Madame Chrysantheme eBook

This eBook from the Gutenberg Project consists of approximately 147 pages of information about Madame Chrysantheme.

We have come at the wrong moment; there is a file of people at the door.  Long rows of djins’ cars are stationed there, awaiting the customers they have brought, who will all have their turn before us.  The runners, naked and tatooed, carefully combed in sleek bands and shiny chignons, are chatting together, smoking little pipes, or bathing their muscular legs in the fresh water of the torrent.

The courtyard is irreproachably Japanese, with its lanterns and dwarf trees.  But the studio where one sits might be in Paris or Pontoise; the self-same chair in “old oak,” the same faded “poufs,” plaster columns and pasteboard rocks.

The people who are being taken at this moment are two ladies of quality, evidently mother and daughter, who are sitting together for a cabinet-sized portrait, with accessories of Louis XV. time.  A strange group this, the first great ladies of this country I have seen so near, with their long aristocratic faces, dull, lifeless, almost gray by dint of rice-powder, and their mouths painted heart-shape in vivid carmine.  Withal an undeniable look of good breeding that strongly impresses us, notwithstanding the intrinsic differences of races and acquired notions.

They scanned Chrysantheme with an obvious look of scorn, although her costume was as ladylike as their own.  For my part, I could not take my eyes off these two creatures; they captivated me like incomprehensible things that one had never seen before.  Their fragile bodies, outlandishly graceful in posture, are lost in stiff materials and redundant sashes, of which the ends droop like tired wings.  They make me think, I know not why, of great rare insects; the extraordinary patterns on their garments have something of the dark motley of night-moths.  Above all, the mystery of their tiny slits of eyes, drawn back and up so far that the tight-drawn lids can scarcely open; the mystery of their expression, which seems to denote inner thoughts of a silly, vague, complacent absurdity, a world of ideas absolutely closed to ourselves.  And I think as I gaze at them:  “How far we are from this Japanese people! how utterly dissimilar are our races!”

Then we have to let several English sailors pass before us, decked out in their white drill clothes, fresh, fat and pink like little sugar figures, who attitudinize in a sheepish manner round the shafts of the columns.

At last it is our turn; Chrysantheme slowly settles herself in a very affected style, turning in the points of her toes as much as possible, according to the fashion.

And on the negative we are shown we look like a supremely ridiculous little family drawn up in a line by a common photographer at a fair.

XLVI.

September 13th.

This evening Yves is off duty three hours earlier than myself; from time to time this is the case, according to the arrangement of the watches.  On those occasions he lands the first, and goes up to wait for me at Diou-djen-dji.

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Madame Chrysantheme from Project Gutenberg. Public domain.
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