Title: The Immortals: Masterpieces of Fiction, Crowned by the French Academy — Complete
Author: Various
Release date: October 30, 2004 [eBook #4000]
Most recently updated: December 17, 2022
Language: English
Credits: David Widger
BOOK 1. | |
CHAPTER I. | THE HOUSE OF DESVARENNES |
CHAPTER II. | THE GALLEY-SLAVE OF PLEASURE |
CHAPTER III. | PIERRE RETURNS |
CHAPTER IV. | THE RIVALS |
CHAPTER V. | A CRITICAL INTERVIEW |
CHAPTER VI. | A SIGNIFICANT MEETING |
BOOK 2. | |
CHAPTER VII. | JEANNE'S SECRET |
CHAPTER VIII. | A PLEASANT UNDERSTANDING |
CHAPTER IX. | THE DOUBLE MARRIAGE |
CHAPTER X. | CAYROL'S DISAPPOINTMENT |
CHAPTER XI. | CONFESSION |
CHAPTER XII. | THE FETE |
BOOK 3. | |
CHAPTER XIII. | THE FIRST BREAK |
CHAPTER XIV. | A SUDDEN JOURNEY |
CHAPTER XV. | MOTHER AND DAUGHTER |
CHAPTER XVI. | THE TELLTALE KISS |
CHAPTER XVII. | CAYROL IS BLIND |
BOOK 4. | |
CHAPTER XVIII. | THE UNIVERSAL CREDIT COMPANY |
CHAPTER XIX. | SIN GROWS BOLDER |
CHAPTER XX. | THE CRISIS |
CHAPTER XXI. | "WHEN ROGUES FALL OUT" |
CHAPTER XXII. | THE MOTHER'S REVENGE |
BOOK 1. | |
CHAPTER I. | "I NEED LOVE" |
CHAPTER II. | "ONE CAN SEE THAT YOU ARE YOUNG!" |
CHAPTER III. | A DISCUSSION ON THE LITTLE CORPORAL |
CHAPTER IV. | THE END OF A DREAM |
CHAPTER V. | A DINNER 'EN FAMILLE' |
CHAPTER VI. | A DISTINGUISHED RELICT |
CHAPTER VII. | MADAME HAS HER WAY |
CHAPTER VIII. | THE LADY OF THE BELLS |
CHAPTER IX. | CHOULETTE FINDS A NEW FRIEND |
BOOK 2. | |
CHAPTER X. | DECHARTRE ARRIVES IN FLORENCE |
CHAPTER XI. | "THE DAWN OF FAITH AND LOVE" |
CHAPTER XII. | HEARTS AWAKENED |
CHAPTER XIII. | "YOU MUST TAKE ME WITH MY OWN SOUL!" |
CHAPTER XIV. | THE AVOWAL |
CHAPTER XV. | THE MYSTERIOUS LETTER |
CHAPTER XVI. | "TO-MORROW?" |
CHAPTER XVII. | MISS BELL ASKS A QUESTION |
CHAPTER XVIII. | "I KISS YOUR FEET BECAUSE THEY HAVE COME!" |
CHAPTER XIX. | CHOULETTE TAKES A JOURNEY |
CHAPTER XX. | WHAT IS FRANKNESS? |
CHAPTER XXI. | "I NEVER HAVE LOVED ANY ONE BUT YOU!" |
CHAPTER XXII. | A MEETING AT THE STATION |
BOOK 3. | |
CHAPTER XXIII. | "ONE IS NEVER KIND WHEN ONE IS IN LOVE" |
CHAPTER XXIV. | CHOULETTE'S AMBITION |
CHAPTER XXV. | "WE ARE ROBBING LIFE" |
CHAPTER XXVI. | IN DECHARTRE'S STUDIO |
CHAPTER XXVII. | THE PRIMROSE PATH |
CHAPTER XXVIII. | NEWS OF LE MENIL |
CHAPTER XXIX. | JEALOUSY |
CHAPTER XXX. | A LETTER FROM ROBERT |
CHAPTER XXXI. | AN UNWELCOME APPARITION |
CHAPTER XXXII. | THE RED LILY |
CHAPTER XXXIII. | A WHITE NIGHT |
CHAPTER XXXIV. | "I SEE THE OTHER WITH YOU ALWAYS!" |
CHAPTER XXIII. | "ONE IS NEVER KIND WHEN ONE IS IN LOVE" |
CHAPTER XXIV. | CHOULETTE'S AMBITION |
CHAPTER XXV. | "WE ARE ROBBING LIFE" |
CHAPTER XXVI. | IN DECHARTRE'S STUDIO |
CHAPTER XXVII. | THE PRIMROSE PATH |
CHAPTER XXVIII. | NEWS OF LE MENIL |
CHAPTER XXIX. | JEALOUSY |
CHAPTER XXX. | A LETTER FROM ROBERT |
CHAPTER XXXI. | AN UNWELCOME APPARITION |
CHAPTER XXXII. | THE RED LILY |
CHAPTER XXXIII. | A WHITE NIGHT |
CHAPTER XXXIV. | "I SEE THE OTHER WITH YOU ALWAYS!" |
BOOK 1. | |
CHAPTER I. | MY FIRST SUPPER PARTY |
CHAPTER II. | THE SOUL IN AGONY. TO MONSIEUR CLAUDE DE L———— |
CHAPTER III. | MADAME DE K. |
CHAPTER IV. | SOUVENIRS OF LENT |
CHAPTER V. | MADAME AND HER FRIEND CHAT BY THE FIRESIDE |
CHAPTER VI. | A DREAM |
CHAPTER VII. | AN EMBASSY BALL |
CHAPTER VIII. | MY AUNT AS VENUS |
CHAPTER IX. | HUSBAND AND WIFE MY DEAR SISTERS: |
CHAPTER X. | MADAME'S IMPRESSIONS |
CHAPTER XI. | A WEDDING NIGHT |
CHAPTER XII. | THE HONEYMOON |
BOOK 2. | |
CHAPTER XIII. | THE BLUE NOTE-BOOK |
CHAPTER XIV. | THE BLUE NOTE-BOOK AGAIN |
CHAPTER XV. | MY WIFE GOES TO A DANCE |
CHAPTER XVI. | A FALSE ALARM |
CHAPTER XVII. | I SUP WITH MY WIFE |
CHAPTER XVIII. | FROM ONE THING TO ANOTHER |
CHAPTER XIX. | A LITTLE CHAT |
BOOK 3. | |
CHAPTER XX. | THE HOT-WATER BOTTLE |
CHAPTER XXI. | A LONGING |
CHAPTER XXII. | FAMILY LIFE |
CHAPTER XXIII. | NEW YEAR'S DAY |
CHAPTER XXIV. | LETTERS OF A YOUNG MOTHER TO HER FRIEND |
CHAPTER XXV. | FOUR YEARS LATER |
CHAPTER XXVI. | OLD RECOLLECTIONS |
CHAPTER XXVII. | THE LITTLE BOOTS |
CHAPTER XXVIII. | BABIES AND PAPAS |
CHAPTER XXIX. | HIS FIRST BREECHES |
CHAPTER XXX. | COUNTRY CHILDREN |
CHAPTER XXXI. | AUTUMN |
CHAPTER XXXII. | HE WOULD HAVE BEEN FORTY NOW |
CHAPTER XXXIII. | CONVALESCENCE |
CHAPTER XXXIV. | FAMILY TIES |
BOOK 1. | |
CHAPTER I. | THE BETROTHAL FETE |
CHAPTER II. | THE BARONESS'S MATCHMAKING |
CHAPTER III. | THE STORY OF THE ZILAHS |
CHAPTER IV. | "WHEN HUNGARY IS FREE!" |
CHAPTER V. | "MY FATHER WAS A RUSSIAN!" |
CHAPTER VI. | A GYPSY PRINCESS |
CHAPTER VII. | THE STORY OF MARSA |
CHAPTER VIII. | "HAVE I NO RIGHT TO BE HAPPY" |
CHAPTER IX. | "O LIBERTY! O LOVE! THESE TWO I NEED!" |
CHAPTER X. | "IS FATE SO JUST?" |
CHAPTER XI. | A RIVER FETE |
BOOK 2. | |
CHAPTER XII. | A DARK PAGE |
CHAPTER XIII. | "MY LETTERS OR MYSELF" |
CHAPTER XIV. | "HAVE I THE RIGHT TO LIE?" |
CHAPTER XV. | "AS CLINGS THE LEAF UNTO THE TREE" |
CHAPTER XVI. | "IT IS A MAN THEY ARE DEVOURING!" |
CHAPTER XVII. | MARSA'S GUARDIANS |
CHAPTER XVIII. | "THERE IS NO NEED OF ACCUSING ANYONE." |
CHAPTER XIX. | "A BEAUTIFUL DREAM" |
CHAPTER XX. | THE BRIDAL DAY |
CHAPTER XXI. | "THE TZIGANA IS THE MOST LOVED OF ALL!" |
CHAPTER XXII. | A DREAM SHATTERED |
CHAPTER XXIII. | "THE WORLD HOLDS BUT ONE FAIR MAIDEN" |
BOOK 3. | |
CHAPTER XXIV. | A LITTLE PARISIAN ROMANCE |
CHAPTER XXV. | THE HOME OF "PUCK" |
CHAPTER XXVI. | "AM I AVENGED?" |
CHAPTER XXVII. | "WHAT MATTERS IT HOW MUCH WE SUFFER?" |
CHAPTER XXVIII. | THE STRICKEN SOUL |
CHAPTER XXIX. | "LET THE DEAD PAST BURY ITS DEAD" |
CHAPTER XXX. | "TO SEEK FORGETFULNESS" |
CHAPTER XXXI. | "IF MENKO WERE DEAD!" |
CHAPTER XXXII. | THE VALE OF VIOLETS |
CHAPTER XXXIII. | THE DUEL |
CHAPTER XXXIV. | A NEW LIFE |
BOOK 1. | |
CHAPTER I. | LES FRERES-PROVENCAUX |
CHAPTER II. | BIRDS OF PREY |
CHAPTER III. | THE GAME |
CHAPTER IV. | THE RESULT |
CHAPTER V. | A DESPERATE RESOLUTION |
CHAPTER VI. | THE FAREWELL |
CHAPTER VII. | THE VOW |
CHAPTER VIII. | IN SEARCH OF GLORY |
CHAPTER IX. | THE BOIS DE BOULOGNE |
CHAPTER X. | GENERAL DE PREROLLES |
CHAPTER XI. | EUGENIE GONTIER |
CHAPTER XII. | RIVAL BEAUTIES |
BOOK 2. | |
CHAPTER XIII. | THE INDUSTRIAL ORPHAN ASYLUM |
CHAPTER XIV. | A WOMAN'S INSTINCT |
CHAPTER XV. | DEFIANCE OF MRS. GRUNDY |
CHAPTER XVI. | FRATERNAL ADVICE |
CHAPTER XVII. | THE LADY BOUNTIFUL |
CHAPTER XVIII. | A MODERN TARTUFE |
CHAPTER XIX. | BROKEN TIES |
BOOK 3. | |
CHAPTER XX. | ZIBELINE RECEIVES |
CHAPTER XXI. | A DASHING AMAZON |
CHAPTER XXII. | AN UNEXPECTED MEETING |
CHAPTER XXIII. | THE MILITARY REVIEW |
CHAPTER XXIV. | THE CHALLENGE |
CHAPTER XXV. | THE AMAZON HAS A FALL |
CHAPTER XXVI. | AN UNCONSCIOUS AVOWAL |
CHAPTER XXVII. | DISTRACTION |
CHAPTER XXVIII. | THE VOW REDEEMED |
CHAPTER XXIX. | THE MARQUISE DE PREROLLES |
BOOK 1. | |
CHAPTER I. | THE UNFINISHED WILL |
CHAPTER II. | THE HEIR TO VIVEY |
CHAPTER III. | CONSCIENCE HIGHER THAN THE LAW |
BOOK 2. | |
CHAPTER IV. | THE DAWN OF LOVE |
CHAPTER V. | LOVE'S INDISCRETION |
CHAPTER VI. | LOVE BY PROXY |
BOOK 3. | |
CHAPTER VII. | THE STRANGE, DARK SECRET |
CHAPTER VIII. | LOVE'S SAD ENDING |
CHAPTER IX. | LOVE HEALS THE BROKEN HEART |
BOOK 1. | |
PART I. | |
CHAPTER I. | TO THE READER |
CHAPTER II. | REFLECTIONS |
CHAPTER III. | THE BEGINNING OF THE CONFESSIONS |
CHAPTER IV. | THE PATH OF DESPAIR |
CHAPTER V. | A PHILOSOPHER'S ADVICE |
CHAPTER VI. | MADAME LEVASSEUR |
CHAPTER VII. | THE WISDOM OF SIRACH |
CHAPTER VIII. | THE SEARCH FOR HEALING |
CHAPTER IX. | BACCHUS, THE CONSOLER |
PART II. | |
CHAPTER I. | AT THE CROSSWAYS |
CHAPTER II. | THE CHOSEN WAY |
CHAPTER III. | AFRICAN HOSPITALITY |
CHAPTER IV. | MARCO |
CHAPTER V. | SATIETY |
BOOK 2. | |
PART III. | |
CHAPTER I. | DEATH, THE INEVITABLE |
CHAPTER II. | THE BALM OF SOLITUDE |
CHAPTER III. | BRIGITTE |
CHAPTER IV. | RIPENING ACQUAINTANCE |
CHAPTER V. | AN INTERVIEW |
CHAPTER VI. | THE RUGGED PATH OF LOVE |
CHAPTER VII. | THE VENUSBERG AGAIN |
PART IV. | |
CHAPTER I. | THE THORNS OF LOVE |
CHAPTER II. | UNCERTAINTY |
CHAPTER III. | EXPLANATIONS |
CHAPTER IV. | BRIGITTE'S LOSS |
CHAPTER V. | A TORTURED SOUL |
BOOK 3. | |
PART V. | |
CHAPTER I. | SWEET ANTICIPATIONS |
CHAPTER II. | THE DEMON OF DOUBT |
CHAPTER III. | THE QUESTION OF SMITH |
CHAPTER IV. | IN THE FURNACE |
CHAPTER V. | TRUTH AT LAST |
CHAPTER VI. | SELF-SACRIFICE THE SOLUTION |
BOOK 1. | |
CHAPTER I. | "THE WAGES OF SIN IS DEATH" |
CHAPTER II. | FRUIT FROM THE HOTBED OF PARIS |
CHAPTER III. | DEBRIS FROM THE REVOLUTION |
CHAPTER IV. | A NEW ACTRESS IN A NOVEL ROLE |
CHAPTER V. | THE COUNT LOSES A LADY AND FINDS A MISSION |
CHAPTER VI. | THE OLD DOMAIN OF REUILLY |
CHAPTER VII. | ELISE DE TECLE |
CHAPTER VIII. | A DISH OF POLITICS |
BOOK 2. | |
CHAPTER IX. | LOVE CONQUERS PHILOSOPHY |
CHAPTER X. | THE PROLOGUE TO THE TRAGEDY |
CHAPTER XI. | NEW MAN OF THE NEW EMPIRE |
CHAPTER XII. | CIRCE |
CHAPTER XIII. | THE FIRST ACT OF THE TRAGEDY |
CHAPTER XIV. | AN ANONYMOUS LETTER |
BOOK 3. | |
CHAPTER XV. | THE COUNTESS DE CAMORS |
CHAPTER XVI. | THE REPTILE STRIVES TO CLIMB |
CHAPTER XVII. | LIGHTNING FROM A CLEAR SKY |
CHAPTER XVIII. | ONE GLEAM OF HOPE |
CHAPTER XIX. | THE REPTILE TURNS TO STING |
CHAPTER XX. | THE SECOND ACT OF THE TRAGEDY |
CHAPTER XXI. | THE FEATHER IN THE BALANCE |
CHAPTER XXII. | THE CURTAIN FALLS |
BOOK 1. | |
CHAPTER I. | THE ADIEU |
CHAPTER II. | THE STREET |
CHAPTER III. | THE GOOD PRIEST |
CHAPTER IV. | THE TRIAL |
BOOK 2. | |
CHAPTER V. | THE MARTYRDOM |
CHAPTER VI. | THE DREAM |
CHAPTER VII. | THE CABINET |
CHAPTER VIII. | THE INTERVIEW |
BOOK 3. | |
CHAPTER IX. | THE SIEGE |
CHAPTER X. | THE RECOMPENSE |
CHAPTER XI. | THE BLUNDERS |
CHAPTER XII. | THE NIGHT-WATCH |
CHAPTER XIII. | THE SPANIARD |
BOOK 4. | |
CHAPTER XIV. | THE RIOT |
CHAPTER XV. | THE ALCOVE |
CHAPTER XVI. | THE CONFUSION |
CHAPTER XVII. | TOILETTE |
BOOK 5. | |
CHAPTER XVIII. | THE SECRET |
CHAPTER XIX. | THE HUNTING PARTY |
CHAPTER XX. | THE READING |
CHAPTER XXI. | THE CONFESSIONAL |
BOOK 6. | |
CHAPTER XXII. | THE STORM |
CHAPTER XXIII. | ABSENCE |
CHAPTER XXIV. | THE WORK |
CHAPTER XXV. | THE PRISONERS |
CHAPTER XXVI. | THE FETE |
BOOK 1. | |
CHAPTER I. | THE SALE OF LONGUEVAL |
CHAPTER II. | THE NEW CHATELAINE |
CHAPTER III. | DELIGHTFUL SURPRISES |
BOOK 2. | |
CHAPTER IV. | A RIOT OF CHARITY |
CHAPTER V. | THE FAIR AMERICANS |
CHAPTER VI. | A LITTLE DINNER FOR FOUR |
BOOK 3. | |
CHAPTER VII. | CONFIDENCES |
CHAPTER VIII. | ANOTHER MARTYR TO MILLIONS |
CHAPTER IX. | THE REWARD OF TENDER COURAGE |
BOOK 1. | |
CHAPTER I. | ON THE BALCONY |
CHAPTER II. | SAD CHANGES |
CHAPTER III. | PAPA AND MAMMA GERARD |
CHAPTER IV. | THE DEMON ABSINTHE |
BOOK 2. | |
CHAPTER V. | AMEDEE MAKES FRIENDS |
CHAPTER VI. | DREAMS OF LOVE |
CHAPTER VII. | A GENTLE COUNSELLOR |
CHAPTER VIII. | BUTTERFLIES AND GRASSHOPPERS |
CHAPTER IX. | THORNS OF JEALOUSY |
CHAPTER X. | A BUDDING POET |
BOOK 3. | |
CHAPTER XI. | SUCCESS |
CHAPTER XII. | SOCIAL TRIUMPHS |
CHAPTER XIII. | A SERPENT AT THE FIRESIDE |
BOOK 4. | |
CHAPTER XIV. | TOO LATE! |
CHAPTER XV. | REPARATION |
CHAPTER XVI. | IN TIME OF WAR |
CHAPTER XVII. | "WHEN YOUTH, THE DREAM, DEPARTS" |
BOOK 1. | |
CHAPTER I. | A DILETTANTE AND A BELIEVER |
CHAPTER II. | THE BEGINNING OF A DRAMA |
CHAPTER III. | BOLESLAS GORKA |
BOOK 2. | |
CHAPTER IV. | APPROACHING DANGER |
CHAPTER V. | COUNTESS STENO |
CHAPTER VI. | THE INCONSISTENCY OF AN OLD CHOUAN |
BOOK 3. | |
CHAPTER VII. | A LITTLE RELATIVE OF IAGO |
CHAPTER VIII. | ON THE GROUND |
BOOK 4. | |
CHAPTER IX. | LUCID ALBA |
CHAPTER X. | COMMON MISERY |
CHAPTER XI. | THE LAKE DI PORTO |
CHAPTER XII. | EPILOGUE |
BOOK 1. | |
CHAPTER I. | A PARISIENNE'S "AT HOME" |
CHAPTER II. | A CLEVER STEPMOTHER |
CHAPTER III. | THE FRIEND OF THE FAY |
CHAPTER IV. | A DANGEROUS MODEL |
CHAPTER V. | SURPRISES |
CHAPTER VI. | A CONVENT FLOWER |
BOOK 2. | |
CHAPTER VII. | THE BLUE BAND |
CHAPTER VIII. | A PUZZLING CORRESPONDENCE |
CHAPTER IX. | BEAUTY AT THE FAIR |
CHAPTER X. | GISELLE'S CONSOLATION |
CHAPTER XI. | FRED ASKS A QUESTION |
CHAPTER XII. | A COMEDY AND A TRAGEDY |
CHAPTER XIII. | THE STORM BREAKS |
BOOK 3. | |
CHAPTER XIV. | BITTER DISILLUSION |
CHAPTER XV. | TREACHEROUS KINDNESS |
CHAPTER XVI. | THE SAILOR'S RETURN |
CHAPTER XVII. | TWIN DEVILS |
CHAPTER XVIII. | "AN AFFAIR OF HONOR" |
CHAPTER XIX. | GENTLE CONSPIRATORS |
CHAPTER XX. | A CHIVALROUS SOUL |
BOOK 1. | |
CHAPTER I. | THE ACCIDENT |
CHAPTER II. | THE JUNIAN LATINS |
CHAPTER III. | AN APOLOGY |
CHAPTER IV. | THE STORY OF SYLVESTRE |
CHAPTER V. | A FRUITLESS SEARCH |
CHAPTER VI. | THE FLOWER-SHOW |
CHAPTER VII. | A WOODLAND SKETCH |
BOOK 2. | |
CHAPTER VIII. | JOY AND MADNESS |
CHAPTER IX. | A VISIT FROM MY UNCLE |
CHAPTER X. | A FAMILY BREACH |
CHAPTER XI. | IN THE BEATEN PATH |
CHAPTER XII. | I GO TO ITALY |
CHAPTER XIII. | STARTLING NEWS FROM SYLVESTRE |
CHAPTER XIV. | A SURPRISING ENCOUNTER |
BOOK 3. | |
CHAPTER XV. | BACK TO PARIS |
CHAPTER XVI. | A FISHING-TRIP AND AN OLD FRIEND |
CHAPTER XVII. | PLEASURES OF EAVESDROPPING |
CHAPTER XVIII. | A COOL RECEPTION |
CHAPTER XIX. | JEANNE THE ENCHANTRESS |
CHAPTER XX. | A HAPPY FAMILY |
BOOK 1. | |
CHAPTER I. | A WEDDING-PARTY AT THE CAFE VEFOUR |
CHAPTER II. | LITTLE CHEBE'S STORY |
CHAPTER III. | THE FALSE PEARLS |
CHAPTER IV. | THE GLOW-WORMS OF SAVIGNY |
CHAPTER V. | HOW LITTLE CHEBE'S STORY ENDED |
CHAPTER VI. | NOON—THE MARAIS IS BREAKFASTING |
BOOK 2. | |
CHAPTER VII. | THE TRUE PEARL AND THE FALSE |
CHAPTER VIII. | THE BREWERY ON THE RUE BLONDEL |
CHAPTER IX. | AT SAVIGNY |
CHAPTER X. | SIGISMOND PLANUS TREMBLES FOR HIS CASH-BOX |
CHAPTER XI. | THE INVENTORY |
CHAPTER XII. | A LETTER |
CHAPTER XIII. | THE JUDGE |
BOOK 3. | |
CHAPTER XIV. | EXPLANATION |
CHAPTER XV. | POOR LITTLE MAM'ZELLE ZIZI |
CHAPTER XVI. | THE WAITING-ROOM |
CHAPTER XVII. | AN ITEM OF NEWS |
CHAPTER XVIII. | SHE PROMISED NOT TO TRY AGAIN |
CHAPTER XIX. | APPROACHING CLOUDS |
CHAPTER XX. | REVELATIONS |
BOOK 4. | |
CHAPTER XXI. | THE DAY OF RECKONING |
CHAPTER XXII. | THE NEW EMPLOYEE OF THE HOUSE OF FROMONT |
CHAPTER XXIII. | CAFE CHANTANT |
CHAPTER XXIV. | SIDONIE'S VENGEANCE |
BOOK 1. | |
CHAPTER I. | THE TRAVELLER |
CHAPTER II. | THE CASTLE OF BERGENHEIM |
CHAPTER III. | A DIVIDED HOUSEHOLD |
CHAPTER IV. | THE GALLANT IN THE GARDEN |
CHAPTER V. | ART AND MUSIC |
BOOK 2. | |
CHAPTER VI. | GERFAUT'S STORY |
CHAPTER VII. | GERFAUT ASKS A FAVOR |
CHAPTER VIII. | A LOVER'S RUSE |
CHAPTER IX. | GERFAUT, THE WIZARD |
CHAPTER X. | PLOTS |
CHAPTER XI. | A QUARREL |
CHAPTER XII. | AN INHARMONIOUS MUSICALE |
BOOK 3. | |
CHAPTER XIII. | MONSIEUR DE BERGENHEIM |
CHAPTER XIV. | GERFAUT'S ALLEGORY |
CHAPTER XV. | DECLARATION OF WAR |
CHAPTER XVI. | GERFAUT WINS A POINT |
CHAPTER XVII. | A RUDE INTERRUPTION |
CHAPTER XVIII. | ESPIONAGE |
CHAPTER XIX. | THE REVELATION |
BOOK 4. | |
CHAPTER XX. | MARILLAC TELLS A STORY |
CHAPTER XXI. | A STRATAGEM |
CHAPTER XXII. | THE CRISIS |
CHAPTER XXIII. | THE AGREEMENT |
CHAPTER XXIV. | A FRIEND'S ADVICE |
CHAPTER XXV. | THE WILD BOAR |
CHAPTER XXVI. | BERGENHEIM'S REVENGE |
BOOK 1. | |
CHAPTER I. | THE REUNION |
CHAPTER II. | THE RICH MAN'S REFUSAL |
CHAPTER III. | A LAST RESORT |
CHAPTER IV. | 'TWIXT THE DEVIL AND THE DEEP SEA |
CHAPTER V. | A CHARMING VISITOR |
CHAPTER VI. | A SWEET CONSOLER |
CHAPTER VII. | A LITTLE DINNER FOR TWO |
CHAPTER VIII. | EXPLANATIONS |
CHAPTER IX. | CAFFIE'S ANSWER |
CHAPTER X. | SANIEL MAKES A RESOLUTION |
BOOK 2. | |
CHAPTER XI. | THE INSTRUMENT OF DEATH |
CHAPTER XII. | THE CRUCIAL MOMENT |
CHAPTER XIII. | DISTRACTION |
CHAPTER XIV. | THE EXAMINATION |
CHAPTER XV. | A NEW PLAN |
CHAPTER XVI. | THE SMILES OF FORTUNE |
CHAPTER XVII. | PHILLIS'S FEARS |
CHAPTER XVIII. | A GRAVE DISCUSSION |
CHAPTER XIX. | THE KNOCK AT THE DOOR |
CHAPTER XX. | A TIGHTENING CHAIN |
CHAPTER XXI. | "REGARDING THE CAFFIE AFFAIR" |
CHAPTER XXII. | NOUGAREDE'S BRIDE |
CHAPTER XXIII. | STUNNING NEWS |
BOOK 3. | |
CHAPTER XXIV. | HEDGING |
CHAPTER XXV. | DANGEROUS DETAILS |
CHAPTER XXVI. | A GOOD MEMORY |
CHAPTER XXVII. | A NEW PERIL |
CHAPTER XXVIII. | SANIEL VISITS A BARBER |
CHAPTER XXIX. | A BROKEN NEGATIVE |
CHAPTER XXX. | PHILLIS PRECIPITATES MATTERS |
CHAPTER XXXI. | THE APPOINTMENT |
CHAPTER XXXII. | THE FATAL LIGHT |
CHAPTER XXXIII. | SUSPENSE |
CHAPTER XXXIV. | ON THE RACK |
CHAPTER XXXV. | A SECOND VICTIM |
BOOK 4. | |
CHAPTER XXXVI. | CONSCIENCE ASSERTS ITSELF |
CHAPTER XXXVII. | ATTEMPTED REPARATION |
CHAPTER XXXVIII. | THE IMPORTANT QUESTION |
CHAPTER XXXIX. | CONCESSION TO CONSCIENCE |
CHAPTER XL. | PHILLIS IS SURPRISED |
CHAPTER XLI. | A TROUBLED SOUL |
CHAPTER XLII. | THE POWER OF HYPNOTISM |
CHAPTER XLIII. | THE TERRIBLE REVELATION |
CHAPTER XLIV. | AFTER LONG YEARS |
BOOK 1. | |
CHAPTER I. | THE MYSTERIOUS LAND |
CHAPTER II. | STRANGE SCENES |
CHAPTER III. | THE GARDEN OF FLOWERS |
CHAPTER IV. | CHOOSING A BRIDE |
CHAPTER V. | A FANTASTIC MARRIAGE |
CHAPTER VI. | MY NEW MENAGE |
CHAPTER VII. | THE LADIES OF THE FANS |
CHAPTER VIII. | THE NECESSARY VEIL |
CHAPTER IX. | MY PLAYTHING |
CHAPTER X. | NOCTURNAL TERRORS |
CHAPTER XI. | A GAME OF ARCHERY |
BOOK 2. | |
CHAPTER XII. | HAPPY FAMILIES! |
CHAPTER XIII. | OUR "VERY TALL FRIEND" |
CHAPTER XIV. | OUR PIOUS HOSTS |
CHAPTER XV. | |
CHAPTER XVI. | SLEEPING JAPAN |
CHAPTER XVII. | THE SONG OF THE CICALA |
CHAPTER XVIII. | MY FRIEND AND MY DOLL |
CHAPTER XIX. | MY JAPANESE RELATIVES |
CHAPTER XX. | A DEAD FAIRY |
CHAPTER XXI. | ANCIENT TOMBS |
CHAPTER XXII. | DAINTY DISHES FOR A DOLL |
CHAPTER XXIII. | A FANTASTIC FUNERAL |
CHAPTER XXIV. | SOCIABILITY |
CHAPTER XXV. | UNWELCOME GUESTS |
CHAPTER XXVI. | A QUIET SMOKE |
CHAPTER XXVII. | THE PRAYERFUL MADAME PRUNE |
CHAPTER XXVIII. | A DOLL'S CORRESPONDENCE |
CHAPTER XXIX. | SUDDEN SHOWERS |
CHAPTER XXX. | A LITTLE DOMESTIC DIFFICULTY |
CHAPTER XXXI. | BUTTERFLIES AND BEETLES |
CHAPTER XXXII. | STRANGE YEARNINGS |
CHAPTER XXXIII. | A GENEROUS HUSBAND |
BOOK 3. | |
CHAPTER XXXIV. | THE FEAST OF THE TEMPLE |
CHAPTER XXXV. | THROUGH A MICROSCOPE |
CHAPTER XXXVI. | MY NAUGHTY DOLL |
CHAPTER XXXVII. | COMPLICATIONS |
CHAPTER XXXVIII. | THE HEIGHT OF SOCIABILITY! |
CHAPTER XXXIX. | A LADY OF JAPAN |
CHAPTER XL. | OUR FRIENDS THE BONZES |
CHAPTER XLI. | AN UNEXPECTED CALL |
CHAPTER XLII. | AN ORIENTAL VISION |
CHAPTER XLIII. | THE CATS AND THE DOLLS |
CHAPTER XLIV. | TENDER MINISTRATIONS |
CHAPTER XLV. | TWO FAIR ARISTOCRATS |
CHAPTER XLVI. | GRAVE SUSPICIONS |
BOOK 4. | |
CHAPTER XLVII. | A MIDNIGHT ALARM |
CHAPTER XLVIII. | UNUSUAL HOSPITALITY |
CHAPTER XLIX. | RUMORS OF DEPARTURE |
CHAPTER L. | A DOLLS' DUET |
CHAPTER LI. | THE LAST DAY |
CHAPTER LII. | "FAREWELL!" |
CHAPTER LIII. | OFF FOR CHINA |
CHAPTER LIV. | A FADING PICTURE |
CHAPTER LV. | A WITHERED LOTUS-FLOWER |
BOOK 1. | |
CHAPTER I. | NEW-YEAR'S GIFTS |
CHAPTER II. | THE CARNIVAL |
CHAPTER III. | WHAT WE MAY LEARN BY LOOKING OUT OF WINDOW |
CHAPTER IV. | LET US LOVE ONE ANOTHER |
CHAPTER V. | COMPENSATION |
BOOK 2. | |
CHAPTER VI. | UNCLE MAURICE |
CHAPTER VII. | THE PRICE OF POWER AND THE WORTH OF FAME |
CHAPTER VIII. | MISANTHROPY AND REPENTANCE |
CHAPTER IX. | THE FAMILY OF MICHAEL AROUT |
BOOK 3. | |
CHAPTER X. | OUR COUNTRY |
CHAPTER XI. | MORAL USE OF INVENTORIES |
CHAPTER XII. | THE END OF THE YEAR |
BY ROBERT ARNOT
The editor-in-chief of the Maison Mazarin—a man of letters who cherishes an enthusiastic yet discriminating love for the literary and artistic glories of France—formed within the last two years the great project of collecting and presenting to the vast numbers of intelligent readers of whom New World boasts a series of those great and undying romances which, since 1784, have received the crown of merit awarded by the French Academy—that coveted assurance of immortality in letters and in art.
In the presentation of this serious enterprise for the criticism and official sanction of The Academy, 'en seance', was included a request that, if possible, the task of writing a preface to the series should be undertaken by me. Official sanction having been bestowed upon the plan, I, as the accredited officer of the French Academy, convey to you its hearty appreciation, endorsement, and sympathy with a project so nobly artistic. It is also my duty, privilege, and pleasure to point out, at the request of my brethren, the peculiar importance and lasting value of this series to all who would know the inner life of a people whose greatness no turns of fortune have been able to diminish.
In the last hundred years France has experienced the most terrible vicissitudes, but, vanquished or victorious, triumphant or abased, never has she lost her peculiar gift of attracting the curiosity of the world. She interests every living being, and even those who do not love her desire to know her. To this peculiar attraction which radiates from her, artists and men of letters can well bear witness, since it is to literature and to the arts, before all, that France owes such living and lasting power. In every quarter of the civilized world there are distinguished writers, painters, and eminent musicians, but in France they exist in greater numbers than elsewhere. Moreover, it is universally conceded that French writers and artists have this particular and praiseworthy quality: they are most accessible to people of other countries. Without losing their national characteristics, they possess the happy gift of universality. To speak of letters alone: the books that Frenchmen write are read, translated, dramatized, and imitated everywhere; so it is not strange that these books give to foreigners a desire for a nearer and more intimate acquaintance with France.
Men preserve an almost innate habit of resorting to Paris from almost every quarter of the globe. For many years American visitors have been more numerous than others, although the journey from the United States is long and costly. But I am sure that when for the first time they see Paris—its palaces, its churches, its museums—and visit Versailles, Fontainebleau, and Chantilly, they do not regret the travail they have undergone. Meanwhile, however, I ask myself whether such sightseeing is all that, in coming hither, they wish to accomplish. Intelligent travellers—and, as a rule, it is the intelligent class that feels the need of the educative influence of travel—look at our beautiful monuments, wander through the streets and squares among the crowds that fill them, and, observing them, I ask myself again: Do not such people desire to study at closer range these persons who elbow them as they pass; do they not wish to enter the houses of which they see but the facades; do they not wish to know how Parisians live and speak and act by their firesides? But time, alas! is lacking for the formation of those intimate friendships which would bring this knowledge within their grasp. French homes are rarely open to birds of passage, and visitors leave us with regret that they have not been able to see more than the surface of our civilization or to recognize by experience the note of our inner home life.
How, then, shall this void be filled? Speaking in the first person, the simplest means appears to be to study those whose profession it is to describe the society of the time, and primarily, therefore, the works of dramatic writers, who are supposed to draw a faithful picture of it. So we go to the theatre, and usually derive keen pleasure therefrom. But is pleasure all that we expect to find? What we should look for above everything in a comedy or a drama is a representation, exact as possible, of the manners and characters of the dramatis persona of the play; and perhaps the conditions under which the play was written do not allow such representation. The exact and studied portrayal of a character demands from the author long preparation, and cannot be accomplished in a few hours. From, the first scene to the last, each tale must be posed in the author's mind exactly as it will be proved to be at the end. It is the author's aim and mission to place completely before his audience the souls of the "agonists" laying bare the complications of motive, and throwing into relief the delicate shades of motive that sway them. Often, too, the play is produced before a numerous audience—an audience often distrait, always pressed for time, and impatient of the least delay. Again, the public in general require that they shall be able to understand without difficulty, and at first thought, the characters the author seeks to present, making it necessary that these characters be depicted from their most salient sides—which are too often vulgar and unattractive.
In our comedies and dramas it is not the individual that is drawn, but the type. Where the individual alone is real, the type is a myth of the imagination—a pure invention. And invention is the mainspring of the theatre, which rests purely upon illusion, and does not please us unless it begins by deceiving us.
I believe, then, that if one seeks to know the world exactly as it is, the theatre does not furnish the means whereby one can pursue the study. A far better opportunity for knowing the private life of a people is available through the medium of its great novels. The novelist deals with each person as an individual. He speaks to his reader at an hour when the mind is disengaged from worldly affairs, and he can add without restraint every detail that seems needful to him to complete the rounding of his story. He can return at will, should he choose, to the source of the plot he is unfolding, in order that his reader may better understand him; he can emphasize and dwell upon those details which an audience in a theatre will not allow.
The reader, being at leisure, feels no impatience, for he knows that he can at any time lay down or take up the book. It is the consciousness of this privilege that gives him patience, should he encounter a dull page here or there. He may hasten or delay his reading, according to the interest he takes in his romance-nay, more, he can return to the earlier pages, should he need to do so, for a better comprehension of some obscure point. In proportion as he is attracted and interested by the romance, and also in the degree of concentration with which he reads it, does he grasp better the subtleties of the narrative. No shade of character drawing escapes him. He realizes, with keener appreciation, the most delicate of human moods, and the novelist is not compelled to introduce the characters to him, one by one, distinguishing them only by the most general characteristics, but can describe each of those little individual idiosyncrasies that contribute to the sum total of a living personality.
When I add that the dramatic author is always to a certain extent a slave to the public, and must ever seek to please the passing taste of his time, it will be recognized that he is often, alas! compelled to sacrifice his artistic leanings to popular caprice-that is, if he has the natural desire that his generation should applaud him.
As a rule, with the theatre-going masses, one person follows the fads or fancies of others, and individual judgments are too apt to be irresistibly swayed by current opinion. But the novelist, entirely independent of his reader, is not compelled to conform himself to the opinion of any person, or to submit to his caprices. He is absolutely free to picture society as he sees it, and we therefore can have more confidence in his descriptions of the customs and characters of the day.
It is precisely this view of the case that the editor of the series has taken, and herein is the raison d'etre of this collection of great French romances. The choice was not easy to make. That form of literature called the romance abounds with us. France has always loved it, for French writers exhibit a curiosity—and I may say an indiscretion—that is almost charming in the study of customs and morals at large; a quality that induces them to talk freely of themselves and of their neighbors, and to set forth fearlessly both the good and the bad in human nature. In this fascinating phase of literature, France never has produced greater examples than of late years.
In the collection here presented to American readers will be found those works especially which reveal the intimate side of French social life-works in which are discussed the moral problems that affect most potently the life of the world at large. If inquiring spirits seek to learn the customs and manners of the France of any age, they must look for it among her crowned romances. They need go back no farther than Ludovic Halevy, who may be said to open the modern epoch. In the romantic school, on its historic side, Alfred de Vigny must be looked upon as supreme. De Musset and Anatole France may be taken as revealing authoritatively the moral philosophy of nineteenth-century thought. I must not omit to mention the Jacqueline of Th. Bentzon, and the "Attic" Philosopher of Emile Souvestre, nor the great names of Loti, Claretie, Coppe, Bazin, Bourget, Malot, Droz, De Massa, and last, but not least, our French Dickens, Alphonse Daudet. I need not add more; the very names of these "Immortals" suffice to commend the series to readers in all countries.
One word in conclusion: America may rest assured that her students of international literature will find in this series of 'ouvrages couronnes' all that they may wish to know of France at her own fireside—a knowledge that too often escapes them, knowledge that embraces not only a faithful picture of contemporary life in the French provinces, but a living and exact description of French society in modern times. They may feel certain that when they have read these romances, they will have sounded the depths and penetrated into the hidden intimacies of France, not only as she is, but as she would be known.
GASTON BOISSIER SECRETAIRE PERPETUEL DE L'ACADEMIE FRANCAISE