"His skill is masterly," said Leon, "and he knows his art, but Fourierism has killed him. You have just seen, cousin, one of the effects of ambition upon artists. Too often, in Paris, from a desire to reach more rapidly than by natural ways the celebrity which to them is fortune, artists borrow the wings of circumstance, they think they make themselves of more importance as men of a specialty, the supporters of some 'system'; and they fancy they can transform a clique into the public. One is a republican, another Saint-Simonian; this one aristocrat, that one Catholic, others juste-milieu, middle ages, or German, as they choose for their purpose. Now, though opinions do not give talent, they always spoil what talent there is; and the poor fellow whom you have just seen is a proof thereof. An artist's opinion ought to be: Faith in his art, in his work; and his only way of success is toil when nature has given him the sacred fire."
"Let us get away," said Bixiou. "Leon is beginning to moralize."
"But that man was sincere," said Gazonal, still stupefied.
"Perfectly sincere," replied Bixiou; "as sincere as the king of barbers just now."
"He is mad!" repeated Gazonal.
"And he is not the first man driven man by Fourier's ideas," said Bixiou. "You don't know anything about Paris. Ask it for a hundred thousand francs to realize an idea that will be useful to humanity,--the steam-engine for instance,--and you'll die, like Salomon de Caux, at Bicetre; but if the money is wanted for some paradoxical absurdity, Parisians will annihilate themselves and their fortune for it. It is the same with systems as it is with material things. Utterly impracticable newspapers have consumed millions within the last fifteen years. What makes your lawsuit so hard to win, is that you have right on your side, and on that of the prefect there are (so you suppose) secret motives."
"Do you think that a man of intellect having once understood the nature of Paris could live elsewhere?" said Leon to his cousin.
"Suppose we take Gazonal to old Mere Fontaine?" said Bixiou, ****** a sign to the driver of a citadine to draw up; "it will be a step from the real to the fantastic. Driver, Vieille rue du Temple."
And all three were presently rolling in the direction of the Marais.
"What are you taking me to see now?" asked Gazonal.
"The proof of what Bixiou told you," replied Leon; "we shall show you a woman who makes twenty thousand francs a year by working a fantastic idea."
"A fortune-teller," said Bixiou, interpreting the look of the Southerner as a question. "Madame Fontaine is thought, by those who seek to pry into the future, to be wiser in her wisdom than Mademoiselle Lenormand."
"She must be very rich," remarked Gazonal.
"She was the victim of her own idea, as long as lotteries existed," said Bixiou; "for in Paris there are no great gains without corresponding outlays. The strongest heads are liable to crack there, as if to give vent to their steam. Those who make much money have vices or fancies,--no doubt to establish an equilibrium."
"And now that the lottery is abolished?" asked Gazonal.
"Oh! now she has a nephew for whom she is hoarding."
When they reached the Vieille rue du Temple the three friends entered one of the oldest houses in that street and passed up a shaking staircase, the steps of which, caked with mud, led them in semi-darkness, and through a stench peculiar to houses on an alley, to the third story, where they beheld a door which painting alone could render; literature would have to spend too many nights in suitably describing it.
An old woman, in keeping with that door, and who might have been that door in human guise, ushered the three friends into a room which served as an ante-chamber, where, in spite of the warm atmosphere which fills the streets of Paris, they felt the icy chill of crypts about them. A damp air came from an inner courtyard which resembled a huge air-shaft; the light that entered was gray, and the sill of the window was filled with pots of sickly plants. In this room, which had a coating of some greasy, fuliginous substance, the furniture, the chairs, the table, were all most abject. The floor tiles oozed like a water-cooler. In short, every accessory was in keeping with the fearful old woman of the hooked nose, ghastly face, and decent rags who directed the "consulters" to sit down, informing them that only one at a time could be admitted to Madame.
Gazonal, who played the intrepid, entered bravely, and found himself in presence of one of those women forgotten by Death, who no doubt forgets them intentionally in order to leave some samples of Itself among the living. He saw before him a withered face in which shone fixed gray eyes of wearying immobility; a flattened nose, smeared with snuff; knuckle-bones well set up by muscles that, under pretence of being hands, played nonchalantly with a pack of cards, like some machine the movement of which is about to run down. The body, a species of broom-handle decently covered with clothes, enjoyed the advantages of death and did not stir. Above the forehead rose a coif of black velvet. Madame Fontaine, for it was really a woman, had a black hen on her right hand and a huge toad, named Astaroth, on her left. Gazonal did not at first perceive them.
The toad, of surprising dimensions, was less alarming in himself than through the effect of two topaz eyes, large as a ten-sous piece, which cast forth vivid gleams. It was impossible to endure that look. The toad is a creature as yet unexplained. Perhaps the whole animal creation, including man, is comprised in it; for, as Lassailly said, the toad exists indefinitely; and, as we know, it is of all created animals the one whose marriage lasts the longest.
The black hen had a cage about two feet distant from the table, covered with a green cloth, to which she came along a plank which formed a sort of drawbridge between the cage and the table.