“Your daughter banishes us—­your daughter is ashamed of us!”

She heard nothing but that “Your daughter—­your daughter—­your daughter!” For, in his anger with Sidonie, he denied her, throwing upon his wife the whole responsibility for that monstrous and unnatural child.  It was a genuine relief for poor Madame Chebe when her husband took an omnibus at the office to go and hunt up Delobelle—­whose hours for lounging were always at his disposal—­and pour into his bosom all his rancor against his son-in-law and his daughter.

The illustrious Delobelle also bore Risler a grudge, and freely said of him:  “He is a dastard.”

The great man had hoped to form an integral part of the new household, to be the organizer of festivities, the ‘arbiter elegantiarum’.  Instead of which, Sidonie received him very coldly, and Risler no longer even took him to the brewery.  However, the actor did not complain too loud, and whenever he met his friend he overwhelmed him with attentions and flattery; for he had need of him.

Weary of awaiting the discerning manager, seeing that the engagement he had longed for so many years did not come, it had occurred to Delobelle to purchase a theatre and manage it himself.  He counted upon Risler for the funds.  Opportunely enough, a small theatre on the boulevard happened to be for sale, as a result of the failure of its manager.  Delobelle mentioned it to Risler, at first very vaguely, in a wholly hypothetical form—­“There would be a good chance to make a fine stroke.”  Risler listened with his usual phlegm, saying, “Indeed, it would be a good thing for you.”  And to a more direct suggestion, not daring to answer, “No,” he took refuge behind such phrases as “I will see”—­“Perhaps later”—­“I don’t say no”—­and finally uttered the unlucky words “I must see the estimates.”

For a whole week the actor had delved away at plans and figures, seated between his wife and daughter, who watched him in admiration, and intoxicated themselves with this latest dream.  The people in the house said, “Monsieur Delobelle is going to buy a theatre.”  On the boulevard, in the actors’ cafes, nothing was talked of but this transaction.  Delobelle did not conceal the fact that he had found some one to advance the funds; the result being that he was surrounded by a crowd of unemployed actors, old comrades who tapped him familiarly on the shoulder and recalled themselves to his recollection—­“You know, old boy.”  He promised engagements, breakfasted at the cafe, wrote letters there, greeted those who entered with the tips of his fingers, held very animated conversations in corners; and already two threadbare authors had read to him a drama in seven tableaux, which was “exactly what he wanted” for his opening piece.  He talked about “my theatre!” and his letters were addressed, “Monsieur Delobelle, Manager.”