The Project Gutenberg EBook of Trilby, by George Du Maurier This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org/license Title: Trilby Author: George Du Maurier Release Date: May 29, 2012 [EBook #39858] [Last updated: August 21, 2015] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK TRILBY *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This book was produced from scanned images of public domain material from the Google Print project.) Typographical errors have been corrected A list follows the text With a few exceptions, the spelling of French words has not been normalized or corrected (note of etext transcriber) SPECIAL LIMITED EDITION TRILBY A Novel By G E O R G E DU M A U R I E R AUTHOR OF "PETER IBBETSON" "THE MARTIAN" "SOCIAL PICTORIAL SATIRE" WITH ILLUSTRATIONS BY THE AUTHOR "Aux nouvelles que j'apporte, Vos beaux yeux vont pleurer!" "Aux nouvelles que j'apporte, Vos beaux yeux vont pleurer!" NEW YORK INTERNATIONAL BOOK AND PUBLISHING COMPANY 1899 This volume is issued for sale in paper covers only Copyright, 1894, 1899, by HARPER & BROTHERS ——— All rights reserved CONTENTS Part Second, Part Third, Part Fourth, Part Fifth, Part Sixth, Part Seventh, Part Eighth "IT WAS TRILBY!" [See page 317 "IT WAS TRILBY!" [See page 317 "Hélas! Je sais un chant d'amour, Triste et gai, tour à tour!" ILLUSTRATIONS [Certain of the illustrations have been moved to the beginning or end of the paragraph in which they appear to ease the reading flow A larger version of the image may be viewed by clicking directly on the image (note of etext transcriber)] PAGE "IT WAS TRILBY!" TAFFY, ALIAS TALBOT WYNNE "THE LAIRD OF COCKPEN" "THE THIRD HE WAS 'LITTLE BILLEE'" "IT DID ONE GOOD TO LOOK AT HIM" AMONG THE OLD MASTERS "WISTFUL AND SWEET" THE "ROSEMONDE" OF SCHUBERT TRILBY'S LEFT FOOT THE FLEXIBLE FLAGEOLET THE BRIDGE OF ARTS "THREE MUSKETEERS OF THE BRUSH" TAFFY MAKES THE SALAD "THE GLORY THAT WAS GREECE" TRILBY'S FOREBEARS TAIL-PIECE "AS BAD AS THEY MAKE 'EM" "A VOICE HE DIDN'T UNDERSTAND" "AND SO, NO MORE" "'TWO ENGLANDERS IN ONE DAY'" "'HIMMEL! THE ROOF OF YOUR MOUTH'" "'ÇA FERA UNE FAMEUSE CRAPULE DE MOINS!'" "'AV YOU SEEN MY FAHZER'S OLE SHOES?'" TAFFY À L'ÉCHELLE! "THE FOX AND THE CROW" THE LATIN QUARTER CUISINE BOURGEOISE EN BOHÈME "THE SOFT EYES" ILYSSUS "'VOILÀ L'ESPAYCE DE HOM KER JER SWEE!'" TIT FOR TAT Frontispiece 13 17 21 27 31 34 39 43 47 52 56 59 63 67 70 73 77 81 85 89 92 95 98 101 105 111 THE HAPPY LIFE "'LET ME GO, TAFFY '" "'QU'EST CE QU'IL A DONC, CE LITREBILI?'" REPENTANCE CONFESSION "ALL AS IT USED TO BE" "TWIN GRAY STARS" "AN INCUBUS" THE CAPITALIST AND THE SWELL "'I WILL NOT! I WILL NOT!'" DODOR IN HIS GLORY HÔTEL DE LA ROCHEMARTEL CHRISTMAS EVE "'ALLONS GLYCÈRE! ROUGIS MON VERRE '" SOUVENIR "MY SISTER DEAR" A DUCAL FRENCH FIGHTING-COCK "'ANSWER ME, TRILBY!'" A CARYHATIDE "'LES GLOUGLOUX DU VIN À QUAT' SOUS '" "'IS SHE A LADY, MR WYNNE?'" "'FOND OF HIM? AREN'T YOU?'" "SO LIKE LITTLE BILLEE" "'I MUST TAKE THE BULL BY THE HORNS'" "'TRILBY! WHERE IS SHE?'" LA SŒUR DE LITREBILI "HE FELL A-WEEPING, QUITE DESPERATELY" "THE SWEET MELODIC PHRASE" "SORROWFULLY, ARM IN ARM" DEMORALIZATION FRED WALKER PLATONIC LOVE "DARLINGS, OLD OR YOUNG" "THE MOON-DIAL" THE CHAIRMAN A HAPPY DINNER "A-SMOKIN' THEIR POIPES AND CIGYARS" "BONJOUR, SUZON!" A HUMAN NIGHTINGALE CUP-AND-BALL SWEET ALICE "MAY HEAVEN GO WITH HER!" "'SO MUCH FOR ALICE, TRAY'" 116 119 121 125 129 133 135 137 141 151 153 155 161 163 168 173 175 179 180 183 187 191 195 199 203 205 207 211 215 225 227 230 235 237 239 245 247 253 257 263 267 272 277 "'YOU'RE A THIEF, SIR!'" 287 "AN ATMOSPHERE OF BANK-NOTES AND GOLD" "A LITTLE PICTURE OF THE THAMES" "'AH! THE BEAUTIFUL INTERMENT, MESSIEURS!'" "PAUVRE TRILBY" "'JE PRONG!'" "'OON PAIR DE GONG BLONG'" GECKO "AU CLAIR DE LA LUNE" "OUVRE-MOI TA PORTE POUR L'AMOUR DE DIEU!" "MALBROUCK S'EN VA-T'EN GUERRE" "AUX NOUVELLES QUE J'APPORTE, VOS BEAUX YEUX VONT PLEURER!" UN IMPROMPTU DE CHOPIN "AND THE REMEMBRANCE OF THEM—HAND IN HAND" "'I BELIEVE YOU, MY BOY!'" "MAMAN DUCHESSE" THE CUT DIRECT "PETIT ENFANT, J'AIMAIS D'UN AMOUR TENDRE " "'VITE! VITE! UN COMMISSAIRE DE POLICE!'" "I SUPPOSE YOU DO ALL THIS KIND OF THING FOR MERE AMUSEMENT, MR WYNNE?" THE FIRST VIOLIN LOSES HIS TEMPER "HAST THOU FOUND ME, O MINE ENEMY?" "'OH, DON'T YOU REMEMBER SWEET ALICE, BEN BOLT?'" "THE LAST THEY SAW OF SVENGALI" "'THREE NICE CLEAN ENGLISHMEN'" "PŒNA PEDE CLAUDO" "THE OLD STUDIO" "'ET MAINTENANT DORS, MA MIGNONNE!'" "TAFFY WAS ALLOWED TO SEE GECKO" A FAIR BLANCHISSEUSE DE FIN A THRONE IN BOHEMIA "'OH, MY POOR GIRL! MY POOR GIRL!'" "'AH, POOR MAMMA! SHE WAS EVER SO MUCH PRETTIER THAN THAT!'" "'TO SING LIKE THAT IS TO PRAY!'" "'THE REMEMBRANCE OF THAT PALM SUNDAY!'" FOR GECKO "OUT OF THE MYSTERIOUS EAST" "'SVENGALI! SVENGALI! SVENGALI! '" "TOUT VIENT À POINT, POUR QUI SAIT ATTENDRE!" "I, PETE COELESTES " "PETITS BONHEURS DE CONTREBANDE" 293 296 301 303 307 311 315 319 322 325 329 331 338 341 351 354 358 363 367 373 375 377 383 386 389 391 395 400 403 407 410 416 422 425 431 432 437 439 441 447 ENTER GECKO "'WE TOOK HER VOICE NOTE BY NOTE'" 451 455 THE NIGHTINGALE'S FIRST SONG "'ICH HABE GELIEBT UND GELEBET!'" TAIL-PIECE 459 461 464 TRILBY Part First "Mimi Pinson est une blonde, Une blonde que l'on connt; Elle n'a qu'une robe au monde, Landérirette! et qu'un bonnet!" IT was a fine, sunny, showery day in April The big studio window was open at the top, and let in a pleasant breeze from the northwest Things were beginning to look shipshape at last The big piano, a semi-grand by Broadwood, had arrived from England by "the Little Quickness" (la Petite Vitesse, as the goods trains are called in France), and lay, freshly tuned, alongside the eastern wall; on the wall opposite was a panoply of foils, masks, and boxing-gloves A trapeze, a knotted rope, and two parallel cords, supporting each a ring, depended from a huge beam in the ceiling The walls were of the usual dull red, relieved by plaster casts of arms and legs and hands and feet; and Dante's mask, and Michael Angelo's altorilievo of Leda and the swan, and a centaur and Lapith from the Elgin marbles—on none of these had the dust as yet had time to settle There were also studies in oil from the nude; copies of Titian, Rembrandt, Velasquez, Rubens, Tintoret, Leonardo da Vinci—none of the school of Botticelli, Mantegna, and Co.—a firm whose merits had not as yet been revealed to the many Along the walls, at a great height, ran a broad shelf, on which were other casts in plaster, terra-cotta, imitation bronze; a little Theseus, a little Venus of Milo, a little discobolus; a little flayed man threatening high heaven (an act that seemed almost pardonable under the circumstances!); a lion and a boar by Barye; an anatomical figure of a horse with only one leg left and no ears; a horse's head from the pediment of the Parthenon, earless also; and the bust of Clytie, with her beautiful low brow, her sweet wan gaze, and the ineffable forward shrug of her dear shoulders that makes her bosom a nest, a rest, a pillow, a refuge—to be loved and desired forever by generation after generation of the sons of men Near the stove a gridiron, a frying-pan, a toasting-fork, and a pair of bellows In an adjoining glazed corner cupboard were plates and glasses, blackhandled knives, pewter spoons, and three-pronged steel forks; a salad-bowl, vinegar cruets, an oil-flask, two mustard-pots (English and French), and such ... THE "ROSEMONDE" OF SCHUBERT TRILBY' S LEFT FOOT THE FLEXIBLE FLAGEOLET THE BRIDGE OF ARTS "THREE MUSKETEERS OF THE BRUSH" TAFFY MAKES THE SALAD "THE GLORY THAT WAS GREECE" TRILBY' S FOREBEARS TAIL-PIECE "AS BAD AS THEY MAKE 'EM"... studio together The Laird slept there, in a small bedroom off the studio Taffy had a bedroom at the Hôtel de Seine, in the street of that name Little Billee lodged at the Hôtel Corneille, in the Place de l'Odéon... at the pictures, instead of at the pictures themselves; especially at the people who copied them, the sometimes charming young lady painters—and these seemed to him even more charming than they