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Titel: The Fortune of the Rougons
von Oliver Goldsmith, Samuel Pepys, William Dean Howells, John Burroughs, William Harmon Norton, L. Mühlbach, Franklin Knight Lane, Walter Pater, Jonathan Swift, Augusta J. Evans, Trumbull White, Kathleen Thompson Norris, Matthew Arnold, Charles W. Colby, Shakespeare, James Fenimore Cooper, D. H. Lawrence, James Joyce, Ada Cambridge, Philip E. Muskett, Catherine Helen Spence, Rolf Boldrewood, Ernest Scott, Fergus Hume, H. G. Wells, Victor [pseud.] Appleton, Roald Amundsen, Max Simon Nordau, Henry David Thoreau, E. Phillips Oppenheim, Richard Wagner, Franz Liszt, Charlotte Mary Yonge, Charles Henry Eden, Charles Babbage, T. R. Malthus, Unknown, Joseph Ernest Morris, Robert Southey, Isabella L. Bird, Charles James Fox, Thomas Hariot, Cyrus Thomas, Bart Haley, Christopher Morley, Edgar Saltus, Marie Corelli, Edmund Lester Pearson, Robert Browning, John Aubrey, Benjamin Nathaniel Bogue, John McElroy, John Galsworthy, Henry James, Hamilton Wright Mabie, Mina Benson Hubbard, Elizabeth Cleghorn Gaskell, John Keble, Henry Lindlahr, Richard Henry Dana, Annie Wood Besant, Immanuel Kant, John Habberton, Baron Edward John Moreton Drax Plunkett Dunsany, T. B. Ray, Isabel Ecclestone Mackay, Frank C. Haddock, William John Locke, baron Arthur Léon Imbert de Saint-Amand, Ralph Centennius, United States, Library of Congress. Copyright Office, James Otis, George Hartmann, Sir Arthur Conan Doyle, George Gissing, John Henry Tilden, Thomas Wright, Frederick Samuel Dellenbaugh, Anonymous, J. Clontz, David Hume, Margot Asquith, Elmer Ulysses Hoenshel, Byron J. Rees, Lida B. McMurry, Georges Duhamel, Ramsay Muir, Edith Wharton, Charles Sturt, Lola Ridge, J. M. Stone, Annie Payson Call, Grant Allen, kniaz Petr Alekseevich Kropotkin, Steve Solomon, Isabel Moser, Aleksandr Sergeevich Pushkin, Horace W. C. Newte, Charles Darwin, Maurice Maeterlinck, Walter Bagehot, Henri Bergson, George Randolph Chester, John S. C. Abbott, L. Frank Baum, William T. Sherman, Philip Henry Sheridan, Friedrich Wilhelm Nietzsche, Ambrose Bierce, Ulysses S. Grant, F. Scott Fitzgerald, Alfred Lichtenstein, Abbot of Nogent-sous-Coucy Guibert, Nellie L. McClung, Alice Caldwell Hegan Rice, E. Nesbit, Henri Barbusse, J. M. Synge, Frank Norris, Louis Hémon, Henry Van Dyke, Thomas Guthrie Marquis, Susanna Moodie, Frank Bigelow Tarbell, René Descartes, Kirk Munroe, Francis Hopkinson Smith, Edna St. Vincent Millay, Talbot Mundy, George Meredith, Clemens Brentano, James De Mille, James Allen, Norman Douglas, Bolton Hall, Arthur Christopher Benson, James Oliver Curwood, Frank Jardine, Bertram Lenox Simpson, Freiherr von Justus Liebig, Cyril G. Hopkins, Mary Eleanor Wilkins Freeman, Evelyn Scott, Charles Monroe Sheldon, George Berkeley, Steven Sills, Sara Jeannette Duncan, Jules Verne, Irvin S. Cobb, Zane Grey, August von Kotzebue, John Addington Symonds, Marjorie Allen Seiffert, J. B. Bury, William Makepeace Thackeray, Jules Renard, Susan Coolidge, Huguette Bertrand, Mrs. C. F. Fraser, Ottilie A. Liljencrantz, William Morton Payne, Henry Adams, T. S. Arthur, Orison Swett Marden, T. S. Ackland, Anthony Trollope, graf Leo Tolstoy, Robert Smythe Hichens, Émile Gaboriau, Wilkie Collins, Charles Reade, Horace Walpole, Jennette Lee, Thomas Dykes Beasley, Inez Haynes Gillmore, L. H. Woolley, John Francis Davis, James B. Stetson, William Day Simonds, James O'Meara, Almira Bailey, Cuthbert Bede, Voltaire, Percy Bysshe Shelley, William Bennett Munro, Sir Richard Francis Burton, Horatio Alger, Paul Verlaine, Samuel Vaknin, William Ralph Inge, Madame de Staël, J. Hector St. John de Crèvecoeur, L. A. Abbott, F. Colburn Adams, John S. Adams, Thornton W. Burgess, Glenn D. Bradley, Eugen Neuhaus, Arthur E. Knights, Bret Harte, Maturin Murray Ballou, Jane G. Austin, Samuel Johnson, Frederick Niecks, Stephen Leacock, Suelette Dreyfus, Stéphane Mallarmé, Lyndon Orr, William Le Queux, Mary Wollstonecraft Shelley, Jeannie Gunn, Jean François Regnard, John Ruskin, A. I. Kuprin, Pierre Louÿs, George Barr McCutcheon, John Munro, Holman Day, William Stearns Davis, John Richardson, Mary Jane Holmes, Oliver Wendell Holmes, Finley Peter Dunne, C. J. Dennis, Ethel Sybil Turner, Julius Wellhausen, Arnold Bennett, Harold Bell Wright, Guðmundur Kamban, Charles Stuart Calverley, A. E. W. Mason, Charles Rivière Dufresny, David Starr Jordan, Wallace Irwin, J. W. Wright, Thomas Hardy, United States Rubber Company, Helen Reimensnyder Martin, William Fayette Fox, Lewis Carroll, Anna Katharine Green, Shell Union Oil Corporation, Louisa May Alcott, Theocritus, of Phlossa near Smyrna Bion, Moschus, Bertrand Russell, Guy de Maupassant, Henrik Ibsen, James Whitcomb Riley, Josephine Lawrence, Pierre Loti, Harry Alverson Franck, Albert Payson Terhune, Harold MacGrath, G. A. Henty, Harriet A. Adams, John Lothrop Motley, H. E. Bird, Joseph Crosby Lincoln, Michel Baron, Gene Stratton-Porter, James Clerk Maxwell, Norman Lindsay, Edward Lasker, Margaret Penrose, S. R. Crockett, Austin Hall, Homer Eon Flint, Various, Clarence Edward Mulford, Upton Sinclair, John Andreas Widtsoe, Thomas Bulfinch, David Graham Phillips, John Kendrick Bangs, Edmond Jaloux, Emile Littré, 13th cent. de Boron Robert, Samuel Butler, James Huneker, Jessie Graham [pseud.] Flower, St. George Rathborne, Charles Wesley Emerson, Winston Churchill, Edith Bancroft, Lloyd Osbourne, Jack London, Lyman Abbott, Belle K. Abbott, Sinclair Lewis, H. W. Conn, Ludwig Thoma, Sir Walter Scott, August Strindberg, Thomas Chapais, Ernest Giles, David Wynford Carnegie, Zoeth Skinner Eldredge, Eusebius Joseph Molera, C. C. Andrews, Robert Barr, John Hendricks Bechtel, Robert W. Chambers, Alice B. Emerson, Anna M. Galbraith, Laura Lee Hope, L. T. Meade, Harry Steele Morrison, Frank Gee Patchin, Louise Clarke Pyrnelle, William MacLeod Raine, Roy Rockwood, Edward Stratemeyer, Louis Tracy, Matthew White, Leonardo da Vinci, Albert Einstein, Clarence Young, Ludwig Leichhardt, Arthur B. Reeve, Mrs. Georgie Sheldon, Samuel Hopkins Adams, George Washington, John Adams, Thomas Jefferson, James Madison, James Monroe, John Quincy Adams, Andrew Jackson, Martin Van Buren, John Tyler, James K. Polk, Zachary Taylor, Millard Fillmore, Franklin Pierce, James Buchanan, Abraham Lincoln, Andrew Johnson, Rutherford Birchard Hayes, Chester Alan Arthur, Grover Cleveland, Benjamin Harrison, William McKinley, Theodore Roosevelt, William H. Taft, Woodrow Wilson, Warren G. Harding, Calvin Coolidge, Herbert Hoover, Franklin Delano Roosevelt, Harry S. Truman, Dwight D. Eisenhower, John F. Kennedy, Lyndon B. Johnson, Richard M. Nixon, Gerald R. Ford, Jimmy Carter, Ronald Reagan, George Bush, William Jefferson Clinton, George W. Bush, United States. Presidents., Bjørnstjerne Bjørnson, Rex Ellingwood Beach, Euripides, Henry C. Northam, Mary Raymond Shipman Andrews, Alice Brown, Mary Stewart Doubleday Cutting, Elizabeth Garver Jordan, Elizabeth Stuart Phelps, Mary Heaton Vorse, Edith Wyatt, Bernard Shaw, Georg Büchner, Mrs. Alfred Gatty, Henry Mackenzie, Thomas Henry Huxley, Leonard Huxley, William Hazlitt, Arthur William Dunn, Baroness Emmuska Orczy Orczy, Standish O'Grady, J. M. Barrie, J. G Patterson, Alexandre Dumas père, Alphonse Daudet, Ignatius Donnelly, Henry A. Shute, Walter Savage Landor, E. J. Banfield, George Sand, Gustave Flaubert, William James, Charles Klein, J. Storer Clouston, John Fox, John Stuart Mill, Laurence Hope, Andrew Lang, Vaughan Kester, Molière, Baron George Gordon Byron Byron, Viscount Henry St. John Bolingbroke, Ben Jonson, Émile Zola
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THE FORTUNE OF THE ROUGONS
"The Fortune of the Rougons" is the initial volume of the Rougon-Macquart series. Though it was by no means M. Zola's first essay in fiction, it was undoubtedly his first great bid for genuine literary fame, and the foundation of what must necessarily be regarded as his life-work. The idea of writing the "natural and social history of a family under the Second Empire," extending to a score of volumes, was doubtless suggested to M. Zola by Balzac's immortal "Comedie Humaine." He was twenty-eight years of age when this idea first occurred to him; he was fifty-three when he at last sent the manuscript of his concluding volume, "Dr. Pascal," to the press. He had spent five-and-twenty years in working out his scheme, persevering with it doggedly and stubbornly, whatever rebuffs he might encounter, whatever jeers and whatever insults might be directed against him by the ignorant, the prejudiced, and the hypocritical. Truth was on the march and nothing could stay it; even as, at the present hour, its march, if slow, none the less continues athwart another and a different crisis of the illustrious novelist's career.
It was in the early summer of 1869 that M. Zola first began the actual writing of "The Fortune of the Rougons." It was only in the following year, however, that the serial publication of the work commenced in the columns of "Le Siecle," the Republican journal of most influence in Paris in those days of the Second Empire. The Franco-German war interrupted this issue of the story, and publication in book form did not take place until the latter half of 1871, a time when both the war and the Commune had left Paris exhausted, supine, with little or no interest in anything. No more unfavourable moment for the issue of an ambitious work of fiction could have been found. Some two or three years went by, as I well remember, before anything like a revival of literature and of public interest in literature took place. Thus, M. Zola launched his gigantic scheme under auspices which would have made many another man recoil. "The Fortune of the Rougons," and two or three subsequent volumes of his series, attracted but a moderate degree of attention, and it was only on the morrow of the publication of "L'Assommoir" that he awoke, like Byron, to find himself famous.
As previously mentioned, the Rougon-Macquart series forms twenty volumes. The last of these, "Dr. Pascal," appeared in 1893. Since then M. Zola has written "Lourdes," "Rome," and "Paris." Critics have repeated ad nauseam that these last works constitute a new departure on M. Zola's part, and, so far as they formed a new series, this is true. But the suggestion that he has in any way repented of the Rougon-Macquart novels is ridiculous. As he has often told me of recent years, it is, as far as possible, his plan to subordinate his style and methods to his subject. To have written a book like "Rome," so largely devoted to the ambitions of the Papal See, in the same way as he had written books dealing with the drunkenness or other vices of Paris, would have been the climax of absurdity.
Yet the publication of "Rome," was the signal for a general outcry on the part of English and American reviewers that Zolaism, as typified by the Rougon-Macquart series, was altogether a thing of the past. To my thinking this is a profound error. M. Zola has always remained faithful to himself. The only difference that I perceive between his latest work, "Paris," and certain Rougon-Macquart volumes, is that with time, experience and assiduity, his genius has expanded and ripened, and that the hesitation, the groping for truth, so to say, which may be found in some of his earlier writings, has disappeared.
At the time when "The Fortune of the Rougons" was first published, none but the author himself can have imagined that the foundation-stone of one of the great literary monuments of the century had just been laid. From the "story" point of view the book is one of M. Zola's very best, although its construction—particularly as regards the long interlude of the idyll of Miette and Silvere—is far from being perfect. Such a work when first issued might well bring its author a measure of popularity, but it could hardly confer fame. Nowadays, however, looking backward, and bearing in mind that one here has the genius of M. Zola's lifework, "The Fortune of the Rougons" becomes a book of exceptional interest and importance. This has been so well understood by French readers that during the last six or seven years the annual sales of the work have increased threefold. Where, over a course of twenty years, 1,000 copies were sold, 2,500 and 3,000 are sold to-day. How many living English novelists can say the same of their early essays in fiction, issued more than a quarter of a century ago?
I may here mention that at the last date to which I have authentic figures, that is, Midsummer 1897 (prior, of course, to what is called "L'Affaire Dreyfus"), there had been sold of the entire Rougon-Macquart series (which had begun in 1871) 1,421,000 copies. These were of the ordinary Charpentier editions of the French originals. By adding thereto several editions de luxe and the widely-circulated popular illustrated editions of certain volumes, the total amounts roundly to 2,100,000. "Rome," "Lourdes," "Paris," and all M. Zola's other works, apart from the "Rougon-Macquart" series, together with the translations into a dozen different languages—English, German, Italian, Spanish, Dutch, Danish, Portuguese, Bohemian, Hungarian, and others—are not included in the above figures. Otherwise the latter might well be doubled. Nor is account taken of the many serial issues which have brought M. Zola's views to the knowledge of the masses of all Europe.
It is, of course, the celebrity attaching to certain of M. Zola's literary efforts that has stimulated the demand for his other writings. Among those which are well worthy of being read for their own sakes, I would assign a prominent place to the present volume. Much of the story element in it is admirable, and, further, it shows M. Zola as a genuine satirist and humorist. The Rougons' yellow drawing-room and its habitues, and many of the scenes between Pierre Rougon and his wife Felicite, are worthy of the pen of Douglas Jerrold. The whole account, indeed, of the town of Plassans, its customs and its notabilities, is satire of the most effective kind, because it is satire true to life, and never degenerates into mere caricature.
It is a rather curious coincidence that, at the time when M. Zola was thus portraying the life of Provence, his great contemporary, bosom friend, and rival for literary fame, the late Alphonse Daudet, should have been producing, under the title of "The Provencal Don Quixote," that unrivalled presentment of the foibles of the French Southerner, with everyone nowadays knows as "Tartarin of Tarascon." It is possible that M. Zola, while writing his book, may have read the instalments of "Le Don Quichotte Provencal" published in the Paris "Figaro," and it may be that this perusal imparted that fillip to his pen to which we owe the many amusing particulars that he gives us of the town of Plassans. Plassans, I may mention, is really the Provencal Aix, which M. Zola's father provided with water by means of a canal still bearing his name. M. Zola himself, though born in Paris, spent the greater part of his childhood there. Tarascon, as is well known, never forgave Alphonse Daudet for his "Tartarin"; and in a like way M. Zola, who doubtless counts more enemies than any other literary man of the period, has none bitterer than the worthy citizens of Aix. They cannot forget or forgive the rascally Rougon-Macquarts.
The name Rougon-Macquart has to me always suggested that splendid and amusing type of the cynical rogue, Robert Macaire. But, of course, both Rougon and Macquart are genuine French names and not inventions. Indeed, several years ago I came by chance upon them both, in an old French deed which I was examining at the Bibliotheque Nationale in Paris. I there found mention of a Rougon family and a Macquart family dwelling virtually side by side in the same village. This, however, was in Champagne, not in Provence. Both families farmed vineyards for a once famous abbey in the vicinity of Epernay, early in the seventeenth century. To me, personally, this trivial discovery meant a great deal. It somehow aroused my interest in M. Zola and his works. Of the latter I had then only glanced through two or three volumes. With M. Zola himself I was absolutely unacquainted. However, I took the liberty to inform him of my little discovery; and afterwards I read all the books that he had published. Now, as it is fairly well known, I have given the greater part of my time, for several years past, to the task of familiarising English readers with his writings. An old deed, a chance glance, followed by the great friendship of my life and years of patient labour. If I mention this matter, it is solely with the object of endorsing the truth of the saying that the most insignificant incidents frequently influence and even shape our careers.
But I must come back to "The Fortune of the Rougons." It has, as I have said, its satirical and humorous side; but it also contains a strong element of pathos. The idyll of Miette and Silvere is a very touching one, and quite in accord with the conditions of life prevailing in Provence at the period M. Zola selects for his narrative. Miette is a frank child of nature; Silvere, her lover, in certain respects foreshadows, a quarter of a century in advance, the Abbe Pierre Fromont of "Lourdes," "Rome," and "Paris." The environment differs, of course, but germs of the same nature may readily be detected in both characters. As for the other personages of M. Zola's book—on the one hand, Aunt Dide, Pierre Rougon, his wife, Felicite, and their sons Eugene, Aristide and Pascal, and, on the other, Macquart, his daughter Gervaise of "L'Assommoir," and his son Jean of "La Terre" and "La Debacle," together with the members of the Mouret branch of the ravenous, neurotic, duplex family—these are analysed or sketched in a way which renders their subsequent careers, as related in other volumes of the series, thoroughly consistent with their origin and their up-bringing. I venture to asset that, although it is possible to read individual volumes of the Rougon-Macquart series while neglecting others, nobody can really understand any one of these books unless he makes himself acquainted with the alpha and the omega of the edifice, that is, "The Fortune of the Rougons" and "Dr. Pascal."
With regard to the present English translation, it is based on one made for my father several years ago. But to convey M. Zola's meaning more accurately I have found it necessary to alter, on an average, at least one sentence out of every three. Thus, though I only claim to edit the volume, it is, to all intents and purposes, quite a new English version of M. Zola's work.
E. A. V. MERTON, SURREY: August, 1898.
I wish to explain how a family, a small group of human beings, conducts itself in a given social system after blossoming forth and giving birth to ten or twenty members, who, though they may appear, at the first glance, profoundly dissimilar one from the other, are, as analysis demonstrates, most closely linked together from the point of view of affinity. Heredity, like gravity, has its laws.
By resolving the duplex question of temperament and environment, I shall endeavour to discover and follow the thread of connection which leads mathematically from one man to another. And when I have possession of every thread, and hold a complete social group in my hands, I shall show this group at work, participating in an historical period; I shall depict it in action, with all its varied energies, and I shall analyse both the will power of each member, and the general tendency of the whole.
The great characteristic of the Rougon-Macquarts, the group or family which I propose to study, is their ravenous appetite, the great outburst of our age which rushes upon enjoyment. Physiologically the Rougon-Macquarts represent the slow succession of accidents pertaining to the nerves or the blood, which befall a race after the first organic lesion, and, according to environment, determine in each individual member of the race those feelings, desires and passions—briefly, all the natural and instinctive manifestations peculiar to humanity—whose outcome assumes the conventional name of virtue or vice. Historically the Rougon-Macquarts proceed from the masses, radiate throughout the whole of contemporary society, and ascend to all sorts of positions by the force of that impulsion of essentially modern origin, which sets the lower classes marching through the social system. And thus the dramas of their individual lives recount the story of the Second Empire, from the ambuscade of the Coup d'Etat to the treachery of Sedan.
For three years I had been collecting the necessary documents for this long work, and the present volume was even written, when the fall of the Bonapartes, which I needed artistically, and with, as if by fate, I ever found at the end of the drama, without daring to hope that it would prove so near at hand, suddenly occurred and furnished me with the terrible but necessary denouement for my work. My scheme is, at this date, completed; the circle in which my characters will revolve is perfected; and my work becomes a picture of a departed reign, of a strange period of human madness and shame.
This work, which will comprise several episodes, is therefore, in my mind, the natural and social history of a family under the Second Empire. And the first episode, here called "The Fortune of the Rougons," should scientifically be entitled "The Origin."
EMILE ZOLA PARIS, July 1, 1871.
On quitting Plassans by the Rome Gate, on the southern side of the town, you will find, on the right side of the road to Nice, and a little way past the first suburban houses, a plot of land locally known as the Aire Saint-Mittre.
This Aire Saint-Mittre is of oblong shape and on a level with the footpath of the adjacent road, from which it is separated by a strip of trodden grass. A narrow blind alley fringed with a row of hovels borders it on the right; while on the left, and at the further end, it is closed in by bits of wall overgrown with moss, above which can be seen the top branches of the mulberry-trees of the Jas-Meiffren—an extensive property with an entrance lower down the road. Enclosed upon three sides, the Aire Saint-Mittre leads nowhere, and is only crossed by people out for a stroll.
In former times it was a cemetery under the patronage of Saint-Mittre, a greatly honoured Provencal saint; and in 1851 the old people of Plassans could still remember having seen the wall of the cemetery standing, although the place itself had been closed for years. The soil had been so glutted with corpses that it had been found necessary to open a new burial-ground at the other end of town. Then the old abandoned cemetery had been gradually purified by the dark thick-set vegetation which had sprouted over it every spring. The rich soil, in which the gravediggers could no longer delve without turning up some human remains, was possessed of wondrous fertility. The tall weeds overtopped the walls after the May rains and the June sunshine so as to be visible from the high road; while inside, the place presented the appearance of a deep, dark green sea studded with large blossoms of singular brilliancy. Beneath one's feet amidst the close-set stalks one could feel that the damp soil reeked and bubbled with sap.
Among the curiosities of the place at that time were some large pear-trees, with twisted and knotty boughs; but none of the housewives of Plassans cared to pluck the large fruit which grew upon them. Indeed, the townspeople spoke of this fruit with grimaces of disgust. No such delicacy, however, restrained the suburban urchins, who assembled in bands at twilight and climbed the walls to steal the pears, even before they were ripe.
The trees and the weeds with their vigorous growth had rapidly assimilated all the decomposing matter in the old cemetery of Saint-Mittre; the malaria rising from the human remains interred there had been greedily absorbed by the flowers and the fruit; so that eventually the only odour one could detect in passing by was the strong perfume of wild gillyflowers. This had merely been a question of a few summers.
At last the townspeople determined to utilise this common property, which had long served no purpose. The walls bordering the roadway and the blind alley were pulled down; the weeds and the pear-trees uprooted; the sepulchral remains were removed; the ground was dug deep, and such bones as the earth was willing to surrender were heaped up in a corner. For nearly a month the youngsters, who lamented the loss of the pear-trees, played at bowls with the skulls; and one night some practical jokers even suspended femurs and tibias to all the bell-handles of the town. This scandal, which is still remembered at Plassans, did not cease until the authorities decided to have the bones shot into a hole which had been dug for the purpose in the new cemetery. All work, however, is usually carried out with discreet dilatoriness in country towns, and so during an entire week the inhabitants saw a solitary cart removing these human remains as if they had been mere rubbish. The vehicle had to cross Plassans from end to end, and owing to the bad condition of the roads fragments of bones and handfuls of rich mould were scattered at every jolt. There was not the briefest religious ceremony, nothing but slow and brutish cartage. Never before had a town felt so disgusted.
For several years the old cemetery remained an object of terror. Although it adjoined the main thoroughfare and was open to all comers, it was left quite deserted, a prey to fresh vegetable growth. The local authorities, who had doubtless counted on selling it and seeing houses built upon it, were evidently unable to find a purchaser. The recollection of the heaps of bones and the cart persistently jolting through the streets may have made people recoil from the spot; or perhaps the indifference that was shown was due to the indolence, the repugnance to pulling down and setting up again, which is characteristic of country people. At all events the authorities still retained possession of the ground, and at last forgot their desire to dispose of it. They did not even erect a fence round it, but left it open to all comers. Then, as time rolled on, people gradually grew accustomed to this barren spot; they would sit on the grass at the edges, walk about, or gather in groups. When the grass had been worn away and the trodden soil had become grey and hard, the old cemetery resembled a badly-levelled public square. As if the more effectually to efface the memory of all objectionable associations, the inhabitants slowly changed the very appellation of the place, retaining but the name of the saint, which was likewise applied to the blind alley dipping down at one corner of the field. Thus there was the Aire Saint-Mittre and the Impasse Saint-Mittre.
All this dates, however, from some considerable time back. For more than thirty years now the Aire Saint-Mittre has presented a different appearance. One day the townspeople, far too inert and indifferent to derive any advantage from it, let it, for a trifling consideration, to some suburban wheelwrights, who turned it into a wood-yard. At the present day it is still littered with huge pieces of timber thirty or forty feet long, lying here and there in piles, and looking like lofty overturned columns. These piles of timber, disposed at intervals from one end of the yard to the other, are a continual source of delight to the local urchins. In some places the ground is covered with fallen wood, forming a kind of uneven flooring over which it is impossible to walk, unless one balance one's self with marvellous dexterity. Troops of children amuse themselves with this exercise all day long. You will see them jumping over the big beams, walking in Indian file along the narrow ends, or else crawling astride them; various games which generally terminate in blows and bellowings. Sometimes, too, a dozen of them will sit, closely packed one against the other, on the thin end of a pole raised a few feet from the ground, and will see-saw there for hours together. The Aire Saint-Mittre thus serves as a recreation ground, where for more than a quarter of a century all the little suburban ragamuffins have been in the habit of wearing out the seats of their breeches.
The strangeness of the place is increased by the circumstance that wandering gipsies, by a sort of traditional custom always select the vacant portions of it for their encampments. Whenever any caravan arrives at Plassans it takes up its quarters on the Aire Saint-Mittre. The place is consequently never empty. There is always some strange band there, some troop of wild men and withered women, among whom groups of healthy-looking children roll about on the grass. These people live in the open air, regardless of everybody, setting their pots boiling, eating nameless things, freely displaying their tattered garments, and sleeping, fighting, kissing, and reeking with mingled filth and misery.
The field, formerly so still and deserted, save for the buzzing of hornets around the rich blossoms in the heavy sunshine, has thus become a very rowdy spot, resounding with the noisy quarrels of the gipsies and the shrill cries of the urchins of the suburb. In one corner there is a primitive saw-mill for cutting the timber, the noise from which serves as a dull, continuous bass accompaniment to the sharp voices. The wood is placed on two high tressels, and a couple of sawyers, one of whom stands aloft on the timber itself, while the other underneath is half blinded by the falling sawdust, work a large saw to and fro for hours together, with rigid machine-like regularity, as if they were wire-pulled puppets. The wood they saw is stacked, plank by plank, along the wall at the end, in carefully arranged piles six or eight feet high, which often remain there several seasons, and constitute one of the charms of the Aire Saint-Mittre. Between these stacks are mysterious, retired little alleys leading to a broader path between the timber and the wall, a deserted strip of verdure whence only small patches of sky can be seen. The vigorous vegetation and the quivering, deathlike stillness of the old cemetery still reign in this path. In all the country round Plassans there is no spot more instinct with languor, solitude, and love. It is a most delightful place for love-making. When the cemetery was being cleared the bones must have been heaped up in this corner; for even to-day it frequently happens that one's foot comes across some fragment of a skull lying concealed in the damp turf.
Nobody, however, now thinks of the bodies that once slept under that turf. In the daytime only the children go behind the piles of wood when playing at hide and seek. The green path remains virginal, unknown to others who see nought but the wood-yard crowded with timber and grey with dust. In the morning and afternoon, when the sun is warm, the whole place swarms with life. Above all the turmoil, above the ragamuffins playing among the timber, and the gipsies kindling fires under their cauldrons, the sharp silhouette of the sawyer mounted on his beam stands out against the sky, moving to and fro with the precision of clockwork, as if to regulate the busy activity that has sprung up in this spot once set apart for eternal slumber. Only the old people who sit on the planks, basking in the setting sun, speak occasionally among themselves of the bones which they once saw carted through the streets of Plassans by the legendary tumbrel.
When night falls the Aire Saint-Mittre loses its animation, and looks like some great black hole. At the far end one may just espy the dying embers of the gipsies' fires, and at times shadows slink noiselessly into the dense darkness. The place becomes quite sinister, particularly in winter time.
One Sunday evening, at about seven o'clock, a young man stepped lightly from the Impasse Saint-Mittre, and, closely skirting the walls, took his way among the timber in the wood-yard. It was in the early part of December, 1851. The weather was dry and cold. The full moon shone with that sharp brilliancy peculiar to winter moons. The wood-yard did not have the forbidding appearance which it wears on rainy nights; illumined by stretches of white light, and wrapped in deep and chilly silence, it spread around with a soft, melancholy aspect.
For a few seconds the young man paused on the edge of the yard and gazed mistrustfully in front of him. He carried a long gun, the butt-end of which was hidden under his jacket, while the barrel, pointed towards the ground, glittered in the moonlight. Pressing the weapon to his side, he attentively examined the square shadows cast by the piles of timber. The ground looked like a chess-board, with black and white squares clearly defined by alternate patches of light and shade. The sawyers' tressels in the centre of the plot threw long, narrow fantastic shadows, suggesting some huge geometrical figure, upon a strip of bare grey ground. The rest of the yard, the flooring of beams, formed a great couch on which the light reposed, streaked here and there with the slender black shadows which edged the different pieces of timber. In the frigid silence under the wintry moon, the motionless, recumbent poles, stiffened, as it were, with sleep and cold, recalled the corpses of the old cemetery. The young man cast but a rapid glance round the empty space; there was not a creature, not a sound, no danger of being seen or heard. The black patches at the further end caused him more anxiety, but after a brief examination he plucked up courage and hurriedly crossed the wood-yard.
As soon as he felt himself under cover he slackened his pace. He was now in the green pathway skirting the wall behind the piles of planks. Here his very footsteps became inaudible; the frozen grass scarcely crackled under his tread. He must have loved the spot, have feared no danger, sought nothing but what was pleasant there. He no longer concealed his gun. The path stretched away like a dark trench, except that the moonrays, gliding ever and anon between the piles of timber, then streaked the grass with patches of light. All slept, both darkness and light, with the same deep, soft, sad slumber. No words can describe the calm peacefulness of the place. The young man went right down the path, and stopped at the end where the walls of the Jas-Meiffren form an angle. Here he listened as if to ascertain whether any sound might be coming from the adjoining estate. At last, hearing nothing, he stooped down, thrust a plank aside, and hid his gun in a timber-stack.
An old tombstone, which had been overlooked in the clearing of the burial-ground, lay in the corner, resting on its side and forming a high and slightly sloping seat. The rain had worn its edges, and moss was slowly eating into it. Nevertheless, the following fragment of an inscription, cut on the side which was sinking into the ground, might still have been distinguished in the moonlight: "Here lieth . . . Marie . . . died . . ." The finger of time had effaced the rest.
When the young man had concealed his gun he again listened attentively, and still hearing nothing, resolved to climb upon the stone. The wall being low, he was able to rest his elbows on the coping. He could, however, perceive nothing except a flood of light beyond the row of mulberry-trees skirting the wall. The flat ground of the Jas-Meiffren spread out under the moon like an immense sheet of unbleached linen; a hundred yards away the farmhouse and its outbuildings formed a still whiter patch. The young man was still gazing anxiously in that direction when, suddenly, one of the town clocks slowly and solemnly struck seven. He counted the strokes, and then jumped down, apparently surprised and relieved.
He seated himself on the tombstone, like one who is prepared to wait some considerable time. And for about half an hour he remained motionless and deep in thought, apparently quite unconscious of the cold, while his eyes gazed fixedly at a mass of shadow. He had placed himself in a dark corner, but the beams of the rising moon had gradually reached him, and at last his head was in the full light.
He was a strong, sturdy-looking lad, with a fine mouth, and soft delicate skin that bespoke youthfulness. He looked about seventeen years of age, and was handsome in a characteristic way.
His thin, long face looked like the work of some master sculptor; his high forehead, overhanging brows, aquiline nose, broad flat chin, and protruding cheek bones, gave singularly bold relief to his countenance. Such a face would, with advancing age, become too bony, as fleshless as that of a knight errant. But at this stage of youth, with chin and cheek lightly covered with soft down, its latent harshness was attenuated by the charming softness of certain contours which had remained vague and childlike. His soft black eyes, still full of youth, also lent delicacy to his otherwise vigorous countenance. The young fellow would probably not have fascinated all women, as he was not what one calls a handsome man; but his features, as a whole, expressed such ardent and sympathetic life, such enthusiasm and energy, that they doubtless engaged the thoughts of the girls of his own part—those sunburnt girls of the South—as he passed their doors on sultry July evenings.
He remained seated upon the tombstone, wrapped in thought, and apparently quite unconscious of the moonlight which now fell upon his chest and legs. He was of middle stature, rather thick-set, with over-developed arms and a labourer's hands, already hardened by toil; his feet, shod with heavy laced boots, looked large and square-toed. His general appearance, more particularly the heaviness of his limbs, bespoke lowly origin. There was, however, something in him, in the upright bearing of his neck and the thoughtful gleams of his eyes, which seemed to indicate an inner revolt against the brutifying manual labour which was beginning to bend him to the ground. He was, no doubt, an intelligent nature buried beneath the oppressive burden of race and class; one of those delicate refined minds embedded in a rough envelope, from which they in vain struggle to free themselves. Thus, in spite of his vigour, he seemed timid and restless, feeling a kind of unconscious shame at his imperfection. An honest lad he doubtless was, whose very ignorance had generated enthusiasm, whose manly heart was impelled by childish intellect, and who could show alike the submissiveness of a woman and the courage of a hero. On the evening in question he was dressed in a coat and trousers of greenish corduroy. A soft felt hat, placed lightly on the back of his head, cast a streak of shadow over his brow.
As the neighbouring clock struck the half hour, he suddenly started from his reverie. Perceiving that the white moonlight was shining full upon him, he gazed anxiously ahead. Then he abruptly dived back into the shade, but was unable to recover the thread of his thoughts. He now realised that his hands and feet were becoming very cold, and impatience seized hold of him. So he jumped upon the stone again, and once more glanced over the Jas-Meiffren, which was still empty and silent. Finally, at a loss how to employ his time, he jumped down, fetched his gun from the pile of planks where he had concealed it, and amused himself by working the trigger. The weapon was a long, heavy carbine, which had doubtless belonged to some smuggler. The thickness of the butt and the breech of the barrel showed it to be an old flintlock which had been altered into a percussion gun by some local gunsmith. Such firearms are to be found in farmhouses, hanging against the wall over the chimney-piece. The young man caressed his weapon with affection; twenty times or more he pulled the trigger, thrust his little finger into the barrel, and examined the butt attentively. By degrees he grew full of youth enthusiasm, combined with childish frolicsomeness, and ended by levelling his weapon and aiming at space, like a recruit going through his drill.
It was now very nearly eight o'clock, and he had been holding his gun levelled for over a minute, when all at once a low, panting call, light as a breath, came from the direction of the Jas-Meiffren.
"Are you there, Silvere?" the voice asked.
Silvere dropped his gun and bounded on to the tombstone.
"Yes, yes," he replied, also in a hushed voice. "Wait, I'll help you."
Before he could stretch out his arms, however, a girl's head appeared above the wall. With singular agility the damsel had availed herself of the trunk of a mulberry-tree, and climbed aloft like a kitten. The ease and certainty with which she moved showed that she was familiar with this strange spot. In another moment she was seated on the coping of the wall. Then Silvere, taking her in his arms, carried her, though not without a struggle, to the seat.
"Let go," she laughingly cried; "let go, I can get down alone very well." And when she was seated on the stone slab she added:
"Have you been waiting for me long? I've been running, and am quite out of breath."
Silvere made no reply. He seemed in no laughing humour, but gazed sorrowfully into the girl's face. "I wanted to see you, Miette," he said, as he seated himself beside her. "I should have waited all night for you. I am going away at daybreak to-morrow morning."
Miette had just caught sight of the gun lying on the grass, and with a thoughtful air, she murmured: "Ah! so it's decided then? There's your gun!"
"Yes," replied Silvere, after a brief pause, his voice still faltering, "it's my gun. I thought it best to remove it from the house to-night; to-morrow morning aunt Dide might have seen me take it, and have felt uneasy about it. I am going to hide it, and shall fetch it just before starting."
Then, as Miette could not remove her eyes from the weapon which he had so foolishly left on the grass, he jumped up and again hid it among the woodstacks.
"We learnt this morning," he said, as he resumed his seat, "that the insurgents of La Palud and Saint Martin-de-Vaulx were on the march, and spent last night at Alboise. We have decided to join them. Some of the workmen of Plassans have already left the town this afternoon; those who still remain will join their brothers to-morrow."
He spoke the word brothers with youthful emphasis.
"A contest is becoming inevitable," he added; "but, at any rate, we have right on our side, and we shall triumph."
Miette listened to Silvere, her eyes meantime gazing in front of her, without observing anything.
"'Tis well," she said, when he had finished speaking. And after a fresh pause she continued: "You warned me, yet I still hoped. . . . However, it is decided."
Neither of them knew what else to say. The green path in the deserted corner of the wood-yard relapsed into melancholy stillness; only the moon chased the shadows of the piles of timber over the grass. The two young people on the tombstone remained silent and motionless in the pale light. Silvere had passed his arm round Miette's waist, and she was leaning against his shoulder. They exchanged no kisses, naught but an embrace in which love showed the innocent tenderness of fraternal affection.
Miette was enveloped in a long brown hooded cloak reaching to her feet, and leaving only her head and hands visible. The women of the lower classes in Provence—the peasantry and workpeople—still wear these ample cloaks, which are called pelisses; it is a fashion which must have lasted for ages. Miette had thrown back her hood on arriving. Living in the open air and born of a hotblooded race, she never wore a cap. Her bare head showed in bold relief against the wall, which the moonlight whitened. She was still a child, no doubt, but a child ripening into womanhood. She had reached that adorable, uncertain hour when the frolicsome girl changes to a young woman. At that stage of life a bud-like delicacy, a hesitancy of contour that is exquisitely charming, distinguishes young girls. The outlines of womanhood appear amidst girlhood's innocent slimness, and woman shoots forth at first all embarrassment, still retaining much of the child, and ever and unconsciously betraying her sex. This period is very unpropitious for some girls, who suddenly shoot up, become ugly, sallow and frail, like plants before their due season. For those, however, who, like Miette, are healthy and live in the open air, it is a time of delightful gracefulness which once passed can never be recalled.
Miette was thirteen years of age, and although strong and sturdy did not look any older, so bright and childish was the smile which lit up her countenance. However, she was nearly as tall as Silvere, plump and full of life. Like her lover, she had no common beauty. She would not have been considered ugly, but she might have appeared peculiar to many young exquisites. Her rich black hair rose roughly erect above her forehead, streamed back like a rushing wave, and flowed over her head and neck like an inky sea, tossing and bubbling capriciously. It was very thick and inconvenient to arrange. However, she twisted it as tightly as possible into coils as thick as a child's fist, which she wound together at the back of her head. She had little time to devote to her toilette, but this huge chignon, hastily contrived without the aid of any mirror, was often instinct with vigorous grace. On seeing her thus naturally helmeted with a mass of frizzy hair which hung about her neck and temples like a mane, one could readily understand why she always went bareheaded, heedless alike of rain and frost.
Under her dark locks appeared her low forehead, curved and golden like a crescent moon. Her large prominent eyes, her short tip-tilted nose with dilated nostrils, and her thick ruddy lips, when regarded apart from one another, would have looked ugly; viewed, however, all together, amidst the delightful roundness and vivacious mobility of her countenance, they formed an ensemble of strange, surprising beauty. When Miette laughed, throwing back her head and gently resting it on her right shoulder, she resembled an old-time Bacchante, her throat distending with sonorous gaiety, her cheeks round like those of a child, her teeth large and white, her twists of woolly hair tossed by every outburst of merriment, and waving like a crown of vine leaves. To realise that she was only a child of thirteen, one had to notice the innocence underlying her full womanly laughter, and especially the child-like delicacy of her chin and soft transparency of her temples. In certain lights Miette's sun-tanned face showed yellow like amber. A little soft black down already shaded her upper lip. Toil too was beginning to disfigure her small hands, which, if left idle, would have become charmingly plump and delicate.
Miette and Silvere long remained silent. They were reading their own anxious thoughts, and, as they pondered upon the unknown terrors of the morrow, they tightened their mutual embrace. Their hearts communed with each other, they understood how useless and cruel would be any verbal plaint. The girl, however, could at last no longer contain herself, and, choking with emotion, she gave expression, in one phrase, to their mutual misgivings.
"You will come back again, won't you?" she whispered, as she hung on Silvere's neck.
Silvere made no reply, but, half-stifling, and fearing lest he should give way to tears like herself, he kissed her in brotherly fashion on the cheek, at a loss for any other consolation. Then disengaging themselves they again lapsed into silence.
After a moment Miette shuddered. Now that she no longer leant against Silvere's shoulder she was becoming icy cold. Yet she would not have shuddered thus had she been in this deserted path the previous evening, seated on this tombstone, where for several seasons they had tasted so much happiness.
"I'm very cold," she said, as she pulled her hood over her head.
"Shall we walk about a little?" the young man asked her. "It's not yet nine o'clock; we can take a stroll along the road."
Miette reflected that for a long time she would probably not have the pleasure of another meeting—another of those evening chats, the joy of which served to sustain her all day long.
"Yes, let us walk a little," she eagerly replied. "Let us go as far as the mill. I could pass the whole night like this if you wanted to."
They rose from the tombstone, and were soon hidden in the shadow of a pile of planks. Here Miette opened her cloak, which had a quilted lining of red twill, and threw half of it over Silvere's shoulders, thus enveloping him as he stood there close beside her. The same garment cloaked them both, and they passed their arms round each other's waist, and became as it were but one being. When they were thus shrouded in the pelisse they walked slowly towards the high road, fearlessly crossing the vacant parts of the wood-yard, which looked white in the moonlight. Miette had thrown the cloak over Silvere, and he had submitted to it quite naturally, as though indeed the garment rendered them a similar service every evening.
The road to Nice, on either side of which the suburban houses are built, was, in the year 1851, lined with ancient elm-trees, grand and gigantic ruins, still full of vigour, which the fastidious town council has replaced, some years since, by some little plane-trees. When Silvere and Miette found themselves under the elms, the huge boughs of which cast shadows on the moonlit footpath, they met now and again black forms which silently skirted the house fronts. These, too, were amorous couples, closely wrapped in one and the same cloak, and strolling in the darkness.
This style of promenading has been instituted by the young lovers of Southern towns. Those boys and girls among the people who mean to marry sooner or later, but who do not dislike a kiss or two in advance, know no spot where they can kiss at their ease without exposing themselves to recognition and gossip. Accordingly, while strolling about the suburbs, the plots of waste land, the footpaths of the high road—in fact, all these places where there are few passers-by and numerous shady nooks—they conceal their identity by wrapping themselves in these long cloaks, which are capacious enough to cover a whole family. The parents tolerate these proceedings; however stiff may be provincial propriety, no apprehensions, seemingly, are entertained. And, on the other hand, nothing could be more charming than these lovers' rambles, which appeal so keenly to the Southerner's fanciful imagination. There is a veritable masquerade, fertile in innocent enjoyments, within the reach of the most humble. The girl clasps her sweetheart to her bosom, enveloping him in her own warm cloak; and no doubt it is delightful to be able to kiss one's sweetheart within those shrouding folds without danger of being recognised. One couple is exactly like another. And to the belated pedestrian, who sees the vague groups gliding hither and thither, 'tis merely love passing, love guessed and scarce espied. The lovers know they are safely concealed within their cloaks, they converse in undertones and make themselves quite at home; most frequently they do not converse at all, but walk along at random and in silence, content in their embrace. The climate alone is to blame for having in the first instance prompted these young lovers to retire to secluded spots in the suburbs. On fine summer nights one cannot walk round Plassans without coming across a hooded couple in every patch of shadow falling from the house walls. Certain places, the Aire Saint-Mittre, for instance, are full of these dark "dominoes" brushing past one another, gliding softly in the warm nocturnal air. One might imagine they were guests invited to some mysterious ball given by the stars to lowly lovers. When the weather is very warm and the girls do not wear cloaks, they simply turn up their over-skirts. And in the winter the more passionate lovers make light of the frosts. Thus, Miette and Silvere, as they descended the Nice road, thought little of the chill December night.
They passed through the slumbering suburb without exchanging a word, but enjoying the mute delight of their warm embrace. Their hearts were heavy; the joy which they felt in being side by side was tinged with the painful emotion which comes from the thought of approaching severance, and it seemed to them that they could never exhaust the mingled sweetness and bitterness of the silence which slowly lulled their steps. But the houses soon grew fewer, and they reached the end of the Faubourg. There stands the entrance to the Jas-Meiffren, an iron gate fixed to two strong pillars; a low row of mulberry-trees being visible through the bars. Silvere and Miette instinctively cast a glance inside as they passed on.
Beyond the Jas-Meiffren the road descends with a gentle slope to a valley, which serves as the bed of a little rivulet, the Viorne, a brook in summer but a torrent in winter. The rows of elms still extended the whole way at that time, making the high road a magnificent avenue, which cast a broad band of gigantic trees across the hill, which was planted with corn and stunted vines. On that December night, under the clear cold moonlight, the newly-ploughed fields stretching away on either hand resembled vast beds of greyish wadding which deadened every sound in the atmosphere. The dull murmur of the Viorne in the distance alone sent a quivering thrill through the profound silence of the country-side.
When the young people had begun to descend the avenue, Miette's thoughts reverted to the Jas-Meiffren which they had just left behind them.
"I had great difficulty in getting away this evening," she said. "My uncle wouldn't let me go. He had shut himself up in a cellar, where he was hiding his money, I think, for he seemed greatly frightened this morning at the events that are taking place."
Silvere clasped her yet more lovingly. "Be brave!" said he. "The time will come when we shall be able to see each other freely the whole day long. You must not fret."
"Oh," replied the girl, shaking her head, "you are very hopeful. For my part I sometimes feel very sad. It isn't the hard work which grieves me; on the contrary, I am often very glad of my uncle's severity, and the tasks he sets me. He was quite right to make me a peasant girl; I should perhaps have turned out badly, for, do you know, Silvere, there are moments when I fancy myself under a curse. . . . I feel, then, that I should like to be dead. . . . I think of you know whom."
As she spoke these last words, her voice broke into a sob. Silvere interrupted her somewhat harshly. "Be quiet," he said. "You promised not to think about it. It's no crime of yours. . . . We love each other very much, don't we?" he added in a gentler tone. "When we're married you'll have no more unpleasant hours."
"I know," murmured Miette. "You are so kind, you sustain me. But what am I to do? I sometimes have fears and feelings of revolt. I think at times that I have been wronged, and then I should like to do something wicked. You see I pour forth my heart to you. Whenever my father's name is thrown in my face, I feel my whole body burning. When the urchins cry at me as I pass, 'Eh, La Chantegreil,' I lose all control of myself, and feel that I should like to lay hold of them and whip them."
After a savage pause she resumed: "As for you, you're a man; you're going to fight; you're very lucky."
Silvere had let her speak on. After a few steps he observed sorrowfully: "You are wrong, Miette; yours is bad anger. You shouldn't rebel against justice. As for me, I'm going to fight in defence of our common rights, not to gratify any personal animosity."
"All the same," the young girl continued, "I should like to be a man and handle a gun. I feel that it would do me good."
Then, as Silvere remained silent, she perceived that she had displeased him. Her feverishness subsided, and she whispered in a supplicating tone: "You are not angry with me, are you? It's your departure which grieves me and awakens such ideas. I know very well you are right—that I ought to be humble."
Then she began to cry, and Silvere, moved by her tears, grasped her hands and kissed them.
"See, now, how you pass from anger to tears, like a child," he said lovingly. "You must be reasonable. I'm not scolding you. I only want to see you happier, and that depends largely upon yourself."
The remembrance of the drama which Miette had so sadly evoked cast a temporary gloom over the lovers. They continued their walk with bowed heads and troubled thoughts.
"Do you think I'm much happier than you?" Silvere at last inquired, resuming the conversation in spite of himself. "If my grandmother had not taken care of me and educated me, what would have become of me? With the exception of my Uncle Antoine, who is an artisan like myself, and who taught me to love the Republic, all my other relations seem to fear that I might besmirch them by coming near them."
He was now speaking with animation, and suddenly stopped, detaining Miette in the middle of the road.
"God is my witness," he continued, "that I do not envy or hate anybody. But if we triumph, I shall have to tell the truth to those fine gentlemen. Uncle Antoine knows all about this matter. You'll see when we return. We shall all live free and happy."
Then Miette gently led him on, and they resumed their walk.
"You dearly love your Republic?" the girl asked, essaying a joke. "Do you love me as much?"
Her smile was not altogether free from a tinge of bitterness. She was thinking, perhaps, how easily Silvere abandoned her to go and scour the country-side. But the lad gravely replied: "You are my wife, to whom I have given my whole heart. I love the Republic because I love you. When we are married we shall want plenty of happiness, and it is to procure a share of that happiness that I'm going way to-morrow morning. You surely don't want to persuade me to remain at home?"
"Oh, no!" cried the girl eagerly. "A man should be brave! Courage is beautiful! You must forgive my jealousy. I should like to be as strong-minded as you are. You would love me all the more, wouldn't you?"
After a moment's silence she added, with charming vivacity and ingenuousness: "Ah, how willingly I shall kiss you when you come back!"
This outburst of a loving and courageous heart deeply affected Silvere. He clasped Miette in his arms and printed several kisses on her cheek. As she laughingly struggled to escape him, her eyes filled with tears of emotion.
All around the lovers the country still slumbered amid the deep stillness of the cold. They were now half-way down the hill. On the top of a rather lofty hillock to the left stood the ruins of a windmill, blanched by the moon; the tower, which had fallen in on one side, alone remained. This was the limit which the young people had assigned to their walk. They had come straight from the Faubourg without casting a single glance at the fields between which they passed. When Silvere had kissed Miette's cheek, he raised his head and observed the mill.
"What a long walk we've had!" he exclaimed. "See—here is the mill. It must be nearly half-past nine. We must go home."
But Miette pouted. "Let us walk a little further," she implored; "only a few steps, just as far as the little cross-road, no farther, really."
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