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雙語·邦斯舅舅 四十九、西卜女人上戲院去

所屬教程:譯林版·邦斯舅舅

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2022年07月05日

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LIX

Well, dear M. Schmucke, and how is our dear, adored patient? asked La Cibot, as she came into the room.

Fery pad; Bons haf peen vandering all der night.

Then, what did he say?

Chust nonsense. He vould dot I haf all his fortune, on kondition dot I sell nodings.—Den he cried! Boor mann! It made me ver' sad.

Never mind, honey, returned the portress. "I have kept you waiting for your breakfast; it is nine o'clock and past; but don't scold me. I have business on hand, you see, business of yours. Here are we without any money, and I have been out to get some."

Vere? asked Schmucke.

Of my uncle.

Onkel?

Up the spout.

Shpout?

Oh! the dear man! how simple he is? No, you are a saint, a love, an archbishop of innocence, a man that ought to be stuffed, as the old actor said. What! you have lived in Paris for twenty-nine years; you saw the Revolution of July, you did, and you have never so much as heard tell of a pawnbroker—a man that lends you money on your things?—I have been pawning our silver spoons and forks, eight of them, thread pattern. Pooh, Cibot can eat his victuals with German silver; it is quite the fashion now, they say. It is not worth while to say anything to our angel there; it would upset him and make him yellower than before, and he is quite cross enough as it is. Let us get him round again first, and afterwards we shall see. What must be must; and we must take things as we find them, eh?

Goot voman! nople heart! cried poor Schmucke, with a great tenderness in his face. He took La Cibot's hand and clasped it to his breast. When he looked up, there were tears in his eyes.

There, that will do, Papa Schmucke; how funny you are! This is too bad. I am an old daughter of the people—my heart is in my hand. I have something here, you see, like you have, hearts of gold that you are, she added, slapping her chest.

Baba Schmucke! continued the musician. "No. To know de tepths of sorrow, to cry mit tears of blood, to mount up in der hefn—dat is mein lot! I shall not lif after Bons—"

Gracious! I am sure you won't, you are killing yourself.—Listen, pet!

Bet?

Very well, my sonny—

Zonny?

My lamb, then, if you like it better.

It is not more clear.

Oh, well, let me take care of you and tell you what to do; for if you go on like this, I shall have both of you laid up on my hands, you see. To my little way of thinking, we must do the work between us. You cannot go about Paris to give lessons for it tires you, and then you are not fit to do anything afterwards, and somebody must sit up of a night with M. Pons, now that he is getting worse and worse. I will run round to-day to all your pupils and tell them that you are ill; is it not so? And then you can spend the nights with our lamb, and sleep of a morning from five o'clock till, let us say, two in the afternoon. I myself will take the day, the most tiring part, for there is your breakfast and dinner to get ready, and the bed to make, and the things to change, and the doses of medicine to give. I could not hold out for another ten days at this rate. What would become of you if I were to fall ill? And you yourself, it makes one shudder to see you; just look at yourself, after sitting up with him last night!

She drew Schmucke to the glass, and Schmucke thought that there was a great change.

So, if you are of my mind, I'll have your breakfast ready in a jiffy. Then you will look after our poor dear again till two o'clock. Let me have a list of your people, and I will soon arrange it. You will be free for a fortnight. You can go to bed when I come in, and sleep till night.

So prudent did the proposition seem, that Schmucke then and there agreed to it.

Not a word to M. Pons; he would think it was all over with him, you know, if we were to tell him in this way that his engagement at the theatre and his lessons are put off. He would be thinking that he should not find his pupils again, poor gentleman—stuff and nonsense! M. Poulain says that we shall save our Benjamin if we keep him as quiet as possible.

Ach! fery goot! Pring up der preakfast; I shall make der bett, and gif you die attresses!—You are right; it vould pe too much for me.

An hour later La Cibot, in her Sunday clothes, departed in great state, to the no small astonishment of the Remonencqs; she promised herself that she would support the character of confidential servant of the pair of nutcrackers, in the boarding-schools and private families in which they gave music-lessons.

It is needless to repeat all the gossip in which La Cibot indulged on her round. The members of every family, the head-mistress of every boarding-school, were treated to a variation upon the theme of Pons' illness. A single scene, which took place in the Illustrious Gaudissart's private room, will give a sufficient idea of the rest. La Cibot met with unheard-of difficulties, but she succeeded in penetrating at last to the presence. Kings and cabinet ministers are less difficult of access than the manager of a theatre in Paris; nor is it hard to understand why such prodigious barriers are raised between them and ordinary mortals: a king has only to defend himself from ambition; the manager of a theatre has reason to dread the wounded vanity of actors and authors.

La Cibot, however, struck up an acquaintance with the portress, and traversed all distances in a brief space. There is a sort of freemasonry among the porter tribe, and, indeed, among the members of every profession; for each calling has its shibboleth, as well as its insulting epithet and the mark with which it brands its followers.

Ah! madame, you are the portress here, began La Cibot. "I myself am a portress, in a small way, in a house in the Rue de Normandie. M. Pons, your conductor, lodges with us. Oh, how glad I should be to have your place, and see the actors and dancers and authors go past. It is the marshal's baton in our profession, as the old actor said."

And how is M. Pons going on, good man? inquired the portress.

He is not going on at all; he has not left his bed these two months. He will only leave the house feet foremost, that is certain.

He will be missed.

Yes. I have come with a message to the manager from him. Just try to get me a word with him, dear.

A lady from M. Pons to see you, sir! After this fashion did the youth attached to the service of the manager's office announce La Cibot, whom the portress below had particularly recommended to his care.

Gaudissart had just come in for a rehearsal. Chance so ordered it that no one wished to speak with him; actors and authors were alike late. Delighted to have news of his conductor, he made a Napoleonic gesture, and La Cibot was admitted.

四十九、西卜女人上戲院去

西卜太太跑進(jìn)兩位老人家里,“喂,親愛的許模克先生,咱們的寶貝病人怎么啦?”

“不行哪,邦斯整夜都在說胡話?!?/p>

“說些什么呢?”

“都是瞎扯!他要我把他的財產(chǎn)統(tǒng)統(tǒng)拿下來,條件是一樣?xùn)|西也不替他賣掉……可憐的人!他哭得我難過死了!”

“慢慢會好的。現(xiàn)在已經(jīng)九點(diǎn),你的早飯給耽誤了;可是別埋怨我……你知道,為了你們,我忙得很。家里一個子兒都沒有了,我在張羅錢呢!……”

“怎么張羅?”德國人問。

“長生庫啰!”

“什么?”

“當(dāng)鋪啰!”

“當(dāng)鋪?”

“哦!你這個好人!這樣老實!你真是一個圣人,一個天使。怎么!你在巴黎住了二十九年,經(jīng)過了七月革命,看見了多多少少的事,還不知道什么叫作當(dāng)鋪……拿你的衣服雜物去押錢的地方!……我把我們的銀餐具,八套刻花的,都送了去。沒關(guān)系!西卜可以用噴銀的,反正一樣體面,像那個戲子說的。你別跟咱們的寶貝病人提,他會發(fā)急的,臉更要黃了,沒有這些他已經(jīng)煩死了。咱們先把他救過來,旁的事以后再說。緊急的時候只能咬緊牙關(guān),不是嗎?……”

“好太太,你真了不起!”可憐的德國人抓著西卜女人的手按在自己胸口,神氣很感動。他含著一包眼淚望著天。

“別這樣,許模克老頭,你真可笑。這不是過分了嗎?我這個人是老老實實的,什么都擺在臉上。你瞧,我就是有這個,”她拍了拍心窩,“你們兩個心地好,我可是跟你們一樣……”

“唉,許??死项^嗎!……”德國人接著說,“他傷透了心,哭出了血淚,上天堂去,這是許??说拿“钏顾懒?,我也活不成的……”

“對啦!我知道,你是不要命了……聽我說,小狗子……”

“小狗子?”

“那么小鬼……”

“小鬼?”

“那么小東西好不好?”

“你越說我越糊涂了……”

“好吧,你聽著,你得讓我來照顧你,聽我的安排;要不然,你這樣下去,我要背上兩個病人了……我看哪,咱們這兒的工作得分配一下。你不能再東奔西跑地去教書,把你弄得筋疲力盡,回家來什么事都干不了;邦斯先生的病越來越重,晚上得守著他。我想今兒挨門挨戶去通知你的學(xué)生,說你病了……那么你晚上陪著病人,早上五點(diǎn)到下午兩點(diǎn)可以睡覺。最吃力的活兒歸我來,就是說白天由我值班,我要管你的中飯、晚飯,服侍病人,抱他起來,替他換衣服,給他吃藥……照我過去做的那些事,我頂多再撐十天。咱們不顧死活地已經(jīng)熬了三十天。要是我病倒了,你們怎么辦?……還有你哪,也叫人擔(dān)心,這一夜沒有睡,你自己去瞧瞧還像個樣嗎……”

她把許??死界R子前面,許??税l(fā)覺自己的確改變了很多。

“所以,倘使你贊成我的辦法,我馬上去弄早飯給你吃。你陪著病人,陪到下午兩點(diǎn)。你把主顧的名單抄下來,我很快就能辦妥,那你可有半個月假期了。等我回來,你就能一覺睡到晚上?!?/p>

這個提議非常合理,許??艘豢诖饝?yīng)了。

“對邦斯先生一個字都不能提;因為,你知道,倘若我們告訴他,把他在戲院里和教書的事統(tǒng)統(tǒng)停起來,他要覺得沒希望了。可憐的先生會想他的學(xué)生都要跑掉了……這不是胡鬧嗎?……波冷醫(yī)生說的,咱們非得讓他十二分安靜,才能把他救過來?!?/p>

“?。『?,好!你去弄早飯,我在這兒抄地名?!阏f得不錯,我也會病倒的!”

一小時以后,西卜女人穿扮得非常齊整,坐著馬車(雷蒙諾克見了大吃一驚),決意體體面面地,以親信的管家身份,代表兩個榛子鉗到那些私塾和家庭中去。

她到一處都大同小異地拉扯一番,在此也不必細(xì)述;我們單說她好容易踏進(jìn)高狄沙經(jīng)理室的那一幕。巴黎的戲院經(jīng)理,門禁比王上和部長的都更森嚴(yán)。理由很簡單:王上他們只要防備人家的野心;戲院經(jīng)理還得防備演員和作家們的自尊心。

西卜女人的沖破禁衛(wèi),是因為她能三言兩語地馬上跟門房親熱。像任何一業(yè)的同行一樣,看門的彼此都一見便知的。每行有每行的暗號,正如每行有每行的咒罵和傷疤。

“??!太太,原來你是戲院的門房,”西卜女人說,“我不過是諾曼底街一個可憐的看門女人。你們的樂隊指揮邦斯先生就住在我屋子里。哦!你好福氣,天天看到一般戲子、舞女和作家!這才像那個有名的戲子說的,是我們一行中的大元帥呢。”

“他怎么啦,那位多好的邦斯先生?”對方問。

“不行哪;已經(jīng)兩個月沒下床,將來只能直著兩腿給抬出去的了,一定的?!?/p>

“那多可惜……”

“可不是!我今天代他向你們的經(jīng)理說說他的情形;勞駕想個法兒,讓我見一見經(jīng)理?!?/p>

戲院里的當(dāng)差受了門房囑托,進(jìn)去通報道:“有位太太是邦斯先生派來的?!?/p>

高狄沙為了排戲剛到戲院。碰巧那時沒有人找他,作家和演員都到遲了;聽到有他樂隊指揮的消息,他很高興,便做了個拿破侖式的手勢。于是西卜女人進(jìn)去了。

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