The Nabob [159]
la Concorde.
"But go on, driver, go on, then."
"I cannot, madame. It is the funeral procession."
She put her head out of the window and drew it back again immediately, terrified. A line of soldiers marching with reversed arms, a confusion of caps and hats raised from the forehead at the passage of an endless cortege. It was Mora's funeral procession defiling past.
"Don't stop here. Go round," she cried to the cabman.
The vehicle turned about with difficulty, dragging itself regretfully from the superb spectacle which Paris had been awaiting for four days; it remounted the avenues, took the Rue Montaigne, and, with its slow and surly little trot, came out at the Madeleine by the Boulevard Malesherbes. Here the crowd was greater, more compact.
In the misty rain, the illuminated stained-glass windows of the church, the dull echo of the funeral chants beneath the lavishly distributed black hangings under which the very outline of the Greek temple was lost, filled the whole square with a sense of the office in course of celebration, while the greater part of the immense procession was still squeezed up in the Rue Royale, and as far even as the bridges a long black line connecting the dead man with that gate of the Legislative Assembly through which he had so often passed. Beyond the Madeleine the highway of the boulevard stretched away empty, and looking bigger between two lines of soldiers with arms reversed, confining the curious to the pavements black with people, all the shops closed, and the balconies, in spite of the rain, overflowing with human beings all leaning forward in the direction of the church, as if to see a mid-Lent festival or the home-coming of victorious troops. Paris, hungry for the spectacular, constructs it indifferently out of anything, civil war as readily as the burial of a statesman.
It was necessary for the cab to retrace its course again and to make a new circuit; and it is easy to imagine the bad temper of the driver and his beasts, all three of them Parisian in soul and passions, at having to deprive themselves of so fine a show. Then, as all the life of Paris had been drawn into the great artery of the boulevard, there began through the deserted and silent streets--a capricious and irregular drive--the snail-like progress of a cab taken by the hour. First touching the extreme points of the Faubourg Saint-Martin and the Faubourg Saint-Denis, returning again towards the centre, and at the conclusion of circuits and dodges finding always the same obstacle in ambush, the same crowd, some fragment of the black defile perceived for a moment at the branching of a street, unfolding itself in the rain to the sound of muffled drums--a dull and heavy sound, like that of earth falling on a coffin-lid.
What torture for Felicia! It was her weakness and her remorse crossing Paris in this solemn pomp, this funeral train, this public mourning reflected by the very clouds; and the proud girl revolted against this affront done her by fate, and tried to escape from it to the back of the carriage, where she remained exhausted with eyes closed, while old Crenmitz, believing her nervousness to be grief, did her best to comfort her, herself wept over their separation, and hiding also, left the entire window of the cab to the big Algerian hound with his finely modelled head scenting the wind, and his two paws resting in the sash with an heraldic stiffness of pose. Finally, after a thousand interminable windings, the cab suddenly came to a halt, jolted on again with difficulty amid cries and abuse, then, tossed about, the luggage on top threatening its equilibrium, it ended by coming to a full stop, held prisoner, as it were, at anchor.
"/Bon Dieu!/ what a mass of people!" murmured the Crenmitz, terrified.
Felicia came out of her stupor.
"Where are we?"
Under a colourless, smoky sky, blotted out by a fine network of rain and stretched like gauze over everything, there lay an immense space filled by an ocean of humanity surging from all the streets that led to it, and motionless around
"But go on, driver, go on, then."
"I cannot, madame. It is the funeral procession."
She put her head out of the window and drew it back again immediately, terrified. A line of soldiers marching with reversed arms, a confusion of caps and hats raised from the forehead at the passage of an endless cortege. It was Mora's funeral procession defiling past.
"Don't stop here. Go round," she cried to the cabman.
The vehicle turned about with difficulty, dragging itself regretfully from the superb spectacle which Paris had been awaiting for four days; it remounted the avenues, took the Rue Montaigne, and, with its slow and surly little trot, came out at the Madeleine by the Boulevard Malesherbes. Here the crowd was greater, more compact.
In the misty rain, the illuminated stained-glass windows of the church, the dull echo of the funeral chants beneath the lavishly distributed black hangings under which the very outline of the Greek temple was lost, filled the whole square with a sense of the office in course of celebration, while the greater part of the immense procession was still squeezed up in the Rue Royale, and as far even as the bridges a long black line connecting the dead man with that gate of the Legislative Assembly through which he had so often passed. Beyond the Madeleine the highway of the boulevard stretched away empty, and looking bigger between two lines of soldiers with arms reversed, confining the curious to the pavements black with people, all the shops closed, and the balconies, in spite of the rain, overflowing with human beings all leaning forward in the direction of the church, as if to see a mid-Lent festival or the home-coming of victorious troops. Paris, hungry for the spectacular, constructs it indifferently out of anything, civil war as readily as the burial of a statesman.
It was necessary for the cab to retrace its course again and to make a new circuit; and it is easy to imagine the bad temper of the driver and his beasts, all three of them Parisian in soul and passions, at having to deprive themselves of so fine a show. Then, as all the life of Paris had been drawn into the great artery of the boulevard, there began through the deserted and silent streets--a capricious and irregular drive--the snail-like progress of a cab taken by the hour. First touching the extreme points of the Faubourg Saint-Martin and the Faubourg Saint-Denis, returning again towards the centre, and at the conclusion of circuits and dodges finding always the same obstacle in ambush, the same crowd, some fragment of the black defile perceived for a moment at the branching of a street, unfolding itself in the rain to the sound of muffled drums--a dull and heavy sound, like that of earth falling on a coffin-lid.
What torture for Felicia! It was her weakness and her remorse crossing Paris in this solemn pomp, this funeral train, this public mourning reflected by the very clouds; and the proud girl revolted against this affront done her by fate, and tried to escape from it to the back of the carriage, where she remained exhausted with eyes closed, while old Crenmitz, believing her nervousness to be grief, did her best to comfort her, herself wept over their separation, and hiding also, left the entire window of the cab to the big Algerian hound with his finely modelled head scenting the wind, and his two paws resting in the sash with an heraldic stiffness of pose. Finally, after a thousand interminable windings, the cab suddenly came to a halt, jolted on again with difficulty amid cries and abuse, then, tossed about, the luggage on top threatening its equilibrium, it ended by coming to a full stop, held prisoner, as it were, at anchor.
"/Bon Dieu!/ what a mass of people!" murmured the Crenmitz, terrified.
Felicia came out of her stupor.
"Where are we?"
Under a colourless, smoky sky, blotted out by a fine network of rain and stretched like gauze over everything, there lay an immense space filled by an ocean of humanity surging from all the streets that led to it, and motionless around