Petty Troubles of Married Life, Complete
You alone have the right to bring these joys to an end by throwing away your night-cap as you twist up your napkin after dinner, and by sitting up in bed. Then you take yourself to task with such reproaches as these: “Ah, mercy on me, I must get up!” “Early to bed and early to rise, makes a man healthy – !” “Get up, lazy bones!”
All this time you remain perfectly tranquil. You look round your chamber, you collect your wits together. Finally, you emerge from the bed, spontaneously! Courageously! of your own accord! You go to the fireplace, you consult the most obliging of timepieces, you utter hopeful sentences thus couched: “Whatshisname is a lazy creature, I guess I shall find him in. I’ll run. I’ll catch him if he’s gone. He’s sure to wait for me. There is a quarter of an hour’s grace in all appointments, even between debtor and creditor.”
You put on your boots with fury, you dress yourself as if you were afraid of being caught half-dressed, you have the delight of being in a hurry, you call your buttons into action, you finally go out like a conqueror, whistling, brandishing your cane, pricking up your ears and breaking into a canter.
After all, you say to yourself, you are responsible to no one, you are your own master!
But you, poor married man, you were stupid enough to say to your wife, “To-morrow, my dear” (sometimes she knows it two days beforehand), “I have got to get up early.” Unfortunate Adolphe, you have especially proved the importance of this appointment: “It’s to – and to – and above all to – in short to – ”
Two hours before dawn, Caroline wakes you up gently and says to you softly: “Adolphy dear, Adolphy love!”
“What’s the matter? Fire?”
“No, go to sleep again, I’ve made a mistake; but the hour hand was on it, any way! It’s only four, you can sleep two hours more.”
Is not telling a man, “You’ve only got two hours to sleep,” the same thing, on a small scale, as saying to a criminal, “It’s five in the morning, the ceremony will be performed at half-past seven”? Such sleep is troubled by an idea dressed in grey and furnished with wings, which comes and flaps, like a bat, upon the windows of your brain.
A woman in a case like this is as exact as a devil coming to claim a soul he has purchased. When the clock strikes five, your wife’s voice, too well known, alas! resounds in your ear; she accompanies the stroke, and says with an atrocious calmness, “Adolphe, it’s five o’clock, get up, dear.”
“Ye-e-e-s, ah-h-h-h!”
“Adolphe, you’ll be late for your business, you said so yourself.”
“Ah-h-h-h, ye-e-e-e-s.” You turn over in despair.
“Come, come, love. I got everything ready last night; now you must, my dear; do you want to miss him? There, up, I say; it’s broad daylight.”
Caroline throws off the blankets and gets up: she wants to show you that she can rise without making a fuss. She opens the blinds, she lets in the sun, the morning air, the noise of the street, and then comes back.
“Why, Adolphe, you must get up! Who ever would have supposed you had no energy! But it’s just like you men! I am only a poor, weak woman, but when I say a thing, I do it.”
You get up grumbling, execrating the sacrament of marriage. There is not the slightest merit in your heroism; it wasn’t you, but your wife, that got up. Caroline gets you everything you want with provoking promptitude; she foresees everything, she gives you a muffler in winter, a blue-striped cambric shirt in summer, she treats you like a child; you are still asleep, she dresses you and has all the trouble. She finally thrusts you out of doors. Without her nothing would go straight! She calls you back to give you a paper, a pocketbook, you had forgotten. You don’t think of anything, she thinks of everything!
You return five hours afterwards to breakfast, between eleven and noon. The chambermaid is at the door, or on the stairs, or on the landing, talking with somebody’s valet: she runs in on hearing or seeing you. Your servant is laying the cloth in a most leisurely style, stopping to look out of the window or to lounge, and coming and going like a person who knows he has plenty of time. You ask for your wife, supposing that she is up and dressed.
“Madame is still in bed,” says the maid.
You find your wife languid, lazy, tired and asleep. She had been awake all night to wake you in the morning, so she went to bed again, and is quite hungry now.
You are the cause of all these disarrangements. If breakfast is not ready, she says it’s because you went out. If she is not dressed, and if everything is in disorder, it’s all your fault. For everything which goes awry she has this answer: “Well, you would get up so early!” “He would get up so early!” is the universal reason. She makes you go to bed early, because you got up early. She can do nothing all day, because you would get up so unusually early.
Eighteen months afterwards, she still maintains, “Without me, you would never get up!” To her friends she says, “My husband get up! If it weren’t for me, he never would get up!”
To this a man whose hair is beginning to whiten, replies, “A graceful compliment to you, madame!” This slightly indelicate comment puts an end to her boasts.
This petty trouble, repeated several times, teaches you to live alone in the bosom of your family, not to tell all you know, and to have no confidant but yourself: and it often seems to you a question whether the inconveniences of the married state do not exceed its advantages.
SMALL VEXATIONS
You have made a transition from the frolicsome allegretto of the bachelor to the heavy andante of the father of a family.
Instead of that fine English steed prancing and snorting between the polished shafts of a tilbury as light as your own heart, and moving his glistening croup under the quadruple network of the reins and ribbons that you so skillfully manage with what grace and elegance the Champs Elysees can bear witness – you drive a good solid Norman horse with a steady, family gait.
You have learned what paternal patience is, and you let no opportunity slip of proving it. Your countenance, therefore, is serious.
By your side is a domestic, evidently for two purposes like the carriage. The vehicle is four-wheeled and hung upon English springs: it is corpulent and resembles a Rouen scow: it has glass windows, and an infinity of economical arrangements. It is a barouche in fine weather, and a brougham when it rains. It is apparently light, but, when six persons are in it, it is heavy and tires out your only horse.
On the back seat, spread out like flowers, is your young wife in full bloom, with her mother, a big marshmallow with a great many leaves. These two flowers of the female species twitteringly talk of you, though the noise of the wheels and your attention to the horse, joined to your fatherly caution, prevent you from hearing what they say.
On the front seat, there is a nice tidy nurse holding a little girl in her lap: by her side is a boy in a red plaited shirt, who is continually leaning out of the carriage and climbing upon the cushions, and who has a thousand times drawn down upon himself those declarations of every mother, which he knows to be threats and nothing else: “Be a good boy, Adolphe, or else – ” “I declare I’ll never bring you again, so there!”
His mamma is secretly tired to death of this noisy little boy: he has provoked her twenty times, and twenty times the face of the little girl asleep has calmed her.
“I am his mother,” she says to herself. And so she finally manages to keep her little Adolphe quiet.
You have put your triumphant idea of taking your family to ride into execution. You left your home in the morning, all the opposite neighbors having come to their windows, envying you the privilege which your means give you of going to the country and coming back again without undergoing the miseries of a public conveyance. So you have dragged your unfortunate Norman horse through Paris to Vincennes, from Vincennes to Saint Maur, from Saint Maur to Charenton, from Charenton opposite some island or other which struck your wife and mother-in-law as being prettier than all the landscapes through which you had driven them.
“Let’s go to Maison’s!” somebody exclaims.
So you go to Maison’s, near Alfort. You come home by the left bank of the Seine, in the midst of a cloud of very black Olympian dust. The horse drags your family wearily along. But alas! your pride has fled, and you look without emotion upon his sunken flanks, and upon two bones which stick out on each side of his belly. His coat is roughened by the sweat which has repeatedly come out and dried upon him, and which, no less than the dust, has made him gummy, sticky and shaggy. The horse looks like a wrathy porcupine: you are afraid he will be foundered, and you caress him with the whip-lash in a melancholy way that he perfectly understands, for he moves his head about like an omnibus horse, tired of his deplorable existence.
You think a good deal of this horse; your consider him an excellent one and he cost you twelve hundred francs. When a man has the honor of being the father of a family, he thinks as much of twelve hundred francs as you think of this horse. You see at once the frightful amount of your extra expenses, in case Coco should have to lie by. For two days you will have to take hackney coaches to go to your business. You wife will pout if she can’t go out: but she will go out, and take a carriage. The horse will cause the purchase of numerous extras, which you will find in your coachman’s bill, – your only coachman, a model coachman, whom you watch as you do a model anybody.
To these thoughts you give expression in the gentle movement of the whip as it falls upon the animal’s ribs, up to his knees in the black dust which lines the road in front of La Verrerie.
At this moment, little Adolphe, who doesn’t know what to do in this rolling box, has sadly twisted himself up into a corner, and his grandmother anxiously asks him, “What is the matter?”
“I’m hungry,” says the child.
“He’s hungry,” says the mother to her daughter.
“And why shouldn’t he be hungry? It is half-past five, we are not at the barrier, and we started at two!”
“Your husband might have treated us to dinner in the country.”
“He’d rather make his horse go a couple of leagues further, and get back to the house.”
“The cook might have had the day to herself. But Adolphe is right, after all: it’s cheaper to dine at home,” adds the mother-in-law.
“Adolphe,” exclaims your wife, stimulated by the word “cheaper,” “we go so slow that I shall be seasick, and you keep driving right in this nasty dust. What are you thinking of? My gown and hat will be ruined!”
“Would you rather ruin the horse?” you ask, with the air of a man who can’t be answered.
“Oh, no matter for your horse; just think of your son who is dying of hunger: he hasn’t tasted a thing for seven hours. Whip up your old horse! One would really think you cared more for your nag than for your child!”
You dare not give your horse a single crack with the whip, for he might still have vigor enough left to break into a gallop and run away.
“No, Adolphe tries to vex me, he’s going slower,” says the young wife to her mother. “My dear, go as slow as you like. But I know you’ll say I am extravagant when you see me buying another hat.”
Upon this you utter a series of remarks which are lost in the racket made by the wheels.
“What’s the use of replying with reasons that haven’t got an ounce of common-sense?” cries Caroline.
You talk, turning your face to the carriage and then turning back to the horse, to avoid an accident.
“That’s right, run against somebody and tip us over, do, you’ll be rid of us. Adolphe, your son is dying of hunger. See how pale he is!”
“But Caroline,” puts in the mother-in-law, “he’s doing the best he can.”
Nothing annoys you so much as to have your mother-in-law take your part. She is a hypocrite and is delighted to see you quarreling with her daughter. Gently and with infinite precaution she throws oil on the fire.
When you arrive at the barrier, your wife is mute. She says not a word, she sits with her arms crossed, and will not look at you. You have neither soul, heart, nor sentiment. No one but you could have invented such a party of pleasure. If you are unfortunate enough to remind Caroline that it was she who insisted on the excursion, that morning, for her children’s sake, and in behalf of her milk – she nurses the baby – you will be overwhelmed by an avalanche of frigid and stinging reproaches.
You bear it all so as “not to turn the milk of a nursing mother, for whose sake you must overlook some little things,” so your atrocious mother-in-law whispers in your ear.
All the furies of Orestes are rankling in your heart.
In reply to the sacramental words pronounced by the officer of the customs, “Have you anything to declare?” your wife says, “I declare a great deal of ill-humor and dust.”
She laughs, the officer laughs, and you feel a desire to tip your family into the Seine.
Unluckily for you, you suddenly remember the joyous and perverse young woman who wore a pink bonnet and who made merry in your tilbury six years before, as you passed this spot on your way to the chop-house on the river’s bank. What a reminiscence! Was Madame Schontz anxious about babies, about her bonnet, the lace of which was torn to pieces in the bushes? No, she had no care for anything whatever, not even for her dignity, for she shocked the rustic police of Vincennes by the somewhat daring freedom of her style of dancing.
You return home, you have frantically hurried your Norman horse, and have neither prevented an indisposition of the animal, nor an indisposition of your wife.
That evening, Caroline has very little milk. If the baby cries and if your head is split in consequence, it is all your fault, as you preferred the health of your horse to that of your son who was dying of hunger, and of your daughter whose supper has disappeared in a discussion in which your wife was right, as she always is.
“Well, well,” she says, “men are not mothers!”
As you leave the chamber, you hear your mother-in-law consoling her daughter by these terrible words: “Come, be calm, Caroline: that’s the way with them all: they are a selfish lot: your father was just like that!”
THE ULTIMATUM
It is eight o’clock; you make your appearance in the bedroom of your wife. There is a brilliant light. The chambermaid and the cook hover lightly about. The furniture is covered with dresses and flowers tried on and laid aside.
The hair-dresser is there, an artist par excellence, a sovereign authority, at once nobody and everything. You hear the other domestics going and coming: orders are given and recalled, errands are well or ill performed. The disorder is at its height. This chamber is a studio from whence to issue a parlor Venus.
Your wife desires to be the fairest at the ball which you are to attend. Is it still for your sake, or only for herself, or is it for somebody else? Serious questions these.
The idea does not even occur to you.
You are squeezed, hampered, harnessed in your ball accoutrement: you count your steps as you walk, you look around, you observe, you contemplate talking business on neutral ground with a stock-broker, a notary or a banker, to whom you would not like to give an advantage over you by calling at their house.
A singular fact which all have probably observed, but the causes of which can hardly be determined, is the peculiar repugnance which men dressed and ready to go to a party have for discussions or to answer questions. At the moment of starting, there are few husbands who are not taciturn and profoundly absorbed in reflections which vary with their characters. Those who reply give curt and peremptory answers.
But women, at this time, are exceedingly aggravating. They consult you, they ask your advice upon the best way of concealing the stem of a rose, of giving a graceful fall to a bunch of briar, or a happy turn to a scarf. As a neat English expression has it, “they fish for compliments,” and sometimes for better than compliments.
A boy just out of school would discern the motive concealed behind the willows of these pretexts: but your wife is so well known to you, and you have so often playfully joked upon her moral and physical perfections, that you are harsh enough to give your opinion briefly and conscientiously: you thus force Caroline to put that decisive question, so cruel to women, even those who have been married twenty years:
“So I don’t suit you then?”
Drawn upon the true ground by this inquiry, you bestow upon her such little compliments as you can spare and which are, as it were, the small change, the sous, the liards of your purse.
“The best gown you ever wore!” “I never saw you so well dressed.” “Blue, pink, yellow, cherry [take your pick], becomes you charmingly.” “Your head-dress is quite original.” “As you go in, every one will admire you.” “You will not only be the prettiest, but the best dressed.” “They’ll all be mad not to have your taste.” “Beauty is a natural gift: taste is like intelligence, a thing that we may be proud of.”
“Do you think so? Are you in earnest, Adolphe?”
Your wife is coquetting with you. She chooses this moment to force from you your pretended opinion of one and another of her friends, and to insinuate the price of the articles of her dress you so much admire. Nothing is too dear to please you. She sends the cook out of the room.
“Let’s go,” you say.
She sends the chambermaid out after having dismissed the hair-dresser, and begins to turn round and round before her glass, showing off to you her most glorious beauties.
“Let’s go,” you say.
“You are in a hurry,” she returns.
And she goes on exhibiting herself with all her little airs, setting herself off like a fine peach magnificently exhibited in a fruiterer’s window. But since you have dined rather heartily, you kiss her upon the forehead merely, not feeling able to countersign your opinions. Caroline becomes serious.
The carriage waits. All the household looks at Caroline as she goes out: she is the masterpiece to which all have contributed, and everybody admires the common work.
Your wife departs highly satisfied with herself, but a good deal displeased with you. She proceeds loftily to the ball, just as a picture, caressed by the painter and minutely retouched in the studio, is sent to the annual exhibition in the vast bazaar of the Louvre. Your wife, alas! sees fifty women handsomer than herself: they have invented dresses of the most extravagant price, and more or less original: and that which happens at the Louvre to the masterpiece, happens to the object of feminine labor: your wife’s dress seems pale by the side of another very much like it, but the livelier color of which crushes it. Caroline is nobody, and is hardly noticed. When there are sixty handsome women in a room, the sentiment of beauty is lost, beauty is no longer appreciated. Your wife becomes a very ordinary affair. The petty stratagem of her smile, made perfect by practice, has no meaning in the midst of countenances of noble expression, of self-possessed women of lofty presence. She is completely put down, and no one asks her to dance. She tries to force an expression of pretended satisfaction, but, as she is not satisfied, she hears people say, “Madame Adolphe is looking very ill to-night.” Women hypocritically ask her if she is indisposed and “Why don’t you dance?” They have a whole catalogue of malicious remarks veneered with sympathy and electroplated with charity, enough to damn a saint, to make a monkey serious, and to give the devil the shudders.
You, who are innocently playing cards or walking backwards and forwards, and so have not seen one of the thousand pin-pricks with which your wife’s self-love has been tattooed, you come and ask her in a whisper, “What is the matter?”
“Order my carriage!”
This my is the consummation of marriage. For two years she has said “my husband’s carriage,” “the carriage,” “our carriage,” and now she says “my carriage.”
You are in the midst of a game, you say, somebody wants his revenge, or you must get your money back.
Here, Adolphe, we allow that you have sufficient strength of mind to say yes, to disappear, and not to order the carriage.
You have a friend, you send him to dance with your wife, for you have commenced a system of concessions which will ruin you. You already dimly perceive the advantage of a friend.
Finally, you order the carriage. You wife gets in with concentrated rage, she hurls herself into a corner, covers her face with her hood, crosses her arms under her pelisse, and says not a word.
O husbands! Learn this fact; you may, at this fatal moment, repair and redeem everything: and never does the impetuosity of lovers who have been caressing each other the whole evening with flaming gaze fail to do it! Yes, you can bring her home in triumph, she has now nobody but you, you have one more chance, that of taking your wife by storm! But no, idiot, stupid and indifferent that you are, you ask her, “What is the matter?”
Axiom. – A husband should always know what is the matter with his wife, for she always knows what is not.
“I’m cold,” she says.
“The ball was splendid.”
“Pooh! nobody of distinction! People have the mania, nowadays, to invite all Paris into a hole. There were women even on the stairs: their gowns were horribly smashed, and mine is ruined.”
“We had a good time.”
“Ah, you men, you play and that’s the whole of it. Once married, you care about as much for your wives as a lion does for the fine arts.”
“How changed you are; you were so gay, so happy, so charming when we arrived.”
“Oh, you never understand us women. I begged you to go home, and you left me there, as if a woman ever did anything without a reason. You are not without intelligence, but now and then you are so queer I don’t know what you are thinking about.”
Once upon this footing, the quarrel becomes more bitter. When you give your wife your hand to lift her from the carriage, you grasp a woman of wood: she gives you a “thank you” which puts you in the same rank as her servant. You understood your wife no better before than you do after the ball: you find it difficult to follow her, for instead of going up stairs, she flies up. The rupture is complete.
The chambermaid is involved in your disgrace: she is received with blunt No’s and Yes’s, as dry as Brussells rusks, which she swallows with a slanting glance at you. “Monsieur’s always doing these things,” she mutters.
You alone might have changed Madame’s temper. She goes to bed; she has her revenge to take: you did not comprehend her. Now she does not comprehend you. She deposits herself on her side of the bed in the most hostile and offensive posture: she is wrapped up in her chemise, in her sack, in her night-cap, like a bale of clocks packed for the East Indies. She says neither good-night, nor good-day, nor dear, nor Adolphe: you don’t exist, you are a bag of wheat.
Your Caroline, so enticing five hours before in this very chamber where she frisked about like an eel, is now a junk of lead. Were you the Tropical Zone in person, astride of the Equator, you could not melt the ice of this little personified Switzerland that pretends to be asleep, and who could freeze you from head to foot, if she liked. Ask her one hundred times what is the matter with her, Switzerland replies by an ultimatum, like the Diet or the Conference of London.
Nothing is the matter with her: she is tired: she is going to sleep.
The more you insist, the more she erects bastions of ignorance, the more she isolates herself by chevaux-de-frise. If you get impatient, Caroline begins to dream! You grumble, you are lost.
Axiom. – Inasmuch as women are always willing and able to explain their strong points, they leave us to guess at their weak ones.
Caroline will perhaps also condescend to assure you that she does not feel well. But she laughs in her night-cap when you have fallen asleep, and hurls imprecations upon your slumbering body.
WOMEN’S LOGIC
You imagine you have married a creature endowed with reason: you are woefully mistaken, my friend.