are attested by honorable signatures,—since you appear to take some interest in me, although you have only manifested it hitherto by causing me sorrow, refuse me not one final satisfaction—tell me the name of the president of the club, that I may at least know who killed my father.” Villefort mechanically felt for the handle of the door; Valentine, who understood sooner than anyone her grandfather’s answer, and who had often seen two scars upon his right arm, drew back a few steps. “Mademoiselle,” said Franz, turning towards Valentine, “unite your efforts with mine to find out the name of the man who made me an orphan at two years of age.” Valentine remained dumb and motionless.

  “Hold, sir,” said Villefort, “do not prolong this dreadful scene. The names have been purposely concealed; my father himself does not know who this president was, and if he knows, he cannot tell you; proper names are not in the dictionary.”

  “Oh, misery,” cried Franz: “the only hope which sustained me and enabled me to read to the end was that of knowing, at least, the name of him who killed my father! Sir, sir,” cried he, turning to Noirtier, “do what you can—make me understand in some way!”

  “Yes,” replied Noirtier.

  “Oh, mademoiselle,—mademoiselle!” cried Franz, “your grandfather says he can indicate the person. Help me,—lend me your assistance!” Noirtier looked at the dictionary. Franz took it with a nervous trembling, and repeated the letters of the alphabet successively, until he came to M. At that letter the old man signified “Yes.”

  “M,” repeated Franz. The young man’s finger, glided over the words, but at each one Noirtier answered by a negative sign. Valentine hid her head between her hands. At length, Franz arrived at the word MYSELF.

  “Yes!”

  “You?” cried Franz, whose hair stood on end; “you, M. Noirtier—you killed my father?”

  “Yes!” replied Noirtier, fixing a majestic look on the young man. Franz fell powerless on a chair; Villefort opened the door and escaped, for the idea had entered his mind to stifle the little remaining life in the heart of this terrible old man.

  Chapter 11. Progress of Cavalcanti the Younger.

  Meanwhile M. Cavalcanti the elder had returned to his service, not in the army of his majesty the Emperor of Austria, but at the gaming table of the baths of Lucca, of which he was one of the most assiduous courtiers. He had spent every farthing that had been allowed for his journey as a reward for the majestic and solemn manner in which he had maintained his assumed character of father. M. Andrea at his departure inherited all the papers, which proved that he had indeed the honor of being the son of the Marquis Bartolomeo and the Marchioness Oliva Corsinari. He was now fairly launched in that Parisian society which gives such ready access to foreigners, and treats them, not as they really are, but as they wish to be considered. Besides, what is required of a young man in Paris: to speak its language tolerably, to make a good appearance, to be a good gamester, and to pay in cash. They are certainly less particular with a foreigner than with a Frenchman. Andrea had, then, in a fortnight, attained a very fair position. He was called count, he was said to possess 50,000 livres per annum; and his father’s immense riches, buried in the quarries of Saravezza, were a constant theme. A learned man, before whom the last circumstance was mentioned as a fact, declared he had seen the quarries in question, which gave great weight to assertions hitherto somewhat doubtful, but which now assumed the garb of reality.

  Such was the state of society in Paris at the period we bring before our readers, when Monte Cristo went one evening to pay M. Danglars a visit. M. Danglars was out, but the count was asked to go and see the baroness, and he accepted the invitation. It was never without a nervous shudder, since the dinner at Auteuil, and the events, which followed it, that Madame Danglars heard Monte Cristo’s name announced. If he did not come, the painful sensation became most intense; if, on the contrary, he appeared, his noble countenance, his brilliant eyes, his amiability, his polite attention even towards Madame Danglars, soon dispelled every impression of fear. It appeared impossible to the baroness that a man of such delightfully pleasing manners should entertain evil designs against her; besides, the most corrupt minds only suspect evil when it would answer some interested end—useless injury is repugnant to every mind. When Monte Cristo entered the boudoir,—to which we have already once introduced our readers, and where the baroness was examining some drawings, which her daughter passed to her after having looked at them with M. Cavalcanti,—his presence soon produced its usual effect, and it was with smiles that the baroness received the count, although she had been a little disconcerted at the announcement of his name. The latter took in the whole scene at a glance.

  The baroness was partially reclining on a sofa, Eugenie sat near her, and Cavalcanti was standing. Cavalcanti, dressed in black, like one of Goethe’s heroes, with varnished shoes and white silk openworked stockings, passed a white and tolerably nice-looking hand through his light hair, and so displayed a sparkling diamond, that in spite of Monte Cristo’s advice the vain young man had been unable to resist putting on his little finger. This movement was accompanied by killing glances at Mademoiselle Danglars, and by sighs launched in the same direction. Mademoiselle Danglars was still the same—cold, beautiful, and satirical. Not one of these glances, nor one sigh, was lost on her; they might have been said to fall on the shield of Minerva, which some philosophers assert protected sometimes the breast of Sappho. Eugenie bowed coldly to the count, and availed herself of the first moment when the conversation became earnest to escape to her study, whence very soon two cheerful and noisy voices being heard in connection with occasional notes of the piano assured Monte Cristo that Mademoiselle Danglars preferred to his society and to that of M. Cavalcanti the company of Mademoiselle Louise d’Armilly, her singing teacher.

  It was then, especially while conversing with Madame Danglars, and apparently absorbed by the charm of the conversation, that the count noticed M. Andrea Cavalcanti’s solicitude, his manner of listening to the music at the door he dared not pass, and of manifesting his admiration. The banker soon returned. His first look was certainly directed towards Monte Cristo, but the second was for Andrea. As for his wife, he bowed to her, as some husbands do to their wives, but in a way that bachelors will never comprehend, until a very extensive code is published on conjugal life.

  “Have not the ladies invited you to join them at the piano?” said Danglars to Andrea. “Alas, no, sir,” replied Andrea with a sigh, still more remarkable than the former ones. Danglars immediately advanced towards the door and opened it.

  The two young ladies were seen seated on the same chair, at the piano, accompanying themselves, each with one hand, a fancy to which they had accustomed themselves, and performed admirably. Mademoiselle d’Armilly, whom they then perceived through the open doorway, formed with Eugenie one of the tableaux vivants of which the Germans are so fond. She was somewhat beautiful, and exquisitely formed—a little fairy-like figure, with large curls falling on her neck, which was rather too long, as Perugino sometimes makes his Virgins, and her eyes dull from fatigue. She was said to have a weak chest, and like Antonia in the “Cremona Violin,” she would die one day while singing. Monte Cristo cast one rapid and curious glance round this sanctum; it was the first time he had ever seen Mademoiselle d’Armilly, of whom he had heard much. “Well,” said the banker to his daughter, “are we then all to be excluded?” He then led the young man into the study, and either by chance or maneuver the door was partially closed after Andrea, so that from the place where they sat neither the Count nor the baroness could see anything; but
as the banker had accompanied Andrea, Madame Danglars appeared to take no notice of it.

  The count soon heard Andrea’s voice, singing a Corsican song, accompanied by the piano. While the count smiled at hearing this song, which made him lose sight of Andrea in the recollection of Benedetto, Madame Danglars was boasting to Monte Cristo of her husband’s strength of mind, who that very morning had lost three or four hundred thousand francs by a failure at Milan. The praise was well deserved, for had not the count heard it from the baroness, or by one of those means by which he knew everything, the baron’s countenance would not have led him to suspect it. “Hem,” thought Monte Cristo, “he begins to conceal his losses; a month since he boasted of them.” Then aloud,—“Oh, madame, M. Danglars is so skillful, he will soon regain at the Bourse what he loses elsewhere.”

  “I see that you participate in a prevalent error,” said Madame Danglars.

  “What is it?” said Monte Cristo.

  “That M. Danglars speculates, whereas he never does.”

  “Truly, madame, I recollect M. Debray told me—apropos, what is become of him? I have seen nothing of him the last three or four days.”

  “Nor I,” said Madame Danglars; “but you began a sentence, sir, and did not finish.”

  “Which?”

  “M. Debray had told you”—

  “Ah, yes; he told me it was you who sacrificed to the demon of speculation.”

  “I was once very fond of it, but I do not indulge now.”

  “Then you are wrong, madame. Fortune is precarious; and if I were a woman and fate had made me a banker’s wife, whatever might be my confidence in my husband’s good fortune, still in speculation you know there is great risk. Well, I would secure for myself a fortune independent of him, even if I acquired it by placing my interests in hands unknown to him.” Madame Danglars blushed, in spite of all her efforts. “Stay,” said Monte Cristo, as though he had not observed her confusion, “I have heard of a lucky hit that was made yesterday on the Neapolitan bonds.”

  “I have none—nor have I ever possessed any; but really we have talked long enough of money, count, we are like two stockbrokers; have you heard how fate is persecuting the poor Villeforts?”

  “What has happened?” said the count, simulating total ignorance.

  “You know the Marquis of Saint-Meran died a few days after he had set out on his journey to Paris, and the marchioness a few days after her arrival?”

  “Yes,” said Monte Cristo, “I have heard that; but, as Claudius said to Hamlet, ‘it is a law of nature; their fathers died before them, and they mourned their loss; they will die before their children, who will, in their turn, grieve for them.’“

  “But that is not all.”

  “Not all!”

  “No; they were going to marry their daughter”—

  “To M. Franz d’Epinay. Is it broken off?”

  “Yesterday morning, it appears, Franz declined the honor.”

  “Indeed? And is the reason known?”

  “No.”

  “How extraordinary! And how does M. de Villefort bear it?”

  “As usual. Like a philosopher.” Danglars returned at this moment alone. “Well,” said the baroness, “do you leave M. Cavalcanti with your daughter?”

  “And Mademoiselle,” said the banker; “do you consider her no one?” Then, turning to Monte Cristo, he said, “Prince Cavalcanti is a charming young man, is he not? But is he really a prince?”

  “I will not answer for it,” said Monte Cristo. “His father was introduced to me as a marquis, so he ought to be a count; but I do not think he has much claim to that title.”

  “Why?” said the banker. “If he is a prince, he is wrong not to maintain his rank; I do not like any one to deny his origin.”

  • • •

  Meanwhile, in the room where Eugenie, M. Cavalcanti, and Mademoiselle d’Armilly found themselves alone, the young Eugenie slipped out an adjacent door to allow Mademoiselle d’Armilly and M. Cavalcanti a moment alone.

  The young girl continued to play but motioned her head so Andrea might sit next to her on the piano bench.

  The lady pitched her voice low so only he might hear below the melodic quatrains of the music.

  “You do realize the Baron Danglars will soon wish to throw over M. de Morecef for your suit in Eugenie’s hand.”

  The young man’s forehead wrinkled, “what suit?”

  “Ahh, young lord, that is soon to come. The baron is an ambitious man when it comes to his daughter’s marriage prospects, it seems a prince has caught his interest.”

  Andrea looked singularly astounded at her tale but made no move to leave her side.

  “Why are you speaking of such things?”

  “Eugenie has her own aspirations in life, beyond being a dutiful wife and loving mother. She wishes my freedom even if it means to marry and find it for herself or leave and embark on the world completely alone.”

  He inclined his head in admiration, “most men don’t even know their own minds as she does, mademoiselle.”

  “Please, call me Louise. I will lay out my own suit presently. I know Eugenie’s mind and I wish to have knowledge of what you will bring to her marriage before she decides what course to take.”

  The young man continued to grow confounded to Louise’s growing annoyance.

  “I will speak plainly, I wish to know if you are skilled in the arts of lovemaking. Eugenie seeks proof that a union between you will not be cold and boring.”

  A sweep of color infused Andrea’s cheeks and his face imposed he was taken aback by the forwardness of the young woman. He took a moment to consider if he would like to be joined with the Mademoiselle before even agreeing to proposal. Her father’s riches in consideration, he did not take long to come to a conclusion.

  “My lady, I am at your command and I have yet to have a complaint about my skill in the bedroom. Allow me a demonstration.”

  Louise gave one sharp nod of her head while continuing to play. When she stopped playing, her friend would know to return to the chamber and her father’s calculated move of leaving the two together would reach its goal.

  She stared in fascination as the young man smoothed his jacket and then pulled the piano bench back allowing space enough for him to kneel between. A wrong key was hit as she adjusted to the new arm length but continued as the man met her eyes boldly before reaching under her skirts to draw down her undergarments.

  His boldness she found impressive as he dipped his head beneath the weighty cloth of her costume. When his hot breath fanned across her bare inner thigh she jerked violently, striking another incorrect key.

  Andrea dipped his head back out and whispered fiercely, “my lady you will need to maintain your composure or we will be found out.”

  Her nod was acquiescent enough and he went back under, this time planting a kiss exactly on her pearl of pleasure. She was ready for it this time and made no alteration to her music as a warm heat his tongue began to inspire travelled through her limbs.

  The young man was correct, he certainly did possess singular skills at such a task and she almost missed another note as he darted his tongue between her folds down to her opening.

  Louise reflected on his ministrations. He was incredibly thorough and used both hands, tongue and teeth to rouse her in the very strange situation she put him in.

  After a few moments she squeezed her thighs gently around Andrea’s head and he readjusted her undergarments before climbing out from beneath her skirts. She scooted the bench back in quietly as he cleaned his face with a handkerchief and fixed his hair and clothing.

  “Did my performance meet your satisfaction, lady,” he asked, retaking the seat next to her on the piano bench.

  His pants pulled tight across his manhood, stiff from his attentions on her. She noted the length of him and continued her perusal of his physical stature and body as if she picked out a prize horse at the races.

  “Yes, Andrea, you performed admirably.�
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  “Lady, I must ask, if your friend intends to enter into a marriage with me, is she—” Louise held up her hand knowing where Cavalcanti meant to take the conversation.

  “I will not divulge her sexual proclivities or conquests but I will say one thing once and only once, she remains intact and prepared for a wedding night.”

  Andrea nodded, satisfied with her answer. He liked a woman to have her own mind in the bedchamber and the lady Eugenie certainly seemed to know exactly what she wanted and whom.

  He turned on the bench and she nodded at him to play. Resumed where she left off allowing her to pull away and stand from the piano. He watched as she stretched her stiff muscles and then stared as she ran a hand down her neck and over the bodice of her gown.

  “Andrea, a marriage to Eugenie will be like no other. She simply does not even wish to marry but as society, and the baron have different expectations of her, I will be honest. She will accept your suit if there is no other alternative. Simply stating, if she cannot be alone, then she will be with you, if you will have her.”

  “Then, lady, kiss me, for I have need to know of your skills as well.”

  “I am not to whom you shall be wed.”

  “It makes no difference, it is your taste that is on my lips and it is your mouth I wish to kiss.”

  She smiled, descended back on the bench, and kissed his neck softly above his collar, and then his ear, his cheek, and finally his lips. He played admirably, never missing a note, even when her head blocked the view of the music sheets.

  After a few moments he stopped playing, kissed her hard and passionately, and then released her. The young Eugenie returned to the room. She gave Louise a look and something passed between the women before Eugenie resumed playing with Andrea in accompaniment.

  As the lady decided her own fate, her father and others continued to discuss in the adjacent chamber.