summaryrefslogtreecommitdiff
path: root/1710-h
diff options
context:
space:
mode:
Diffstat (limited to '1710-h')
-rw-r--r--1710-h/1710-h.htm1440
1 files changed, 1440 insertions, 0 deletions
diff --git a/1710-h/1710-h.htm b/1710-h/1710-h.htm
new file mode 100644
index 0000000..4805880
--- /dev/null
+++ b/1710-h/1710-h.htm
@@ -0,0 +1,1440 @@
+<?xml version="1.0" encoding="utf-8"?>
+
+<!DOCTYPE html
+ PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" >
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en">
+ <head>
+ <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" />
+ <title>La Grande Bretèche, by Balzac</title>
+ <meta content="pg2html (binary v0.17)" />
+ <style type="text/css" xml:space="preserve">
+
+ body { margin:5%; background:#faebd0; text-align:justify}
+ P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; }
+ H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; }
+ hr { width: 50%; text-align: center;}
+ .foot { margin-left: 5%; margin-right: 5%; text-align: justify; font-size: 80%; font-style: italic;}
+ blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;}
+ .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;}
+ .toc { margin-left: 10%; margin-bottom: .75em;}
+ .toc2 { margin-left: 20%;}
+ .xx-small {font-size: 60%;}
+ .x-small {font-size: 75%;}
+ .small {font-size: 85%;}
+ .large {font-size: 115%;}
+ .x-large {font-size: 130%;}
+ .indent5 { margin-left: 5%;}
+ .indent10 { margin-left: 10%;}
+ .indent15 { margin-left: 15%;}
+ .indent20 { margin-left: 20%;}
+ .indent30 { margin-left: 30%;}
+ .indent40 { margin-left: 40%;}
+ div.fig { display:block; margin:0 auto; text-align:center; }
+ div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; }
+ .figleft {float: left; margin-left: 0%; margin-right: 1%;}
+ .figright {float: right; margin-right: 0%; margin-left: 1%;}
+ .pagenum {position: absolute; right: 1%; font-size: 0.6em;
+ font-variant: normal; font-style: normal;
+ text-align: right; background-color: #FFFACD;
+ border: 1px solid; padding: 0.3em;text-indent: 0em;}
+ .side { float: left; font-size: 75%; width: 15%; padding-left: 0.8em;
+ border-left: dashed thin; text-align: left;
+ text-indent: 0; font-weight: bold; font-style: italic;
+ font-weight: bold; color: black; background: #eeeeee; border: solid 1px;}
+ .head { float: left; font-size: 90%; width: 98%; padding-left: 0.8em;
+ border-left: dashed thin; text-align: center;
+ text-indent: 0; font-weight: bold; font-style: italic;
+ font-weight: bold; color: black; background: #eeeeee; border: solid 1px;}
+ p.pfirst, p.noindent {text-indent: 0}
+ span.dropcap { float: left; margin: 0 0.1em 0 0; line-height: 0.8 }
+ pre { font-style: italic; font-size: 90%; margin-left: 10%;}
+
+</style>
+ </head>
+ <body>
+<pre>
+
+
+The Project Gutenberg EBook of La Grande Bretèche, by Honoré de Balzac
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: La Grande Bretèche
+
+Author: Honoré de Balzac
+
+Translator: Ellen Marriage and Clara Bell
+
+Release Date: February 28, 2010 [EBook #1710]
+Last Updated: October 24, 2016
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK LA GRANDE BRETÈCHE ***
+
+
+
+Produced by John Bickers, and Dagny, and David Widger
+</pre>
+
+ <div style="height: 8em;">
+ <br /><br /><br /><br /><br /><br /><br /><br />
+ </div>
+ <h1>
+ LA GRANDE BRETÈCHE (Sequel to &ldquo;Another Study of Woman.&rdquo;)
+ </h1>
+ <h2>
+ By Honoré De Balzac
+ </h2>
+ <h3>
+ Translated by Ellen Marriage and Clara Bell
+ </h3>
+ <p>
+ <br /><br />
+ </p>
+ <hr />
+ <p>
+ <br /><br />
+ </p>
+ <p>
+ <b>CONTENTS</b>
+ </p>
+ <p class="toc">
+ <a href="#link2H_4_0001"> LA GRANDE BRETÈCHE </a>
+ </p>
+ <p class="toc">
+ <a href="#link2H_4_0002"> ADDENDUM</a>
+ </p>
+ <p>
+ <br /><br />
+ </p>
+ <hr />
+ <p>
+ <a name="link2H_4_0001" id="link2H_4_0001"> </a>
+ </p>
+ <div style="height: 4em;">
+ <br /><br /><br /><br />
+ </div>
+ <h2>
+ LA GRANDE BRETÈCHE
+ </h2>
+ <p>
+ &ldquo;Ah! madame,&rdquo; replied the doctor, &ldquo;I have some appalling stories in my
+ collection. But each one has its proper hour in a conversation—you know
+ the pretty jest recorded by Chamfort, and said to the Duc de Fronsac:
+ &lsquo;Between your sally and the present moment lie ten bottles of champagne.&rsquo;&rdquo;
+ </p>
+ <p>
+ &ldquo;But it is two in the morning, and the story of Rosina has prepared us,&rdquo;
+ said the mistress of the house.
+ </p>
+ <p>
+ &ldquo;Tell us, Monsieur Bianchon!&rdquo; was the cry on every side.
+ </p>
+ <p>
+ The obliging doctor bowed, and silence reigned.
+ </p>
+ <p>
+ &ldquo;At about a hundred paces from Vendôme, on the banks of the Loir,&rdquo; said
+ he, &ldquo;stands an old brown house, crowned with very high roofs, and so
+ completely isolated that there is nothing near it, not even a fetid
+ tannery or a squalid tavern, such as are commonly seen outside small
+ towns. In front of this house is a garden down to the river, where the box
+ shrubs, formerly clipped close to edge the walks, now straggle at their
+ own will. A few willows, rooted in the stream, have grown up quickly like
+ an enclosing fence, and half hide the house. The wild plants we call weeds
+ have clothed the bank with their beautiful luxuriance. The fruit-trees,
+ neglected for these ten years past, no longer bear a crop, and their
+ suckers have formed a thicket. The espaliers are like a copse. The paths,
+ once graveled, are overgrown with purslane; but, to be accurate there is
+ no trace of a path.
+ </p>
+ <p>
+ &ldquo;Looking down from the hilltop, to which cling the ruins of the old castle
+ of the Dukes of Vendôme, the only spot whence the eye can see into this
+ enclosure, we think that at a time, difficult now to determine, this spot
+ of earth must have been the joy of some country gentleman devoted to roses
+ and tulips, in a word, to horticulture, but above all a lover of choice
+ fruit. An arbor is visible, or rather the wreck of an arbor, and under it
+ a table still stands not entirely destroyed by time. At the aspect of this
+ garden that is no more, the negative joys of the peaceful life of the
+ provinces may be divined as we divine the history of a worthy tradesman
+ when we read the epitaph on his tomb. To complete the mournful and tender
+ impressions which seize the soul, on one of the walls there is a sundial
+ graced with this homely Christian motto, &lsquo;Ultimam cogita.&rsquo;
+ </p>
+ <p>
+ &ldquo;The roof of this house is dreadfully dilapidated; the outside shutters
+ are always closed; the balconies are hung with swallows&rsquo; nests; the doors
+ are for ever shut. Straggling grasses have outlined the flagstones of the
+ steps with green; the ironwork is rusty. Moon and sun, winter, summer, and
+ snow have eaten into the wood, warped the boards, peeled off the paint.
+ The dreary silence is broken only by birds and cats, polecats, rats, and
+ mice, free to scamper round, and fight, and eat each other. An invisible
+ hand has written over it all: &lsquo;Mystery.&rsquo;
+ </p>
+ <p>
+ &ldquo;If, prompted by curiosity, you go to look at this house from the street,
+ you will see a large gate, with a round-arched top; the children have made
+ many holes in it. I learned later that this door had been blocked for ten
+ years. Through these irregular breaches you will see that the side towards
+ the courtyard is in perfect harmony with the side towards the garden. The
+ same ruin prevails. Tufts of weeds outline the paving-stones; the walls
+ are scored by enormous cracks, and the blackened coping is laced with a
+ thousand festoons of pellitory. The stone steps are disjointed; the
+ bell-cord is rotten; the gutter-spouts broken. What fire from heaven could
+ have fallen there? By what decree has salt been sown on this dwelling? Has
+ God been mocked here? Or was France betrayed? These are the questions we
+ ask ourselves. Reptiles crawl over it, but give no reply. This empty and
+ deserted house is a vast enigma of which the answer is known to none.
+ </p>
+ <p>
+ &ldquo;It was formerly a little domain, held in fief, and is known as La Grande
+ Bretèche. During my stay at Vendôme, where Despleins had left me in charge
+ of a rich patient, the sight of this strange dwelling became one of my
+ keenest pleasures. Was it not far better than a ruin? Certain memories of
+ indisputable authenticity attach themselves to a ruin; but this house,
+ still standing, though being slowly destroyed by an avenging hand,
+ contained a secret, an unrevealed thought. At the very least, it testified
+ to a caprice. More than once in the evening I boarded the hedge, run wild,
+ which surrounded the enclosure. I braved scratches, I got into this
+ ownerless garden, this plot which was no longer public or private; I
+ lingered there for hours gazing at the disorder. I would not, as the price
+ of the story to which this strange scene no doubt was due, have asked a
+ single question of any gossiping native. On that spot I wove delightful
+ romances, and abandoned myself to little debauches of melancholy which
+ enchanted me. If I had known the reason—perhaps quite commonplace—of this
+ neglect, I should have lost the unwritten poetry which intoxicated me. To
+ me this refuge represented the most various phases of human life, shadowed
+ by misfortune; sometimes the peace of the graveyard without the dead, who
+ speak in the language of epitaphs; one day I saw in it the home of lepers;
+ another, the house of the Atridae; but, above all, I found there
+ provincial life, with its contemplative ideas, its hour-glass existence. I
+ often wept there, I never laughed.
+ </p>
+ <p>
+ &ldquo;More than once I felt involuntary terrors as I heard overhead the dull
+ hum of the wings of some hurrying wood-pigeon. The earth is dank; you must
+ be on the watch for lizards, vipers, and frogs, wandering about with the
+ wild freedom of nature; above all, you must have no fear of cold, for in a
+ few moments you feel an icy cloak settle on your shoulders, like the
+ Commendatore&rsquo;s hand on Don Giovanni&rsquo;s neck.
+ </p>
+ <p>
+ &ldquo;One evening I felt a shudder; the wind had turned an old rusty
+ weathercock, and the creaking sounded like a cry from the house, at the
+ very moment when I was finishing a gloomy drama to account for this
+ monumental embodiment of woe. I returned to my inn, lost in gloomy
+ thoughts. When I had supped, the hostess came into my room with an air of
+ mystery, and said, &lsquo;Monsieur, here is Monsieur Regnault.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Who is Monsieur Regnault?&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;What, sir, do you not know Monsieur Regnault?—Well, that&rsquo;s odd,&rsquo; said
+ she, leaving the room.
+ </p>
+ <p>
+ &ldquo;On a sudden I saw a man appear, tall, slim, dressed in black, hat in
+ hand, who came in like a ram ready to butt his opponent, showing a
+ receding forehead, a small pointed head, and a colorless face of the hue
+ of a glass of dirty water. You would have taken him for an usher. The
+ stranger wore an old coat, much worn at the seams; but he had a diamond in
+ his shirt frill, and gold rings in his ears.
+ </p>
+ <p>
+ &ldquo;&lsquo;Monsieur,&rsquo; said I, &lsquo;whom have I the honor of addressing?&rsquo;—He took a
+ chair, placed himself in front of my fire, put his hat on my table, and
+ answered while he rubbed his hands: &lsquo;Dear me, it is very cold.—Monsieur, I
+ am Monsieur Regnault.&rsquo;
+ </p>
+ <p>
+ &ldquo;I was encouraging myself by saying to myself, &lsquo;Seek!&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;I am,&rsquo; he went on, &lsquo;notary at Vendôme.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;I am delighted to hear it, monsieur,&rsquo; I exclaimed. &lsquo;But I am not in a
+ position to make a will for reasons best known to myself.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;One moment!&rsquo; said he, holding up his hand as though to gain silence.
+ &lsquo;Allow me, monsieur, allow me! I am informed that you sometimes go to walk
+ in the garden of la Grande Bretèche.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Yes, monsieur.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;One moment!&rsquo; said he, repeating his gesture. &lsquo;That constitutes a
+ misdemeanor. Monsieur, as executor under the will of the late Comtesse de
+ Merret, I come in her name to beg you to discontinue the practice. One
+ moment! I am not a Turk, and do not wish to make a crime of it. And
+ besides, you are free to be ignorant of the circumstances which compel me
+ to leave the finest mansion in Vendôme to fall into ruin. Nevertheless,
+ monsieur, you must be a man of education, and you should know that the
+ laws forbid, under heavy penalties, any trespass on enclosed property. A
+ hedge is the same as a wall. But, the state in which the place is left may
+ be an excuse for your curiosity. For my part, I should be quite content to
+ make you free to come and go in the house; but being bound to respect the
+ will of the testatrix, I have the honor, monsieur, to beg that you will go
+ into the garden no more. I myself, monsieur, since the will was read, have
+ never set foot in the house, which, as I had the honor of informing you,
+ is part of the estate of the late Madame de Merret. We have done nothing
+ there but verify the number of doors and windows to assess the taxes I
+ have to pay annually out of the funds left for that purpose by the late
+ Madame de Merret. Ah! my dear sir, her will made a great commotion in the
+ town.&rsquo;
+ </p>
+ <p>
+ &ldquo;The good man paused to blow his nose. I respected his volubility,
+ perfectly understanding that the administration of Madame de Merret&rsquo;s
+ estate had been the most important event of his life, his reputation, his
+ glory, his Restoration. As I was forced to bid farewell to my beautiful
+ reveries and romances, I was to reject learning the truth on official
+ authority.
+ </p>
+ <p>
+ &ldquo;&lsquo;Monsieur,&rsquo; said I, &lsquo;would it be indiscreet if I were to ask you the
+ reasons for such eccentricity?&rsquo;
+ </p>
+ <p>
+ &ldquo;At these words an expression, which revealed all the pleasure which men
+ feel who are accustomed to ride a hobby, overspread the lawyer&rsquo;s
+ countenance. He pulled up the collar of his shirt with an air, took out
+ his snuffbox, opened it, and offered me a pinch; on my refusing, he took a
+ large one. He was happy! A man who has no hobby does not know all the good
+ to be got out of life. A hobby is the happy medium between a passion and a
+ monomania. At this moment I understood the whole bearing of Sterne&rsquo;s
+ charming passion, and had a perfect idea of the delight with which my
+ uncle Toby, encouraged by Trim, bestrode his hobby-horse.
+ </p>
+ <p>
+ &ldquo;&lsquo;Monsieur,&rsquo; said Monsieur Regnault, &lsquo;I was head-clerk in Monsieur
+ Roguin&rsquo;s office, in Paris. A first-rate house, which you may have heard
+ mentioned? No! An unfortunate bankruptcy made it famous.—Not having money
+ enough to purchase a practice in Paris at the price to which they were run
+ up in 1816, I came here and bought my predecessor&rsquo;s business. I had
+ relations in Vendôme; among others, a wealthy aunt, who allowed me to
+ marry her daughter.—Monsieur,&rsquo; he went on after a little pause, &lsquo;three
+ months after being licensed by the Keeper of the Seals, one evening, as I
+ was going to bed—it was before my marriage—I was sent for by Madame la
+ Comtesse de Merret, to her Chateau of Merret. Her maid, a good girl, who
+ is now a servant in this inn, was waiting at my door with the Countess&rsquo;
+ own carriage. Ah! one moment! I ought to tell you that Monsieur le Comte
+ de Merret had gone to Paris to die two months before I came here. He came
+ to a miserable end, flinging himself into every kind of dissipation. You
+ understand?
+ </p>
+ <p>
+ &ldquo;&lsquo;On the day when he left, Madame la Comtesse had quitted la Grand
+ Bretèche, having dismantled it. Some people even say that she had burnt
+ all the furniture, the hangings—in short, all the chattels and furniture
+ whatever used in furnishing the premises now let by the said M.—(Dear,
+ what am I saying? I beg your pardon, I thought I was dictating a
+ lease.)—In short, that she burnt everything in the meadow at Merret. Have
+ you been to Merret, monsieur?—No,&rsquo; said he, answering himself, &lsquo;Ah, it is
+ a very fine place.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;For about three months previously,&rsquo; he went on, with a jerk of his head,
+ &lsquo;the Count and Countess had lived in a very eccentric way; they admitted
+ no visitors; Madame lived on the ground-floor, and Monsieur on the first
+ floor. When the Countess was left alone, she was never seen excepting at
+ church. Subsequently, at home, at the chateau, she refused to see the
+ friends, whether gentlemen or ladies, who went to call on her. She was
+ already very much altered when she left la Grande Bretèche to go to
+ Merret. That dear lady—I say dear lady, for it was she who gave me this
+ diamond, but indeed I saw her but once—that kind lady was very ill; she
+ had, no doubt, given up all hope, for she died without choosing to send
+ for a doctor; indeed, many of our ladies fancied she was not quite right
+ in her head. Well, sir, my curiosity was strangely excited by hearing that
+ Madame de Merret had need of my services. Nor was I the only person who
+ took an interest in the affair. That very night, though it was already
+ late, all the town knew that I was going to Merret.
+ </p>
+ <p>
+ &ldquo;&lsquo;The waiting-woman replied but vaguely to the questions I asked her on
+ the way; nevertheless, she told me that her mistress had received the
+ Sacrament in the course of the day at the hands of the Curé of Merret, and
+ seemed unlikely to live through the night. It was about eleven when I
+ reached the chateau. I went up the great staircase. After crossing some
+ large, lofty, dark rooms, diabolically cold and damp, I reached the state
+ bedroom where the Countess lay. From the rumors that were current
+ concerning this lady (monsieur, I should never end if I were to repeat all
+ the tales that were told about her), I had imagined her a coquette.
+ Imagine, then, that I had great difficulty in seeing her in the great bed
+ where she was lying. To be sure, to light this enormous room, with
+ old-fashioned heavy cornices, and so thick with dust that merely to see it
+ was enough to make you sneeze, she had only an old Argand lamp. Ah! but
+ you have not been to Merret. Well, the bed is one of those old world beds,
+ with a high tester hung with flowered chintz. A small table stood by the
+ bed, on which I saw an &ldquo;Imitation of Christ,&rdquo; which, by the way, I bought
+ for my wife, as well as the lamp. There were also a deep armchair for her
+ confidential maid, and two small chairs. There was no fire. That was all
+ the furniture, not enough to fill ten lines in an inventory.
+ </p>
+ <p>
+ &ldquo;&lsquo;My dear sir, if you had seen, as I then saw, that vast room, papered and
+ hung with brown, you would have felt yourself transported into a scene of
+ a romance. It was icy, nay more, funereal,&rsquo; and he lifted his hand with a
+ theatrical gesture and paused.
+ </p>
+ <p>
+ &ldquo;&lsquo;By dint of seeking, as I approached the bed, at last I saw Madame de
+ Merret, under the glimmer of the lamp, which fell on the pillows. Her face
+ was as yellow as wax, and as narrow as two folded hands. The Countess had
+ a lace cap showing her abundant hair, but as white as linen thread. She
+ was sitting up in bed, and seemed to keep upright with great difficulty.
+ Her large black eyes, dimmed by fever, no doubt, and half-dead already,
+ hardly moved under the bony arch of her eyebrows.—There,&rsquo; he added,
+ pointing to his own brow. &lsquo;Her forehead was clammy; her fleshless hands
+ were like bones covered with soft skin; the veins and muscles were
+ perfectly visible. She must have been very handsome; but at this moment I
+ was startled into an indescribable emotion at the sight. Never, said those
+ who wrapped her in her shroud, had any living creature been so emaciated
+ and lived. In short, it was awful to behold! Sickness so consumed that
+ woman, that she was no more than a phantom. Her lips, which were pale
+ violet, seemed to me not to move when she spoke to me.
+ </p>
+ <p>
+ &ldquo;&lsquo;Though my profession has familiarized me with such spectacles, by
+ calling me not infrequently to the bedside of the dying to record their
+ last wishes, I confess that families in tears and the agonies I have seen
+ were as nothing in comparison with this lonely and silent woman in her
+ vast chateau. I heard not the least sound, I did not perceive the movement
+ which the sufferer&rsquo;s breathing ought to have given to the sheets that
+ covered her, and I stood motionless, absorbed in looking at her in a sort
+ of stupor. In fancy I am there still. At last her large eyes moved; she
+ tried to raise her right hand, but it fell back on the bed, and she
+ uttered these words, which came like a breath, for her voice was no longer
+ a voice: &ldquo;I have waited for you with the greatest impatience.&rdquo; A bright
+ flush rose to her cheeks. It was a great effort to her to speak.
+ </p>
+ <p>
+ &ldquo;&lsquo;"Madame,&rdquo; I began. She signed to me to be silent. At that moment the old
+ housekeeper rose and said in my ear, &ldquo;Do not speak; Madame la Comtesse is
+ not in a state to bear the slightest noise, and what you say might agitate
+ her.&rdquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;I sat down. A few instants after, Madame de Merret collected all her
+ remaining strength to move her right hand, and slipped it, not without
+ infinite difficulty, under the bolster; she then paused a moment. With a
+ last effort she withdrew her hand; and when she brought out a sealed
+ paper, drops of perspiration rolled from her brow. &ldquo;I place my will in
+ your hands—Oh! God! Oh!&rdquo; and that was all. She clutched a crucifix that
+ lay on the bed, lifted it hastily to her lips, and died.
+ </p>
+ <p>
+ &ldquo;&lsquo;The expression of her eyes still makes me shudder as I think of it. She
+ must have suffered much! There was joy in her last glance, and it remained
+ stamped on her dead eyes.
+ </p>
+ <p>
+ &ldquo;&lsquo;I brought away the will, and when it was opened I found that Madame de
+ Merret had appointed me her executor. She left the whole of her property
+ to the hospital at Vendôme excepting a few legacies. But these were her
+ instructions as relating to la Grande Bretèche: She ordered me to leave
+ the place, for fifty years counting from the day of her death, in the
+ state in which it might be at the time of her death, forbidding any one,
+ whoever he might be, to enter the apartments, prohibiting any repairs
+ whatever, and even settling a salary to pay watchmen if it were needful to
+ secure the absolute fulfilment of her intentions. At the expiration of
+ that term, if the will of the testatrix has been duly carried out, the
+ house is to become the property of my heirs, for, as you know, a notary
+ cannot take a bequest. Otherwise la Grande Bretèche reverts to the
+ heirs-at-law, but on condition of fulfilling certain conditions set forth
+ in a codicil to the will, which is not to be opened till the expiration of
+ the said term of fifty years. The will has not been disputed, so——&rsquo; And
+ without finishing his sentence, the lanky notary looked at me with an air
+ of triumph; I made him quite happy by offering him my congratulations.
+ </p>
+ <p>
+ &ldquo;&lsquo;Monsieur,&rsquo; I said in conclusion, &lsquo;you have so vividly impressed me that
+ I fancy I see the dying woman whiter than her sheets; her glittering eyes
+ frighten me; I shall dream of her to-night.—But you must have formed some
+ idea as to the instructions contained in that extraordinary will.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Monsieur,&rsquo; said he, with comical reticence, &lsquo;I never allow myself to
+ criticise the conduct of a person who honors me with the gift of a
+ diamond.&rsquo;
+ </p>
+ <p>
+ &ldquo;However, I soon loosened the tongue of the discreet notary of Vendôme,
+ who communicated to me, not without long digressions, the opinions of the
+ deep politicians of both sexes whose judgments are law in Vendôme. But
+ these opinions were so contradictory, so diffuse, that I was near falling
+ asleep in spite of the interest I felt in this authentic history. The
+ notary&rsquo;s ponderous voice and monotonous accent, accustomed no doubt to
+ listen to himself and to make himself listened to by his clients or
+ fellow-townsmen, were too much for my curiosity. Happily, he soon went
+ away.
+ </p>
+ <p>
+ &ldquo;&lsquo;Ah, ha, monsieur,&rsquo; said he on the stairs, &lsquo;a good many persons would be
+ glad to live five-and-forty years longer; but—one moment!&rsquo; and he laid the
+ first finger of his right hand to his nostril with a cunning look, as much
+ as to say, &lsquo;Mark my words!—To last as long as that—as long as that,&rsquo; said
+ he, &lsquo;you must not be past sixty now.&rsquo;
+ </p>
+ <p>
+ &ldquo;I closed my door, having been roused from my apathy by this last speech,
+ which the notary thought very funny; then I sat down in my armchair, with
+ my feet on the fire-dogs. I had lost myself in a romance à la Radcliffe,
+ constructed on the juridical base given me by Monsieur Regnault, when the
+ door, opened by a woman&rsquo;s cautious hand, turned on the hinges. I saw my
+ landlady come in, a buxom, florid dame, always good-humored, who had
+ missed her calling in life. She was a Fleming, who ought to have seen the
+ light in a picture by Teniers.
+ </p>
+ <p>
+ &ldquo;&lsquo;Well, monsieur,&rsquo; said she, &lsquo;Monsieur Regnault has no doubt been giving
+ you his history of la Grande Bretèche?&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Yes, Madame Lepas.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;And what did he tell you?&rsquo;
+ </p>
+ <p>
+ &ldquo;I repeated in a few words the creepy and sinister story of Madame de
+ Merret. At each sentence my hostess put her head forward, looking at me
+ with an innkeeper&rsquo;s keen scrutiny, a happy compromise between the instinct
+ of a police constable, the astuteness of a spy, and the cunning of a
+ dealer.
+ </p>
+ <p>
+ &ldquo;&lsquo;My good Madame Lepas,&rsquo; said I as I ended, &lsquo;you seem to know more about
+ it. Heh? If not, why have you come up to me?&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;On my word, as an honest woman——&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Do not swear; your eyes are big with a secret. You knew Monsieur de
+ Merret; what sort of man was he?&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Monsieur de Merret—well, you see he was a man you never could see the
+ top of, he was so tall! A very good gentleman, from Picardy, and who had,
+ as we say, his head close to his cap. He paid for everything down, so as
+ never to have difficulties with any one. He was hot-tempered, you see! All
+ our ladies liked him very much.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Because he was hot-tempered?&rsquo; I asked her.
+ </p>
+ <p>
+ &ldquo;&lsquo;Well, may be,&rsquo; said she; &lsquo;and you may suppose, sir, that a man had to
+ have something to show for a figurehead before he could marry Madame de
+ Merret, who, without any reflection on others, was the handsomest and
+ richest heiress in our parts. She had about twenty thousand francs a year.
+ All the town was at the wedding; the bride was pretty and sweet-looking,
+ quite a gem of a woman. Oh, they were a handsome couple in their day!&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;And were they happy together?&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Hm, hm! so-so—so far as can be guessed, for, as you may suppose, we of
+ the common sort were not hail-fellow-well-met with them.—Madame de Merret
+ was a kind woman and very pleasant, who had no doubt sometimes to put up
+ with her husband&rsquo;s tantrums. But though he was rather haughty, we were
+ fond of him. After all, it was his place to behave so. When a man is a
+ born nobleman, you see——&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Still, there must have been some catastrophe for Monsieur and Madame de
+ Merret to part so violently?&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;I did not say there was any catastrophe, sir. I know nothing about it.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Indeed. Well, now, I am sure you know everything.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Well, sir, I will tell you the whole story.—When I saw Monsieur Regnault
+ go up to see you, it struck me that he would speak to you about Madame de
+ Merret as having to do with la Grande Bretèche. That put it into my head
+ to ask your advice, sir, seeming to me that you are a man of good judgment
+ and incapable of playing a poor woman like me false—for I never did any
+ one a wrong, and yet I am tormented by my conscience. Up to now I have
+ never dared to say a word to the people of these parts; they are all
+ chatter-mags, with tongues like knives. And never till now, sir, have I
+ had any traveler here who stayed so long in the inn as you have, and to
+ whom I could tell the history of the fifteen thousand francs——&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;My dear Madame Lepas, if there is anything in your story of a nature to
+ compromise me,&rsquo; I said, interrupting the flow of her words, &lsquo;I would not
+ hear it for all the world.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;You need have no fears,&rsquo; said she; &lsquo;you will see.&rsquo;
+ </p>
+ <p>
+ &ldquo;Her eagerness made me suspect that I was not the only person to whom my
+ worthy landlady had communicated the secret of which I was to be the sole
+ possessor, but I listened.
+ </p>
+ <p>
+ &ldquo;&lsquo;Monsieur,&rsquo; said she, &lsquo;when the Emperor sent the Spaniards here,
+ prisoners of war and others, I was required to lodge at the charge of the
+ Government a young Spaniard sent to Vendôme on parole. Notwithstanding his
+ parole, he had to show himself every day to the sub-prefect. He was a
+ Spanish grandee—neither more nor less. He had a name in os and dia,
+ something like Bagos de Férédia. I wrote his name down in my books, and
+ you may see it if you like. Ah! he was a handsome young fellow for a
+ Spaniard, who are all ugly they say. He was not more than five feet two or
+ three in height, but so well made; and he had little hands that he kept so
+ beautifully! Ah! you should have seen them. He had as many brushes for his
+ hands as a woman has for her toilet. He had thick, black hair, a flame in
+ his eye, a somewhat coppery complexion, but which I admired all the same.
+ He wore the finest linen I have ever seen, though I have had princesses to
+ lodge here, and, among others, General Bertrand, the Duc and Duchesse
+ d&rsquo;Abrantes, Monsieur Descazes, and the King of Spain. He did not eat much,
+ but he had such polite and amiable ways that it was impossible to owe him
+ a grudge for that. Oh! I was very fond of him, though he did not say four
+ words to me in a day, and it was impossible to have the least bit of talk
+ with him; if he was spoken to, he did not answer; it is a way, a mania
+ they all have, it would seem.
+ </p>
+ <p>
+ &ldquo;&lsquo;He read his breviary like a priest, and went to mass and all the
+ services quite regularly. And where did he post himself?—we found this out
+ later.—Within two yards of Madame de Merret&rsquo;s chapel. As he took that
+ place the very first time he entered the church, no one imagined that
+ there was any purpose in it. Besides, he never raised his nose above his
+ book, poor young man! And then, monsieur, of an evening he went for a walk
+ on the hill among the ruins of the old castle. It was his only amusement,
+ poor man; it reminded him of his native land. They say that Spain is all
+ hills!
+ </p>
+ <p>
+ &ldquo;&lsquo;One evening, a few days after he was sent here, he was out very late. I
+ was rather uneasy when he did not come in till just on the stroke of
+ midnight; but we all got used to his whims; he took the key of the door,
+ and we never sat up for him. He lived in a house belonging to us in the
+ Rue des Casernes. Well, then, one of our stable-boys told us one evening
+ that, going down to wash the horses in the river, he fancied he had seen
+ the Spanish Grandee swimming some little way off, just like a fish. When
+ he came in, I told him to be careful of the weeds, and he seemed put out
+ at having been seen in the water.
+ </p>
+ <p>
+ &ldquo;&lsquo;At last, monsieur, one day, or rather one morning, we did not find him
+ in his room; he had not come back. By hunting through his things, I found
+ a written paper in the drawer of his table, with fifty pieces of Spanish
+ gold of the kind they call doubloons, worth about five thousand francs;
+ and in a little sealed box ten thousand francs worth of diamonds. The
+ paper said that in case he should not return, he left us this money and
+ these diamonds in trust to found masses to thank God for his escape and
+ for his salvation.
+ </p>
+ <p>
+ &ldquo;&lsquo;At that time I still had my husband, who ran off in search of him. And
+ this is the queer part of the story: he brought back the Spaniard&rsquo;s
+ clothes, which he had found under a big stone on a sort of breakwater
+ along the river bank, nearly opposite la Grande Bretèche. My husband went
+ so early that no one saw him. After reading the letter, he burnt the
+ clothes, and, in obedience to Count Férédia&rsquo;s wish, we announced that he
+ had escaped.
+ </p>
+ <p>
+ &ldquo;&lsquo;The sub-prefect set all the constabulary at his heels; but, pshaw! he
+ was never caught. Lepas believed that the Spaniard had drowned himself. I,
+ sir, have never thought so; I believe, on the contrary, that he had
+ something to do with the business about Madame de Merret, seeing that
+ Rosalie told me that the crucifix her mistress was so fond of that she had
+ it buried with her, was made of ebony and silver; now in the early days of
+ his stay here, Monsieur Férédia had one of ebony and silver which I never
+ saw later.—And now, monsieur, do not you say that I need have no remorse
+ about the Spaniard&rsquo;s fifteen thousand francs? Are they not really and
+ truly mine?&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Certainly.—But have you never tried to question Rosalie?&rsquo; said I.
+ </p>
+ <p>
+ &ldquo;&lsquo;Oh, to be sure I have, sir. But what is to be done? That girl is like a
+ wall. She knows something, but it is impossible to make her talk.&rsquo;
+ </p>
+ <p>
+ &ldquo;After chatting with me for a few minutes, my hostess left me a prey to
+ vague and sinister thoughts, to romantic curiosity, and a religious dread,
+ not unlike the deep emotion which comes upon us when we go into a dark
+ church at night and discern a feeble light glimmering under a lofty
+ vault—a dim figure glides across—the sweep of a gown or of a priest&rsquo;s
+ cassock is audible—and we shiver! La Grande Bretèche, with its rank
+ grasses, its shuttered windows, its rusty iron-work, its locked doors, its
+ deserted rooms, suddenly rose before me in fantastic vividness. I tried to
+ get into the mysterious dwelling to search out the heart of this solemn
+ story, this drama which had killed three persons.
+ </p>
+ <p>
+ &ldquo;Rosalie became in my eyes the most interesting being in Vendôme. As I
+ studied her, I detected signs of an inmost thought, in spite of the
+ blooming health that glowed in her dimpled face. There was in her soul
+ some element of ruth or of hope; her manner suggested a secret, like the
+ expression of devout souls who pray in excess, or of a girl who has killed
+ her child and for ever hears its last cry. Nevertheless, she was simple
+ and clumsy in her ways; her vacant smile had nothing criminal in it, and
+ you would have pronounced her innocent only from seeing the large red and
+ blue checked kerchief that covered her stalwart bust, tucked into the
+ tight-laced bodice of a lilac- and white-striped gown. &lsquo;No,&rsquo; said I to
+ myself, &lsquo;I will not quit Vendôme without knowing the whole history of la
+ Grande Bretèche. To achieve this end, I will make love to Rosalie if it
+ proves necessary.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Rosalie!&rsquo; said I one evening.
+ </p>
+ <p>
+ &ldquo;&lsquo;Your servant, sir?&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;You are not married?&rsquo; She started a little.
+ </p>
+ <p>
+ &ldquo;&lsquo;Oh! there is no lack of men if ever I take a fancy to be miserable!&rsquo; she
+ replied, laughing. She got over her agitation at once; for every woman,
+ from the highest lady to the inn-servant inclusive, has a native presence
+ of mind.
+ </p>
+ <p>
+ &ldquo;&lsquo;Yes; you are fresh and good-looking enough never to lack lovers! But
+ tell me, Rosalie, why did you become an inn-servant on leaving Madame de
+ Merret? Did she not leave you some little annuity?&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Oh yes, sir. But my place here is the best in all the town of Vendôme.&rsquo;
+ </p>
+ <p>
+ &ldquo;This reply was such an one as judges and attorneys call evasive. Rosalie,
+ as it seemed to me, held in this romantic affair the place of the middle
+ square of the chess-board: she was at the very centre of the interest and
+ of the truth; she appeared to me to be tied into the knot of it. It was
+ not a case for ordinary love-making; this girl contained the last chapter
+ of a romance, and from that moment all my attentions were devoted to
+ Rosalie. By dint of studying the girl, I observed in her, as in every
+ woman whom we make our ruling thought, a variety of good qualities; she
+ was clean and neat; she was handsome, I need not say; she soon was
+ possessed of every charm that desire can lend to a woman in whatever rank
+ of life. A fortnight after the notary&rsquo;s visit, one evening, or rather one
+ morning, in the small hours, I said to Rosalie:
+ </p>
+ <p>
+ &ldquo;&lsquo;Come, tell me all you know about Madame de Merret.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Oh!&rsquo; she said, &lsquo;I will tell you; but keep the secret carefully.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;All right, my child; I will keep all your secrets with a thief&rsquo;s honor,
+ which is the most loyal known.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;If it is all the same to you,&rsquo; said she, &lsquo;I would rather it should be
+ with your own.&rsquo;
+ </p>
+ <p>
+ &ldquo;Thereupon she set her head-kerchief straight, and settled herself to tell
+ the tale; for there is no doubt a particular attitude of confidence and
+ security is necessary to the telling of a narrative. The best tales are
+ told at a certain hour—just as we are all here at table. No one ever told
+ a story well standing up, or fasting.
+ </p>
+ <p>
+ &ldquo;If I were to reproduce exactly Rosalie&rsquo;s diffuse eloquence, a whole
+ volume would scarcely contain it. Now, as the event of which she gave me a
+ confused account stands exactly midway between the notary&rsquo;s gossip and
+ that of Madame Lepas, as precisely as the middle term of a rule-of-three
+ sum stands between the first and third, I have only to relate it in as few
+ words as may be. I shall therefore be brief.
+ </p>
+ <p>
+ &ldquo;The room at la Grande Bretèche in which Madame de Merret slept was on the
+ ground floor; a little cupboard in the wall, about four feet deep, served
+ her to hang her dresses in. Three months before the evening of which I
+ have to relate the events, Madame de Merret had been seriously ailing, so
+ much so that her husband had left her to herself, and had his own bedroom
+ on the first floor. By one of those accidents which it is impossible to
+ foresee, he came in that evening two hours later than usual from the club,
+ where he went to read the papers and talk politics with the residents in
+ the neighborhood. His wife supposed him to have come in, to be in bed and
+ asleep. But the invasion of France had been the subject of a very animated
+ discussion; the game of billiards had waxed vehement; he had lost forty
+ francs, an enormous sum at Vendôme, where everybody is thrifty, and where
+ social habits are restrained within the bounds of a simplicity worthy of
+ all praise, and the foundation perhaps of a form of true happiness which
+ no Parisian would care for.
+ </p>
+ <p>
+ &ldquo;For some time past Monsieur de Merret had been satisfied to ask Rosalie
+ whether his wife was in bed; on the girl&rsquo;s replying always in the
+ affirmative, he at once went to his own room, with the good faith that
+ comes of habit and confidence. But this evening, on coming in, he took it
+ into his head to go to see Madame de Merret, to tell her of his ill-luck,
+ and perhaps to find consolation. During dinner he had observed that his
+ wife was very becomingly dressed; he reflected as he came home from the
+ club that his wife was certainly much better, that convalescence had
+ improved her beauty, discovering it, as husbands discover everything, a
+ little too late. Instead of calling Rosalie, who was in the kitchen at the
+ moment watching the cook and the coachman playing a puzzling hand at
+ cards, Monsieur de Merret made his way to his wife&rsquo;s room by the light of
+ his lantern, which he set down at the lowest step of the stairs. His step,
+ easy to recognize, rang under the vaulted passage.
+ </p>
+ <p>
+ &ldquo;At the instant when the gentleman turned the key to enter his wife&rsquo;s
+ room, he fancied he heard the door shut of the closet of which I have
+ spoken; but when he went in, Madame de Merret was alone, standing in front
+ of the fireplace. The unsuspecting husband fancied that Rosalie was in the
+ cupboard; nevertheless, a doubt, ringing in his ears like a peal of bells,
+ put him on his guard; he looked at his wife, and read in her eyes an
+ indescribably anxious and haunted expression.
+ </p>
+ <p>
+ &ldquo;&lsquo;You are very late,&rsquo; said she.—Her voice, usually so clear and sweet,
+ struck him as being slightly husky.
+ </p>
+ <p>
+ &ldquo;Monsieur de Merret made no reply, for at this moment Rosalie came in.
+ This was like a thunder-clap. He walked up and down the room, going from
+ one window to another at a regular pace, his arms folded.
+ </p>
+ <p>
+ &ldquo;&lsquo;Have you had bad news, or are you ill?&rsquo; his wife asked him timidly,
+ while Rosalie helped her to undress. He made no reply.
+ </p>
+ <p>
+ &ldquo;&lsquo;You can go, Rosalie,&rsquo; said Madame de Merret to her maid; &lsquo;I can put in
+ my curl-papers myself.&lsquo;—She scented disaster at the mere aspect of her
+ husband&rsquo;s face, and wished to be alone with him. As soon as Rosalie was
+ gone, or supposed to be gone, for she lingered a few minutes in the
+ passage, Monsieur de Merret came and stood facing his wife, and said
+ coldly, &lsquo;Madame, there is some one in your cupboard!&rsquo; She looked at her
+ husband calmly, and replied quite simply, &lsquo;No, monsieur.&rsquo;
+ </p>
+ <p>
+ &ldquo;This &lsquo;No&rsquo; wrung Monsieur de Merret&rsquo;s heart; he did not believe it; and
+ yet his wife had never appeared purer or more saintly than she seemed to
+ be at this moment. He rose to go and open the closet door. Madame de
+ Merret took his hand, stopped him, looked at him sadly, and said in a
+ voice of strange emotion, &lsquo;Remember, if you should find no one there,
+ everything must be at an end between you and me.&rsquo;
+ </p>
+ <p>
+ &ldquo;The extraordinary dignity of his wife&rsquo;s attitude filled him with deep
+ esteem for her, and inspired him with one of those resolves which need
+ only a grander stage to become immortal.
+ </p>
+ <p>
+ &ldquo;&lsquo;No, Josephine,&rsquo; he said, &lsquo;I will not open it. In either event we should
+ be parted for ever. Listen; I know all the purity of your soul, I know you
+ lead a saintly life, and would not commit a deadly sin to save your
+ life.&lsquo;—At these words Madame de Merret looked at her husband with a
+ haggard stare.—&lsquo;See, here is your crucifix,&rsquo; he went on. &lsquo;Swear to me
+ before God that there is no one in there; I will believe you—I will never
+ open that door.&rsquo;
+ </p>
+ <p>
+ &ldquo;Madame de Merret took up the crucifix and said, &lsquo;I swear it.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Louder,&rsquo; said her husband; &lsquo;and repeat: &ldquo;I swear before God that there
+ is nobody in that closet.&rdquo;&rsquo; She repeated the words without flinching.
+ </p>
+ <p>
+ &ldquo;&lsquo;That will do,&rsquo; said Monsieur de Merret coldly. After a moment&rsquo;s silence:
+ &lsquo;You have there a fine piece of work which I never saw before,&rsquo; said he,
+ examining the crucifix of ebony and silver, very artistically wrought.
+ </p>
+ <p>
+ &ldquo;&lsquo;I found it at Duvivier&rsquo;s; last year when that troop of Spanish prisoners
+ came through Vendôme, he bought it of a Spanish monk.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Indeed,&rsquo; said Monsieur de Merret, hanging the crucifix on its nail; and
+ he rang the bell.
+ </p>
+ <p>
+ &ldquo;He had to wait for Rosalie. Monsieur de Merret went forward quickly to
+ meet her, led her into the bay of the window that looked on to the garden,
+ and said to her in an undertone:
+ </p>
+ <p>
+ &ldquo;&lsquo;I know that Gorenflot wants to marry you, that poverty alone prevents
+ your setting up house, and that you told him you would not be his wife
+ till he found means to become a master mason.—Well, go and fetch him; tell
+ him to come here with his trowel and tools. Contrive to wake no one in his
+ house but himself. His reward will be beyond your wishes. Above all, go
+ out without saying a word—or else!&rsquo; and he frowned.
+ </p>
+ <p>
+ &ldquo;Rosalie was going, and he called her back. &lsquo;Here, take my latch-key,&rsquo;
+ said he.
+ </p>
+ <p>
+ &ldquo;&lsquo;Jean!&rsquo; Monsieur de Merret called in a voice of thunder down the passage.
+ Jean, who was both coachman and confidential servant, left his cards and
+ came.
+ </p>
+ <p>
+ &ldquo;&lsquo;Go to bed, all of you,&rsquo; said his master, beckoning him to come close;
+ and the gentleman added in a whisper, &lsquo;When they are all asleep—mind,
+ asleep—you understand?—come down and tell me.&rsquo;
+ </p>
+ <p>
+ &ldquo;Monsieur de Merret, who had never lost sight of his wife while giving his
+ orders, quietly came back to her at the fireside, and began to tell her
+ the details of the game of billiards and the discussion at the club. When
+ Rosalie returned she found Monsieur and Madame de Merret conversing
+ amiably.
+ </p>
+ <p>
+ &ldquo;Not long before this Monsieur de Merret had had new ceilings made to all
+ the reception-rooms on the ground floor. Plaster is very scarce at
+ Vendôme; the price is enhanced by the cost of carriage; the gentleman had
+ therefore had a considerable quantity delivered to him, knowing that he
+ could always find purchasers for what might be left. It was this
+ circumstance which suggested the plan he carried out.
+ </p>
+ <p>
+ &ldquo;&lsquo;Gorenflot is here, sir,&rsquo; said Rosalie in a whisper.
+ </p>
+ <p>
+ &ldquo;&lsquo;Tell him to come in,&rsquo; said her master aloud.
+ </p>
+ <p>
+ &ldquo;Madame de Merret turned paler when she saw the mason.
+ </p>
+ <p>
+ &ldquo;&lsquo;Gorenflot,&rsquo; said her husband, &lsquo;go and fetch some bricks from the
+ coach-house; bring enough to wall up the door of this cupboard; you can
+ use the plaster that is left for cement.&rsquo; Then, dragging Rosalie and the
+ workman close to him—&lsquo;Listen, Gorenflot,&rsquo; said he, in a low voice, &lsquo;you
+ are to sleep here to-night; but to-morrow morning you shall have a
+ passport to take you abroad to a place I will tell you of. I will give you
+ six thousand francs for your journey. You must live in that town for ten
+ years; if you find you do not like it, you may settle in another, but it
+ must be in the same country. Go through Paris and wait there till I join
+ you. I will there give you an agreement for six thousand francs more, to
+ be paid to you on your return, provided you have carried out the
+ conditions of the bargain. For that price you are to keep perfect silence
+ as to what you have to do this night. To you, Rosalie, I will secure ten
+ thousand francs, which will not be paid to you till your wedding day, and
+ on condition of your marrying Gorenflot; but, to get married, you must
+ hold your tongue. If not, no wedding gift!&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Rosalie,&rsquo; said Madame de Merret, &lsquo;come and brush my hair.&rsquo;
+ </p>
+ <p>
+ &ldquo;Her husband quietly walked up and down the room, keeping an eye on the
+ door, on the mason, and on his wife, but without any insulting display of
+ suspicion. Gorenflot could not help making some noise. Madame de Merret
+ seized a moment when he was unloading some bricks, and when her husband
+ was at the other end of the room to say to Rosalie: &lsquo;My dear child, I will
+ give you a thousand francs a year if only you will tell Gorenflot to leave
+ a crack at the bottom.&rsquo; Then she added aloud quite coolly: &lsquo;You had better
+ help him.&rsquo;
+ </p>
+ <p>
+ &ldquo;Monsieur and Madame de Merret were silent all the time while Gorenflot
+ was walling up the door. This silence was intentional on the husband&rsquo;s
+ part; he did not wish to give his wife the opportunity of saying anything
+ with a double meaning. On Madame de Merret&rsquo;s side it was pride or
+ prudence. When the wall was half built up the cunning mason took advantage
+ of his master&rsquo;s back being turned to break one of the two panes in the top
+ of the door with a blow of his pick. By this Madame de Merret understood
+ that Rosalie had spoken to Gorenflot. They all three then saw the face of
+ a dark, gloomy-looking man, with black hair and flaming eyes.
+ </p>
+ <p>
+ &ldquo;Before her husband turned round again the poor woman had nodded to the
+ stranger, to whom the signal was meant to convey, &lsquo;Hope.&rsquo;
+ </p>
+ <p>
+ &ldquo;At four o&rsquo;clock, as the day was dawning, for it was the month of
+ September, the work was done. The mason was placed in charge of Jean, and
+ Monsieur de Merret slept in his wife&rsquo;s room.
+ </p>
+ <p>
+ &ldquo;Next morning when he got up he said with apparent carelessness, &lsquo;Oh, by
+ the way, I must go to the Maire for the passport.&rsquo; He put on his hat, took
+ two or three steps towards the door, paused, and took the crucifix. His
+ wife was trembling with joy.
+ </p>
+ <p>
+ &ldquo;&lsquo;He will go to Duvivier&rsquo;s,&rsquo; thought she.
+ </p>
+ <p>
+ &ldquo;As soon as he had left, Madame de Merret rang for Rosalie, and then in a
+ terrible voice she cried: &lsquo;The pick! Bring the pick! and set to work. I
+ saw how Gorenflot did it yesterday; we shall have time to make a gap and
+ build it up again.&rsquo;
+ </p>
+ <p>
+ &ldquo;In an instant Rosalie had brought her mistress a sort of cleaver; she,
+ with a vehemence of which no words can give an idea, set to work to
+ demolish the wall. She had already got out a few bricks, when, turning to
+ deal a stronger blow than before, she saw behind her Monsieur de Merret.
+ She fainted away.
+ </p>
+ <p>
+ &ldquo;&lsquo;Lay madame on her bed,&rsquo; said he coldly.
+ </p>
+ <p>
+ &ldquo;Foreseeing what would certainly happen in his absence, he had laid this
+ trap for his wife; he had merely written to the Maire and sent for
+ Duvivier. The jeweler arrived just as the disorder in the room had been
+ repaired.
+ </p>
+ <p>
+ &ldquo;&lsquo;Duvivier,&rsquo; asked Monsieur de Merret, &lsquo;did not you buy some crucifixes of
+ the Spaniards who passed through the town?&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;No, monsieur.&rsquo;
+ </p>
+ <p>
+ &ldquo;&lsquo;Very good; thank you,&rsquo; said he, flashing a tiger&rsquo;s glare at his wife.
+ &lsquo;Jean,&rsquo; he added, turning to his confidential valet, &lsquo;you can serve my
+ meals here in Madame de Merret&rsquo;s room. She is ill, and I shall not leave
+ her till she recovers.&rsquo;
+ </p>
+ <p>
+ &ldquo;The cruel man remained in his wife&rsquo;s room for twenty days. During the
+ earlier time, when there was some little noise in the closet, and
+ Josephine wanted to intercede for the dying man, he said, without allowing
+ her to utter a word, &lsquo;You swore on the Cross that there was no one
+ there.&rsquo;&rdquo;
+ </p>
+ <p>
+ After this story all the ladies rose from table, and thus the spell under
+ which Bianchon had held them was broken. But there were some among them
+ who had almost shivered at the last words.
+ </p>
+ <p>
+ <br /><br />
+ </p>
+ <hr />
+ <p>
+ <a name="link2H_4_0002" id="link2H_4_0002"> </a>
+ </p>
+ <div style="height: 4em;">
+ <br /><br /><br /><br />
+ </div>
+ <h2>
+ ADDENDUM The following personage appears in other stories of the Human
+ </h2>
+ <p>
+ Comedy.
+ </p>
+ <p>
+ Bianchon, Horace Father Goriot The Atheist&rsquo;s Mass Cesar Birotteau The
+ Commission in Lunacy Lost Illusions A Distinguished Provincial at Paris A
+ Bachelor&rsquo;s Establishment The Secrets of a Princess The Government Clerks
+ Pierrette A Study of Woman Scenes from a Courtesan&rsquo;s Life Honorine The
+ Seamy Side of History The Magic Skin A Second Home A Prince of Bohemia
+ Letters of Two Brides The Muse of the Department The Imaginary Mistress
+ The Middle Classes Cousin Betty The Country Parson
+ </p>
+ <p>
+ In addition, M. Bianchon narrated the following: Another Study of Woman
+ </p>
+ <div style="height: 6em;">
+ <br /><br /><br /><br /><br /><br />
+ </div>
+
+<pre>
+
+
+
+
+End of the Project Gutenberg EBook of La Grande Bretèche, by Honore de
+Balzac
+
+*** END OF THIS PROJECT GUTENBERG EBOOK LA GRANDE BRETECHE ***
+
+***** This file should be named 1710-h.htm or 1710-h.zip *****
+This and all associated files of various formats will be found in:
+http://www.gutenberg.org/1/7/1/1710/
+
+Produced by John Bickers, and Dagny, and David Widger
+
+
+Updated editions will replace the previous one--the old editions will
+be renamed.
+
+Creating the works from public domain print editions means that no one
+owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties. Special rules,
+set forth in the General Terms of Use part of this license, apply
+to copying and distributing Project Gutenberg-tm electronic works
+to protect the PROJECT GUTENBERG-tm concept and trademark. Project
+Gutenberg is a registered trademark, and may not be used if you charge
+for the eBooks, unless you receive specific permission. If you do not
+charge anything for copies of this eBook, complying with the rules
+is very easy. You may use this eBook for nearly any purpose such as
+creation of derivative works, reports, performances and research. They
+may be modified and printed and given away--you may do practically
+ANYTHING with public domain eBooks. Redistribution is subject to the
+trademark license, especially commercial redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU
+DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase &ldquo;Project
+Gutenberg&rdquo;), you agree to comply with all the terms of the Full
+Project Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1. General Terms of Use and Redistributing Project
+Gutenberg-tm electronic works
+
+1.A. By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree
+to and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement. If you do not agree to abide by
+all the terms of this agreement, you must cease using and return or
+destroy all copies of Project Gutenberg-tm electronic works in your
+possession. If you paid a fee for obtaining a copy of or access to a
+Project Gutenberg-tm electronic work and you do not agree to be bound
+by the terms of this agreement, you may obtain a refund from the
+person or entity to whom you paid the fee as set forth in paragraph
+1.E.8.
+
+1.B. &ldquo;Project Gutenberg&rdquo; is a registered trademark. It may only be
+used on or associated in any way with an electronic work by people
+who agree to be bound by the terms of this agreement. There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement. See
+paragraph 1.C below. There are a lot of things you can do with
+Project Gutenberg-tm electronic works if you follow the terms of this
+agreement and help preserve free future access to Project Gutenberg-tm
+electronic works. See paragraph 1.E below.
+
+1.C. The Project Gutenberg Literary Archive Foundation (&ldquo;the
+Foundation&rdquo; or PGLAF), owns a compilation copyright in the collection
+of Project Gutenberg-tm electronic works. Nearly all the individual
+works in the collection are in the public domain in the United States.
+If an individual work is in the public domain in the United States
+and you are located in the United States, we do not claim a right
+to prevent you from copying, distributing, performing, displaying or
+creating derivative works based on the work as long as all references
+to Project Gutenberg are removed. Of course, we hope that you will
+support the Project Gutenberg-tm mission of promoting free access
+to electronic works by freely sharing Project Gutenberg-tm works in
+compliance with the terms of this agreement for keeping the Project
+Gutenberg-tm name associated with the work. You can easily comply with
+the terms of this agreement by keeping this work in the same format
+with its attached full Project Gutenberg-tm License when you share it
+without charge with others.
+
+1.D. The copyright laws of the place where you are located also govern
+what you can do with this work. Copyright laws in most countries are
+in a constant state of change. If you are outside the United States,
+check the laws of your country in addition to the terms of this
+agreement before downloading, copying, displaying, performing,
+distributing or creating derivative works based on this work or
+any other Project Gutenberg-tm work. The Foundation makes no
+representations concerning the copyright status of any work in any
+country outside the United States.
+
+1.E. Unless you have removed all references to Project Gutenberg:
+
+1.E.1. The following sentence, with active links to, or other
+immediate access to, the full Project Gutenberg-tm License must appear
+prominently whenever any copy of a Project Gutenberg-tm work (any work
+on which the phrase &ldquo;Project Gutenberg&rdquo; appears, or with which the
+phrase &ldquo;Project Gutenberg&rdquo; is associated) is accessed, displayed,
+performed, viewed, copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2. If an individual Project Gutenberg-tm electronic work is
+derived from the public domain (does not contain a notice indicating
+that it is posted with permission of the copyright holder), the work
+can be copied and distributed to anyone in the United States without
+paying any fees or charges. If you are redistributing or providing
+access to a work with the phrase &ldquo;Project Gutenberg&rdquo; associated with
+or appearing on the work, you must comply either with the requirements
+of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use
+of the work and the Project Gutenberg-tm trademark as set forth in
+paragraphs 1.E.8 or 1.E.9.
+
+1.E.3. If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any
+additional terms imposed by the copyright holder. Additional terms
+will be linked to the Project Gutenberg-tm License for all works
+posted with the permission of the copyright holder found at the
+beginning of this work.
+
+1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5. Do not copy, display, perform, distribute or redistribute
+this electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6. You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including
+any word processing or hypertext form. However, if you provide access
+to or distribute copies of a Project Gutenberg-tm work in a format
+other than &ldquo;Plain Vanilla ASCII&rdquo; or other format used in the
+official version posted on the official Project Gutenberg-tm web site
+(www.gutenberg.org), you must, at no additional cost, fee or expense
+to the user, provide a copy, a means of exporting a copy, or a means
+of obtaining a copy upon request, of the work in its original &ldquo;Plain
+Vanilla ASCII&rdquo; or other form. Any alternate format must include the
+full Project Gutenberg-tm License as specified in paragraph 1.E.1.
+
+1.E.7. Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8. You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works
+provided that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+the use of Project Gutenberg-tm works calculated using the method you
+already use to calculate your applicable taxes. The fee is owed to
+the owner of the Project Gutenberg-tm trademark, but he has agreed
+to donate royalties under this paragraph to the Project Gutenberg
+Literary Archive Foundation. Royalty payments must be paid within 60
+days following each date on which you prepare (or are legally required
+to prepare) your periodic tax returns. Royalty payments should be
+clearly marked as such and sent to the Project Gutenberg Literary
+Archive Foundation at the address specified in Section 4, &ldquo;Information
+about donations to the Project Gutenberg Literary Archive Foundation.&rdquo;
+
+- You provide a full refund of any money paid by a user who notifies
+you in writing (or by e-mail) within 30 days of receipt that s/he does
+not agree to the terms of the full Project Gutenberg-tm License. You
+must require such a user to return or destroy all copies of the works
+possessed in a physical medium and discontinue all use of and all
+access to other copies of Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of
+any money paid for a work or a replacement copy, if a defect in the
+electronic work is discovered and reported to you within 90 days of
+receipt of the work.
+
+- You comply with all other terms of this agreement for free
+distribution of Project Gutenberg-tm works.
+
+1.E.9. If you wish to charge a fee or distribute a Project
+Gutenberg-tm electronic work or group of works on different terms than
+are set forth in this agreement, you must obtain permission in writing
+from both the Project Gutenberg Literary Archive Foundation and
+Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact
+the Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1. Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm collection.
+Despite these efforts, Project Gutenberg-tm electronic works, and the
+medium on which they may be stored, may contain &ldquo;Defects,&rdquo; such
+as, but not limited to, incomplete, inaccurate or corrupt data,
+transcription errors, a copyright or other intellectual property
+infringement, a defective or damaged disk or other medium, a computer
+virus, or computer codes that damage or cannot be read by your
+equipment.
+
+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the &ldquo;Right
+of Replacement or Refund&rdquo; described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK
+OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
+TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium
+with your written explanation. The person or entity that provided you
+with the defective work may elect to provide a replacement copy in
+lieu of a refund. If you received the work electronically, the
+person or entity providing it to you may choose to give you a second
+opportunity to receive the work electronically in lieu of a refund. If
+the second copy is also defective, you may demand a refund in writing
+without further opportunities to fix the problem.
+
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you &lsquo;AS-IS&rsquo; WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED
+TO WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates
+the law of the state applicable to this agreement, the agreement shall
+be interpreted to make the maximum disclaimer or limitation permitted
+by the applicable state law. The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation,
+the trademark owner, any agent or employee of the Foundation,
+anyone providing copies of Project Gutenberg-tm electronic works in
+accordance with this agreement, and any volunteers associated with
+the production, promotion and distribution of Project Gutenberg-tm
+electronic works, harmless from all liability, costs and expenses,
+including legal fees, that arise directly or indirectly from any of
+the following which you do or cause to occur: (a) distribution of this
+or any Project Gutenberg-tm work, (b) alteration, modification, or
+additions or deletions to any Project Gutenberg-tm work, and (c) any
+Defect you cause.
+
+
+Section 2. Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution
+of electronic works in formats readable by the widest variety of
+computers including obsolete, old, middle-aged and new computers. It
+exists because of the efforts of hundreds of volunteers and donations
+from people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm&rsquo;s
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4 and
+the Foundation web page at http://www.pglaf.org.
+
+
+Section 3. Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service. The Foundation&rsquo;s EIN or federal tax identification
+number is 64-6221541. Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising. Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state&rsquo;s laws.
+
+The Foundation&rsquo;s principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887,
+email business@pglaf.org. Email contact links and up to date contact
+information can be found at the Foundation&rsquo;s web site and official
+page at http://pglaf.org
+
+For additional contact information: Dr. Gregory B. Newby Chief
+Executive and Director gbnewby@pglaf.org
+
+
+Section 4. Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment. Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States. Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep
+up with these requirements. We do not solicit donations in locations
+where we have not received written confirmation of compliance. To SEND
+DONATIONS or determine the status of compliance for any particular
+state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses. Donations are accepted in a number of other
+ways including checks, online payments and credit card donations. To
+donate, please visit: http://pglaf.org/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project
+Gutenberg-tm concept of a library of electronic works that could
+be freely shared with anyone. For thirty years, he produced and
+distributed Project Gutenberg-tm eBooks with only a loose network of
+volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included. Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search
+facility:
+
+http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+
+
+</pre>
+ </body>
+</html>