"No, not at all," said Kimberly, reassuringly; "it is not what you think."
And he continued:
"In the centre of the studio, from a marble basin in which the petals of roses were bathing, a violent perfume was rising. And on a little table long-stemmed narcissuses were dying, like souls, in a narrow vase whose neck opened into the calyx of a lily, strangely green and distorted."
"Impossible to forget," said the countess, in a quivering voice, so low that it could scarcely be heard.
And Kimberly, without stopping, went on with his narration:
"Outside, the street became more silent, because deserted.
From the Thames came, muffled by the distance, the distracted voices of sirens, the gasping voices of marine boilers.
It was the hour when the two friends, giving themselves over to dreaming, preserved an ineffable silence."
"Oh!
I see them so clearly!" said Madame Tiercelet, in a tone of admiration.
"And that 'ineffable,' how evocative it is!" applauded the Countess Fergus, "and so pure!"
Kimberly profited by these flattering interruptions to take a swallow of champagne. Then, feeling that he was listened to with more passionate attention than before, he repeated:
"Preserved an ineffable silence. But on this special evening John-Giotto Farfadetti murmured:
'I have a poisoned flower in my heart.' To which Frederic-Ossian Pinggleton answered:
'This evening a sorrowful bird has been singing in my heart.' The studio seemed moved by this unusual colloquy.
On the mauve wall, which was gradually losing its color, the gold alg? seemed to spread and contract, and to spread and contract again, in harmony with the new rhythms of an unusual undulation, for it is certain that the soul of man communicates to the soul of things its troubles, its passions, its fervors, its transgressions, its life."
"How true that is!"
This cry, coming from several mouths at once, did not prevent Kimberly from going on with the recital, which thenceforth was to unfold itself amid the silent emotion of his hearers.
His voice became even more mysterious.
"This minute of silence was poignant and tragic.
'Oh! my friend!' implored John-Giotto Farfadetti, 'you who have given me everything, you whose soul is so marvelously twin with mine, you must give me something of yourself that I have not yet had, and from the lack of which I am dying.'
'Is it, then, my life that you ask?' said the painter; 'it is yours; you can take it.'
'No, it is not your life; it is more than your life; it is your wife!'
'Botticellina!' cried the poet.
'Yes, Botticellina; Botticellinetta; flesh of your flesh, the soul of your soul, the dream of your dream, the magic sleep of your sorrows!'
'Botticellina!
Alas! Alas! It was to be. You have drowned yourself in her, she has drowned herself in you, as in a bottomless lake, beneath the light of the moon.
Alas! Alas!
It was to be.'
Two tears, phosphorescent in the penumbra, rolled from the eyes of the painter.
The poet answered:
'Listen to me, oh! my friend!
I love Botticellina, and Botticellina loves me, and we shall both die of loving one another, and of not daring to tell one another, and of not daring to unite.
She and I are two fragments, long ago separated, of one and the same living being, which for perhaps two thousand years have been seeking and calling one another, and which meet at last to-day.
Oh! my dear Pinggleton, unknown life has these strange, terrible, and delicious fatalities.
Was there ever a more splendid poem than that which we are living to-night?'
But the painter kept on repeating, in a voice more and more sorrowful, this cry: 'Botticellina! Botticellina!'
He rose from the triple row of cushions upon which he was lying, and walked back and forth in the studio, feverishly.
After some minutes of anxious agitation, he said: 'Botticellina was Mine. Henceforth must she be Thine?'
'She shall be Ours!' replied the poet, imperiously; 'for God has chosen you to be the point of suture for this severed soul which is She and which is I!
If not, Botticellina possesses the magic pearl that dissipates dreams, I the dagger that delivers from corporeal chains.
If you refuse, we shall love each other in death.'
And he added, in a deep tone that resounded through the studio like a voice from the abyss: 'Perhaps it would be better so.'
'No,' cried the painter, 'you shall live.
Botticellina shall be Thine, as she has been Mine.
I will tear my flesh to shreds, I will tear my heart from my breast, I will break my head against the wall, but my friend shall be happy.
I can suffer.
Suffering, too, is voluptuousness, in another form!'
'And a voluptuousness more powerful, more bitter, more fierce than any other!' exclaimed John-Giotto Farfadetti, ecstatically;
'I envy your fate, do you know?