Nana (Barnes & Noble Classics) - Emile Zola [225]
The goldsmiths, however, had not kept their word. The bedstead was not delivered until towards the middle of January. Muffat at the time was in Normandy, where he had gone to sell a last remnant of the wreck. He was not expected back until two days later; but, having settled his business, he hastened his return, and without even calling at the Rue Miromesnil, he went to the Avenue de Villiers. Ten o’clock was striking. As he had the key of a little door opening on to the Rue Cardinet, he entered without being noticed. Upstairs, in the parlour, Zoé, who was dusting some bronzes, was struck with amazement; and, not knowing how to detain him, began telling him a long story about M. Venot, who, in a most agitated state of mind, had been seeking him since the day before; that he had already called there twice, and implored her to send the count at once to him if he came to madame’s first. Muffat listened to her without understanding anything of the rigmarole; then he noticed her confusion, and seized suddenly with a jealous rage, of which he no longer thought himself capable, he rushed against the door of the bed-room, from whence issued sounds of laughter. The door gave way and flew open, whilst Zoé retired shrugging her shoulders. So much the worse! As madame was going mad, madame must get out of the mess by herself.
And Muffat, on the threshold, uttered a cry at the sight before him.
“My God! my God!”
The newly decorated room was resplendent in its regal luxury. Silver buttons strewed the tea rose velvet hangings with shining stars. It was the rosy colour of flesh which illuminates the sky on fine nights, when Venus sparkles at the horizon on the light background of the expiring day; whilst the cords of gold hanging down at the corners, the gold lace framing the panels, were like bright flames, or loose switches of red hair, half covering the great nudity of the room, the voluptuous paleness of which they enriched. Then, opposite, was the gold and silver bedstead, which shone with the new brightness of its chasings—a throne large enough for Nana to stretch the royalty of her naked limbs—an altar of a Byzantine richness, worthy of the all-powerfulness of her sex, and on which at this very moment she displayed it, uncovered, and in the religious immodesty of a dreaded idol. And, near her, beneath the snowy reflection of her bosom, in the midst of her goddess-like triumph, sprawled a shameful and decrepit object, a comical and lamentable ruin, the Marquis de Chouard in his night-shirt.
The count joined his hands. Seized with a great fit of trembling, he repeated, “My God! my God!”
It was for the Marquis de Chouard that the golden roses of the boat flowered—bunches of golden roses blooming amidst the golden foliage; it was for him that the cupids, dancing in a circle against the silver trellis, leant forward with a laugh of amorous sauciness; and it was for him that the faun at his feet uncovered the sleeping nymph, wearied with voluptuousness—that figure of Night, copied from Nana’s celebrated nudity, even to the too amply developed thighs, which would cause everyone to recognise her. Thrown