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Vendetta-Part2_Honore de Balzac(1799-1850)_Translated Works(翻译文学)-第2页

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thoughts made her sit down again.

"With a character like hers," she said, "one can't tell how she would



take a civility; better wait events."

"Ecco la," said the young girl with the black eyes, languidly.



The steps of a person coming up the narrow stairway sounded through

the studio. The words: "Here she comes!" passed from mouth to mouth,



and then the most absolute silence reigned.

To understand the importance of the ostracism imposed by the act of



Amelie Thirion, it is necessary to add that this scene took place

toward the end of the month of July, 1815. The second return of the



Bourbons had shaken many friendships which had held firm under the

first Restoration. At this moment families, almost all divided in



opinion, were renewing many of the deplorable scenes which stain the

history of all countries in times of civil or religious wars.



Children, young girls, old men shared the monarchial fever to which

the country was then a victim. Discord glided beneath all roofs;



distrust dyed with its gloomy colors the words and the actions of the

most intimate friends.



Ginevra Piombo loved Napoleon to idolatry; how, then, could she hate

him? The emperor was her compatriot and the benefactor of her father.



The Baron di Piombo was among those of Napoleon's devoted servants who

had co-operated most effectually in the return from Elba. Incapable of



denying his political faith, anxious even to confess it, the old baron

remained in Paris in the midst of his enemies. Ginevra Piombo was all



the more open to condemnation because she made no secret of the grief

which the second Restoration caused to her family. The only tears she



had so far shed in life were drawn from her by the twofold news of

Napoleon's captivity on the "Bellerophon," and Labedoyere's arrest.



The girls of the aristocratic group of pupils belonged to the most

devotedroyalist families in Paris. It would be difficult to give an



idea of the exaggerations prevalent at this epoch, and of the horror

inspired by the Bonapartists. However insignificant and petty Amelie's



action may now seem to be, it was at that time a very natural

expression of the prevailinghatred. Ginevra Piombo, one of Servin's



first pupils, had occupied the place that was now taken from her since

the first day of her coming to the studio. The aristocraticcircle had



gradually surrounded her. To drive her from a place that in some sense

belonged to her was not only to insult her, but to cause her a species



of artistic pain; for all artists have a spot of predilection where

they work.



Nevertheless, political prejudice was not the chief influence on the

conduct of the Right clique of the studio. Ginevra, much the ablest of



Servin's pupils, was an object of intensejealousy. The master

testified as much admiration for the talents as for the character of



his favorite pupil, who served as a conclusion to all his comparisons.

In fact, without any one being able to explain the ascendancy which



this young girl obtained over all who came in contact with her, she

exercised over the little world around her a prestige not unlike that



of Bonaparte upon his soldiers.

The aristocracy of the studio had for some days past resolved upon the



fall of this queen, but no one had, as yet, ventured to openly avoid

the Bonapartist. Mademoiselle Thirion's act was, therefore, a decisive



stroke, intended by her to force the others into becoming, openly, the

accomplices of her hatred. Though Ginevra was sincerely loved by



several of these royalists, nearly all of whom were indoctrinated at

home with their political ideas, they decided, with the tactics



peculiar to women, that they should do best to keep themselves aloof




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