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MADAME DELPHINE
BY
GEORGE W. CABLE
_Author of "Old Creole Days," "The Grandissimes," etc._
NEW YORK
COPYRIGHT
BY CHARLES SCRIBNER'S SONS
743 AND 745 BROADWAY
1881
PRESS OF J. J. LITTLE & CO.,
NOS. 10 TO 20 ASTOR PLACE, NEW YORK.
* * * * *
CONTENTS.
CHAPTER I. PAGE
AN OLD HOUSE 1
CHAPTER II.
MADAME DELPHINE 7
CHAPTER III.
CAPITAINE LEMAITRE 12
CHAPTER IV.
THREE FRIENDS 18
CHAPTER V.
THE CAP FITS 28
CHAPTER VI.
A CRY OF DISTRESS 40
CHAPTER VII.
MICHÉ VIGNEVIELLE 50
CHAPTER VIII.
SHE 59
CHAPTER IX.
OLIVE 68
CHAPTER X.
BIRDS 74
CHAPTER XI.
FACE TO FACE 82
CHAPTER XII.
THE MOTHER BIRD 90
CHAPTER XIII.
TRIBULATION 99
CHAPTER XIV.
BY AN OATH 106
CHAPTER XV.
KYRIE ELEISON 120
* * * * *
MADAME DELPHINE.
CHAPTER I.
AN OLD HOUSE.
A few steps from the St. Charles Hotel, in New Orleans, brings you to
and across Canal street, the central avenue of the city, and to that
corner where the flower-women sit at the inner and outer edges of the
arcaded sidewalk, and make the air sweet with their fragrant
merchandise. The crowd--and if it is near the time of the carnival it
will be great--will follow Canal street.
But you turn, instead, into the quiet, narrow way which a lover of
Creole antiquity, in fondness for a romantic past, is still prone to
call the Rue Royale. You will pass a few restaurants, a few auction
rooms, a few furniture warehouses, and will hardly realize that you
have left behind you the activity and clatter of a city of merchants
before you find yourself in a region of architectural decrepitude, where
an ancient and foreign-seeming domestic life, in second stories,
overhangs the ruins of a former commercial prosperity, and upon
everything has settled down a long Sabbath of decay. The vehicles in the
street are few in number, and are merely passing through; the stores are
shrunken into shops; you see here and there, like a patch of bright
mould, the stall of that significant fungus, the Chinaman. Many great
doors are shut and clamped and grown gray with cobweb; many street
windows are nailed up; half the balconies are begrimed and rust-eaten,
and many of the humid arches and alleys which characterize the older
Franco-Spanish piles of stuccoed brick betray a squalor almost oriental.
Yet beauty lingers here. To say nothing of the picturesque, sometimes
you get sight of comfort, sometimes of opulence, through the unlatched
wicket in some _porte-cochère_--red-painted brick pavement, foliage of
dark palm or pale banana, marble or granite masonry and blooming
parterres; or through a chink between some pair of heavy batten
window-shutters, opened with an almost reptile wariness, your eye gets a
glimpse of lace and brocade upholstery, silver and bronze, and much
similar rich antiquity.
The faces of the inmates are in keeping; of the passengers in the street
a sad proportion are dingy and shabby; but just when these are putting
you off your guard, there will pass you a woman--more likely two or
three--of patrician beauty.
Now, if you will go far enough down this old street, you will see, as
you approach its intersection with----. Names in that region elude one
like ghosts.
However, as you begin to find the way a trifle more open, you will not
fail to notice on the right-hand side, about midway of the square, a
small, low, brick house of a story and a half, set out upon the
sidewalk, as weather-beaten and mute as an aged beggar fallen asleep.
Its corrugated roof of dull red tiles, sloping down toward you with an
inward curve, is overgrown with weeds, and in the fall of the year is
gay with the yellow plumes of the golden-rod. You can almost touch with
your cane the low edge of the broad, overhanging eaves. The batten
shutters at door and window, with hinges like those of a postern, are
shut with a grip that makes one's knuckles and nails feel lacerated.
Save in the brick-work itself there is not a cranny. You would say the
house has the lock-jaw. There are two doors, and to each a single
chipped and battered marble step. Continuing on down the sidewalk, on a
line with the house, is a garden masked from view by a high, close
board-fence. You may see the tops of its fruit-trees--pomegranate,
peach, banana, fig, pear, and particularly one large orange, close by
the fence, that must be very old.
The residents over the narrow way, who live in a three-story house,
originally of much pretension, but from whose front door hard times have
removed almost all vestiges of paint, will tell you:
"Yass, de 'ouse is in'abit; 'tis live in."
And this is likely to be all the information you get--not that they
would not tell, but they cannot grasp the idea that you wish to
know--until, possibly, just as you are turning to depart, your
informant, in a single word and with the most evident non-appreciation
of its value, drops the simple key to the whole matter:
"Dey's quadroons."
He may then be aroused to mention the better appearance of the place in
former years, when the houses of this region generally stood farther
apart, and that garden comprised the whole square.
Here dwelt, sixty years ago and more, one Delphine Carraze; or, as she
was commonly designated by the few who knew her, Madame Delphine. That
she owned her home, and that it had been given her by the then deceased
companion of her days of beauty, were facts so generally admitted as to
be, even as far back as that sixty years ago, no longer a subject of
gossip. She was never pointed out by the denizens of the quarter as a
character, nor her house as a "feature." It would have passed all Creole
powers of guessing to divine what you could find worthy of inquiry
concerning a retired quadroon woman; and not the least puzzled of all
would have been the timid and restive Madame Delphine herself.