MONSIEUR ALFREDO

I do not in the least know how I happened to come upon the modest little café, nor do I know how it came to pass that during the whole of that year I frequented no other.

I wonder whether it was not on account of Monsieur Alfredo that I became an habitué there.

He evidently had his luncheon later than I, as I had already had time to smoke a couple of cigarettes before he made his appearance at the Café de l'Empereur, upright and trim in his tightly-buttoned frock-coat, a roll of manuscript under his arm, and his gray hair in neat curls surrounding his wrinkled, childlike face. The waiter brought him his little cup of coffee and placed the chess-board between us. Monsieur Alfredo, with old-fashioned courtesy, inquired after my health, and I on my side received satisfactory assurances as to his well-being. I busied myself in placing the chess-men, and whilst I groped under the table to find that pawn which somehow or other had always fallen to the ground, Monsieur Alfredo rapidly produced his lump of sugar out of his pocket and put it into his cup.

We always played two games. I am singularly unlucky in games, and the old man, who loved chess, beamed all over every time he checkmated me. He played very slowly, but with amazing boldness, and even after having played with him every day for months together, I was still incapable of forming an opinion as to which of us played the worse. What puzzled me most of all was the fact that Monsieur Alfredo seldom or never played anything but kings and queens; occasionally, with reluctance, he would put the knights, castles, and bishops into requisition, but as to the pawns, he appeared to ignore them altogether. I had never before seen anybody play in this way, and often enough had I to look very sharp to make sure of losing.

The conversation turned on literature, and above all, the theatre. Monsieur Alfredo was extremely exacting as to dramatic art, and approved of no other form than the tragic. He was exceedingly difficult as to authors. I was just then full of Victor Hugo, but Monsieur Alfredo considered him much too sentimental. Racine and Corneille he thought better of, although he gave me to understand he considered them lacking in power. He despised comedy and refused point-blank to admit Scribe, Augier, Labiche, or Dumas as celebrities. One only needed to mention the name of Offenbach or Lecocq to make the otherwise peaceful Monsieur Alfredo fall into a complete rage; he then burst forth into Italian, which he never spoke unless greatly excited; he denounced them as Birbanti, and Avvelenatori,[20]—they had with their music spread the poison which had killed the good taste of a whole generation, and they were, to a great extent, responsible for the downfall of tragedy in our days.

He seemed well informed in everything concerning the Paris theatres, and was evidently a frequent playgoer himself; I had once or twice hinted that we should go to the theatre together some evening, but had observed that Monsieur Alfredo never seemed willing to understand me.

As soon as we had finished our second game, Monsieur Alfredo produced four sous wrapped up in paper, called the waiter and asked what he had to pay, and laid his four sous on the table. The Café de l'Empereur was not a very expensive place, as you may perceive; on the Boulevard St. Michel they charged you eight sous for a cup of coffee, here you only had to pay four if you took it without milk or sugar—Monsieur Alfredo had long ago confided to me his experience that sugar took away half the fragrance of coffee. I, who was not so particular, had both sugar and milk with my coffee, and cognac besides, but never once had I succeeded in getting Monsieur Alfredo to accept a glass from me. I had tried to tempt him with everything the Café de l'Empereur could offer, but the old gentleman had always declined courteously but firmly.

I knew that Monsieur Alfredo was an author, and that it was the manuscript of a five-act tragedy he carried under his arm. I have always admired authors and artists, and I tried my best to make him understand how flattered I felt by his society. I had long ago told him everything about myself and my affairs, but Monsieur Alfredo showed for a long while a singular reticence in all that concerned himself. Sometimes, on leaving the café together, I had tried to accompany him for a while, but, once in the streets, he always wished me good-bye, and I could easily see that I was not wanted. I had also expressed a wish to be allowed to call upon him, but had been given to understand that his time was very limited just then, and feeling sure that the tragedy was the cause of it all, I took good care not to disturb him.

He never came to the café in the evening, so I then lounged there alone smoking. Every now and then I dined with some of my fellow-students down on the boulevards, but as true inhabitants of the Quartier Latin, it was only seldom that we crossed the Seine. One evening, however, some one at the dinner-table proposed that we should all drive down to the Variétés to see Offenbach's Les Brigands, and somehow or another they carried me off with them.

I believe the whole pit was full of students. We were in tremendous spirits, and applauded quite as vigorously as the claque which occupied the row behind us. It seemed to me as though I were playing my old friend from the Café de l'Empereur false, and I felt how he would despise me had he seen me, and I made up my mind not to tell him anything about it. But I could not help it, I roared with laughter the whole time. The last words of a song were hardly over before the claque broke out with a deafening applause, and we and the whole pit followed their lead with right good will. And so when we collapsed and could move our arms no longer, the claque had recuperated its strength, and the brilliant farce was hailed once more with thundering applause by the joyless spectators behind us, where a whole chorus of poor devils shouted "bravo, bravo!" for next day's bread.

Suddenly I was startled by a "bravo, bravo!" which came a little after the rest. I turned rapidly round, and ran my eye over the claque, and then to the astonishment of my comrades, I took my hat and slunk out of the theatre.

The joyous music rang in my ears the whole way home, but I felt that tears were not far from my eyes that night.

No, I never told Monsieur Alfredo that I had been to see Les Brigands. I never alluded again in our conversations to Offenbach and Lecocq, and never more did I try to accompany the old gentleman to the theatre.

Next day, after we had finished our game of chess, I followed him home at some little distance. I went to his house that same evening, and whilst I stood there contemplating the card on Monsieur Alfredo's door, the concierge made her appearance, and informed me that he never spent the evenings at home. "Was I perhaps a pupil?" I answered in the affirmative. I asked her if he had many pupils just then, and she answered I was the first she had ever seen.

It was towards the end of autumn that I communicated to Monsieur Alfredo my irrevocable decision to throw medicine to the winds and to devote myself to the stage, and to my great satisfaction he consented to become my instructor in deportment and declamation. The lessons were given at my rooms in the Hôtel de l'Avenir. The old fellow's method was a peculiar one, and his theories on acting as bold as those he held on chess. I listened with the utmost attention to all he said, and tried as well as I could to learn the fundamental rules of deportment he saw fit to teach me. After a while he acceded to my request to be allowed to try myself in a rôle, and fully aware of my preference for tragedy, it was decided that, under the immediate superintendence of the author himself, I should get up one of the characters in Monsieur Alfredo's last work, Le Poignard, a tragedy in five acts. Monsieur Alfredo himself was the king and I was the marquis. I admit that my début was not a happy one. I saw that the author was far from satisfied with me, and I realised myself that my marquis was a dead failure. My next début was in the rôle of the English lord in the five-act tragedy, La Vengeance, but neither there were there any illusions possible as to my success. I then tried my luck as the count in Le Secret du Tombeau, but with a very doubtful result. I then sank down to a viscount, and made superhuman efforts to keep up to the mark, but notwithstanding the indulgent way in which Monsieur Alfredo pointed out my shortcomings, I could not conceal from myself the fact that I was not fit to be a viscount either.

I began to have serious doubts as to my theatrical vocation, but Monsieur Alfredo thought that the reason of my failure might be traced to my unfamiliarity with the highest society, and my difficulty in adapting myself to the sensations and thoughts of these high personages. And he was right—it was anything but easy. All his heroes and heroines were very sorry for themselves, not to say desperate, although as a rule it was impossible for me to understand the reason of their being so. Love and hatred glowed in every one's eyes. True that as a rule everything went wrong for the lovers, but even if they got each other at last, they did not seem to be a bit the more cheerful for that. I remember, for instance, the third act of Le Poignard, where I (the marquis), after having waded through blood, succeed in winning the lady of my heart, who on her side has gone through fire and water to be mine. The Archbishop marries us by moonlight, and we, who had not seen each other for ten years, are left alone for a while in a bower of roses. We had nothing on earth to be afraid of; no one was likely to disturb us, as I had previously run my sword through every grown-up person in the play, and I thought that I ought to be a little kind to the marchioness. But Monsieur Alfredo never found my voice tragic enough during the few brief moments of happiness he granted us. (We perished shortly afterwards in an earthquake.)

For the matter of that, those who escaped a violent death were not much better off—they were carried off in any case in the flower of their youth by sudden inexplicable ailments, which no amount of care could contend against. At first I tried to save some of the victims, but Monsieur Alfredo always looked very astonished when I suggested that some one might be allowed to recover; and knowing his theory that it was sentimentality that spoiled Victor Hugo as a dramatist, I ceased more and more to interfere in the matter.

After a few more abortive attempts to pose as a nobleman, I submitted to Monsieur Alfredo my opinion that I might do better in a more humble position. But here we were met by an unforeseen obstacle—Monsieur Alfredo did not descend below viscounts. If by the exigencies of the plot a lonely representative of the lower orders had to appear on the scene, he had no sooner got a word out of his mouth before the author would fling a purse at his head, and send him back into the wings with an imperial wave of his shiny coat sleeve. Well, away with all false pride! It was in these rôles I at last hit upon my true genre; it was here I scored my only triumphs. Imperceptibly to the old man, I disappeared more and more from the répertoire, would now and then cross the stage and with a deep obeisance deliver a manuscript letter from some crowned head, or would occasionally come to carry off a corpse—that was all.

So the autumn passed on, we had gone through one tragedy after another, and still Monsieur Alfredo constantly turned up with a new manuscript under his arm. I began to be afraid that the old man would wear himself out with this fathomless authorship, and I tried in every possible way to make him rest a little. This was, however, quite impossible. He now came every single day to Hôtel de l'Avenir to his only pupil and literary confidant. His guileless, childish face seemed to grow more and more gentle, and more and more was I drawn towards the poor old enthusiast with a sort of tender sympathy.

And unquenchable and ever more unquenchable became his literary bloodthirstiness. By Christmas-time his new tragedy was ready, and Monsieur Alfredo himself looked upon it as his best work. The scene was laid in Sicily at the foot of Mount Etna in the midst of burning lava-streams. Not a soul survived the fifth act. I begged for the life of a Newfoundland dog, who, with a dead heir in his mouth, had swum over from the mainland, but Monsieur Alfredo was inexorable. The dog threw himself into the crater of Etna in the last scene.

But while the lava of Mount Etna was heating Monsieur Alfredo's world of dreams, the winter snow was falling over Paris. All of us had long since taken to our winter coats, but my poor professor was still wandering about in his same old frock-coat, so shiny with constant brushing, so thread-bare with the wear and tear of years. The nights became so cold, and sadly did I follow in my thoughts the poor old man tramping home every night across the streets of Paris after the theatre was over. Many times was I very near broaching the delicate subject, but was always deterred by the sensitive pride with which he sought to disguise his poverty. Yet had I never seen him in such excellent spirits as he was just then, he placed greater expectations than ever on his new tragedy. Like all his previous plays it was written for the Théâtre Français. The systematic ill-will with which Mons. Perrin[21] had refused to accept any work of his had certainly made him turn his thoughts to the Odéon Theatre; but with due consideration to the colossal proportions of his new drama, Monsieur Alfredo did not quite see how to avoid offering it to the very first theatre in Paris.

Maybe it seems to you that I ought to have pointed out to Monsieur Alfredo the dangerous flights of his imagination, that I ought to have tried to make him realise that his theatre was erected on quite another planet than ours. I did nothing of the sort, and you would not have done so either had you known him as I did, had you witnessed the anxiety with which his kind eyes sought for my approval, how his sad old child-face brightened up when he recited some passage which he expected would especially dumbfound me—which alas! it seldom failed to do. But I had arrived so far that I was quite incapable of spoiling his pleasure by a single word of criticism. Silently I listened to tragedy after tragedy, and there was no need to simulate being serious, for all my laughter over his wild creations was silenced by the tragedy of reality, all my criticism was disarmed by his utter helplessness—he did not even possess an overcoat! The only audience the poor old man ever had was me, why then shouldn't I bestow upon him a little approval, he whom life had so unmercifully hissed?

One afternoon he did not turn up at the Café de l'Empereur, and in vain I waited for him before the chess-board the next day. I waited still another day, but then, driven by uneasy forebodings, I went to look him up towards evening. The concierge had not seen him go out, and there was no answer to my knock at his door. I stood there for a moment or two looking at the faded old visiting-card nailed on his door—

Mr. ALFREDO Auteur Dramatique Professeur de Déclamation, de Maintien et de Mise en Scène.

And then I quietly opened the door and went in.

The old man lay on his bed delirious, not recognising the unbidden guest who stood there, sadly looking round the empty garret cold as the streets without, for there was no fireplace.

It was sunny and bright next day, and it was easy to remove him to the hospital close by—I was on the staff there for the matter of that. He had pneumonia. They were all very kind to the old gentleman, both the doctors and the students, and dear Soeur Philomène managed matters so successfully that she got a private room for him. He continued delirious the whole of that day and night, but towards morning he became conscious and recognised me. He then insisted on returning at once to his own quarters, but quieted down considerably on being told he was in a private room, and that he was quite independent of all the other patients. After some hesitation he inquired what he would have to pay, and I answered him I did not think the hospital could charge him anything, as the Société des Auteurs Dramatiques was entitled to a free bed, and I doubted whether it would be the right thing to refuse to avail himself of this privilege, as of course every one knew who he was. Soeur Philomène, who stood behind his pillow, shook her finger reprovingly at my little white lie, but I could well see by the expression of her eyes that she forgave me. I had touched the poor old author's most sensitive chord; with keenest interest he made me repeat over and over again what I had said about the Société des Auteurs Dramatiques and a faint smile of content lit up his faded old face when at last I had succeeded in making him believe me. From that moment he seemed quite pleased and satisfied with everything, and he did not realise himself how rapidly he was sinking. According to his wish, a little table with writing materials had been placed beside his bed, but he had not yet tried to write anything.

The night had been worse than usual, and during the morning round I noticed that Soeur Philomène had hung a little crucifix at the head of his bed. He lay there quite silent the whole day, once only when he was given his broth he asked for the name of the most rapid poison, and Soeur Philomène thought it was prussic acid.

Towards evening he became more feverish, and his eyes began to be restless. He begged me to sit down beside him, and after swearing me over to secrecy he unveiled to me the plot of his new tragedy where the rival gives prussic acid to the bride and bridegroom during the wedding ceremony. He spoke rapidly and cheerfully, and with a triumphant glance he asked me whether I thought the Théâtre Français would dare to reject him this time, and I answered that I did not believe it would dare to do so. The work was to proceed with great speed, the first act was to be ready next morning, and in a week's time at the very latest he intended to send in the manuscript for perusal.

He became more and more delirious, and he did not pay any more attention to my answers. His eye still rested on mine, but his horizon widened more and more, for the barriers of this world began to fall away. His speech became more and more rapid, and I could no longer follow his staggering thought. But his face still expressed what his failing perception could no longer form into words, and with deep emotion I witnessed death bestow on him the joy that life had denied him.

He seemed to listen. There flew a light over his pale features, his eye sparkled, and with head erect the old man sat up in bed. He shook away his gray curls, and a shimmer of triumph fell over his brow. With his hand on his heart the dying author made a low bow, for in the silence of the falling night he heard the echo of his life's fondest dream; he heard the Théâtre Français jubilant with applause!

And slowly the curtain sank upon the old author's last tragedy.