The Complete Works: Short Stories, Novels, Plays, Poetry, Memoirs and more. Guy de Maupassant
presence of the divine Consoler. With hushed footsteps Mariolle passed up along the lines of benches. When he reached the choir he saw a woman on her knees, her face hidden in her hands. He approached, recognized her, and touched her on the shoulder. They were alone.
She gave a great start as she turned her head. She was weeping.
“What is the matter?” he said.
She murmured: “I see it all. You cams here because she had caused you to suffer. She came to take you away.”
He spoke in broken accents, touched by the grief that he in turn had caused: “You are mistaken, little one. I am going back to Paris, indeed, but I shall take you with me.”
She repeated, incredulously: “It can’t be true, it can’t be true.”
“I swear to you that it is true.”
“When?”
“Tomorrow.”
She began again to sob and groan: “My God! My God!”
Then he raised her to her feet and led her down the hill through the thick blackness of the night, but when they came to the river-bank he made her sit down upon the grass and placed himself beside her. He heard the beating of her heart and her quick breathing, and clasping her to his heart, troubled by his remorse, he whispered to her gentle words that he had never used before. Softened by pity and burning with desire, every word that he uttered was true; he did not endeavor to deceive her, and surprised himself at what he said and what he felt, he wondered how it was that, thrilling yet with the presence of that other one whose slave he was always to be, he could tremble thus with longing and emotion while consoling this love-stricken heart.
He promised that he would love her, — he did not say simply “love” — , that he would give her a nice little house near his own and pretty furniture to put in it and a servant to wait on her. She was reassured as she listened to him, and gradually grew calmer, for she could not believe that he was capable of deceiving her, and besides his tone and manner told her that he was sincere. Convinced at length and dazzled by the vision of being a lady, by the prospect — so undreamed of by the poor girl, the servant of the inn — of becoming the “good friend’’ of such a rich, nice gentleman, she was carried away in a whirl of pride, covetousness, and gratitude that mingled with her fondness for André. Throwing her arms about his neck and covering his face with kisses, she stammered: “Oh! I love you so! You are all in all to me!”
He was touched and returned her caresses. “Darling! My little darling!” he murmured.
Already she had almost forgotten the appearance of the stranger who but now had caused her so much sorrow. There must have been some vague feeling of doubt floating in her mind, however, for presently she asked him in a tremulous voice: “Really and truly, you will love me as you love me now?”
And unhesitatingly he replied: “I will love you as I love you now.”
THE END
French
Pierre and Jean
French
Le Roman – ‘The Novel’
I do not intend in these pages to put in a plea for this little novel. On the contrary, the ideas I shall try to set forth will rather involve a criticism of the class of psychological analysis which I have undertaken in Pierre et Jean. I propose to treat of novels in general.
I am not the only writer who finds himself taken to task in the same terms each time he brings out a new book. Among many laudatory phrases, I invariably meet with this observation, penned by the same critics: “The greatest fault of this book is that it is not, strictly speaking, a novel.”
The same form might be adopted in reply:
“The greatest fault of the writer who does me the honor to review me is that he is not a critic.”
For what are, in fact, the essential characteristics of a critic?
It is necessary that, without preconceived notions, prejudices of “School,” or partisanship for any class of artists, he should appreciate, distinguish, and explain the most antagonistic tendencies and the most dissimilar temperaments, recognizing and accepting the most varied efforts of art.
Now the Critic who, after reading Manon Lescaut, Paul and Virginia, Don Quixote, Les Liaisons dangereuses, Werther, Elective Affinities (Wahlverwandschaften), Clarissa Harlowe, Émile, Candide, Cinq-Mars, René, Les Trois Mousquetaires, Mauprat, Le Père Goriot, La Cousine Bette, Colomba, Le Rouge et le Noir, Mademoiselle de Maupin, Notre-Dame de Paris, Salammbo, Madame Bovary, Adolphe, M. de Camors, l’Assommoir, Sapho, etc., still can be so bold as to write “This or that is, or is not, a novel,” seems to me to be gifted with a perspicacity strangely akin to incompetence. Such a critic commonly understands by a novel a more or less improbable narrative of adventure, elaborated after the fashion of a piece for the stage, in three acts, of which the first contains the exposition, the second the action, and the third the catastrophe or dénouement.
And this method of construction is perfectly admissible, but on condition that all others are accepted on equal terms.
Are there any rules for the making of a novel, which, if we neglect, the tale must be called by another name? If Don Quixote is a novel, then is Le Rouge et le Noir a novel? If Monte Christo is a novel, is l’Assommoir? Can any conclusive comparison be drawn between Goethe’s Elective Affinities, The Three Mousqueteers, by Dumas, Flaubert’s Madame Bovary, M. de Camors by Octave Feuillet, and Germinal, by Zola? Which of them all is The Novel? What are these famous rules? Where did they originate? Who laid them down? And in virtue of what principle, of whose authority, and of what reasoning?
And yet, as it would appear, these critics know in some positive and indisputable way what constitutes a novel, and what distinguishes it from other tales which are not novels. What this amounts to is that without being producers themselves they are enrolled under a School, and that, like the writers of novels, they reject all work which is conceived and executed outside the pale of their esthetics. An intelligent critic ought, on the contrary, to seek out everything which least resembles the novels already written, and urge