


Produced by David Widger






MONSIEUR, MADAME AND BEBE

By Gustave Droz



Antoine-Gustave Droz was born in Paris, June 9, 1832. He was the son of
Jules-Antoine Droz, a celebrated French sculptor, and grand son of Jean
Pierre Droz, master of the mint and medalist under the Directoire. The
family is of Swiss origin. Gustave entered L'Ecole des Beaux Arts and
became quite a noted artist, coming out in the Salon of 1857 with the
painting 'L'Obole de Cesar'. He also exhibited a little later various
'tableaux de genre': 'Buffet de chemin de fer' (1863), 'A la Sacristie'
and 'Un Succes de Salon' (1864), 'Monsieur le Cure, vous avez Raison'
and 'Un Froid Sec' (1865).

Toward this period, however, he abandoned the art of painting and
launched on the career of an author, contributing under the name of
Gustave Z.... to 'La Vie Parisienne'. His articles found great favor,
he showed himself an exquisite raconteur, a sharp observer of intimate
family life, and a most penetrating analyst. The very gallant sketches,
later reunited in 'Monsieur, Madame, et Bebe' (1866), and crowned by the
Academy, have gone through many editions. 'Entre nous' (1867) and 'Une
Femme genante', are written in the same humorous strain, and procured
him many admirers by the vivacious and sparkling representations of
bachelor and connubial life. However, Droz knows very well where to draw
the line, and has formally disavowed a lascivious novel published in
Belgium--'Un Ete a la campagne', often, but erroneously, attributed to
him.

It seems that Gustave Droz later joined the pessimistic camp. His works,
at least, indicate other qualities than those which gained for him the
favor of the reading public. He becomes a more ingenious romancer, a
more delicate psychologist. If some of his sketches are realistic, we
must consider that realism is not intended 'pour les jeunes filles du
pensiannat'.

Beside the works mentioned in the above text, Gustave Droz wrote: 'Le
Cahier bleu de Mademoiselle Cibot (1868), 'Auteur d'une Source (1869),
'Un Paquet de Lettres' (1870), 'Babolain' (1872), 'Les Etangs' (1875),
'Tristesses et Sourires (1883), and L'Enfant (1884).

He died in Paris, October 22, 1895.

                  CAMILLE DOUCET
               de l'Academie Francaise.





BOOK 1.




CHAPTER I. MY FIRST SUPPER PARTY

The devil take me if I can remember her name, notwithstanding I dearly
loved her, the charming girl!

It is strange how rich we find ourselves when we rummage in old drawers;
how many forgotten sighs, how many pretty little trinkets, broken,
old-fashioned, and dusty, we come across. But no matter. I was now
eighteen, and, upon my honor, very unsuspecting. It was in the arms
of that dear--I have her name at the tip of my tongue, it ended in
"ine"--it was in her arms, the dear child, that I murmured my first
words of love, while I was close to her rounded shoulder, which had a
pretty little mole, where I imprinted my first kiss. I adored her, and
she returned my affection.

I really think I should have married her, and that cheerfully, I can
assure you, if it had not been that on certain details of moral weakness
her past life inspired me with doubts, and her present with uneasiness.
No man is perfect; I was a trifle jealous.

Well, one evening--it was Christmas eve--I called to take her to supper
with a friend of mine whom I esteemed much, and who became an examining
magistrate, I do not know where, but he is now dead.

I went upstairs to the room of the sweet girl, and was quite surprised
to find her ready to start. She had on, I remember, a square-cut bodice,
a little too low to my taste, but it became her so well that when she
embraced me I was tempted to say: "I say, pet, suppose we remain here";
but she took my arm, humming a favorite air of hers, and we soon found
ourselves in the street.

You have experienced, have you not, this first joy of the youth who at
once becomes a man when he has his sweetheart on his arm? He trembles at
his boldness, and scents on the morrow the paternal rod; yet all these
fears are dissipated in the presence of the ineffable happiness of the
moment. He is free, he is a man, he loves, he is loved, he is conscious
that he is taking a forward step in life. He would like all Paris to see
him thus, yet he is afraid of being recognized; he would give his little
finger to grow three hairs on his upper lip, and to have a wrinkle on
his brow, to be able to smoke a cigar without being sick, and to polish
off a glass of punch without coughing.

When we reached my friend's, the aforesaid examining magistrate, we
found a numerous company; from the anteroom we could hear bursts of
laughter, noisy conversation, accompanied by the clatter of plate and
crockery, which was being placed upon the table. I was a little excited;
I knew that I was the youngest of the party, and I was afraid of
appearing awkward on that night of revelry. I said to myself: "Old
boy, you must face the music, do the grand, and take your liquor like a
little man; your