OUR CHILDRENBY
ANATOLE FRANCE
Illustrations by
Boutet de Monvel
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: Our Children
Scenes from the Country and the Town
Author: Anatole France
Release Date: May 5, 2009 [eBook #28695]
Language: English
Character set encoding: UTF-8
***START OF THE PROJECT GUTENBERG EBOOK OUR CHILDREN***
| Note: | Images of the original pages are available through Internet Archive/American Libraries. See http://www.archive.org/details/ourchildrenscene00fran |
OUR CHILDRENOUR CHILDREN
Scenes from the Country and the Town
BY
ANATOLE FRANCE
Illustrated in color and in pen and ink by
BOUTET de MONVEL.
NEW YORK
DUFFIELD & COMPANY
1923
Copyright, 1917, by
DUFFIELD & COMPANY
Printed in U. S. A.
Fanny started off early one morning, like little Red Riding Hood, to visit her grandmother, who lives quite at the other end of the village. But Fanny did not stop like Red Riding Hood to pick hazel nuts. She went straight on her way, and did not see any wolf.
[2]Even when quite a long way off, she could see her grandmother seated on her stone doorstep, the dear grandmother who smiled with her toothless mouth and opened her old arms thin as grape vines to welcome her little granddaughter. Fanny’s heart was filled with delight at the prospect of spending a whole day at her grandmother’s. And her grandmother, having no longer any cares or tasks, but living like a cricket near the fire, is happy too to see the little daughter of her son, a sweet reminder of her youth.
They have many things to say to each other, for one of them is at the end of life’s voyage and the other is just setting out upon it.
“You grow bigger every day, Fanny,” says her grandmother, “and I am getting littler. Just look! I need hardly stoop to press my lips to your forehead. What difference does it make how old I am when I still have youth’s roses in your cheeks, Little Fanny.”
But Fanny is exploring for the hundredth time, with new joy, all the curious things in the little house—the paper flowers blooming beneath the glass globe, the old paintings of French generals in fine uniforms overthrowing their enemies, the gold cups, some with handles and some without, and grandfather’s old gun which hangs on the chimney breast on a nail from which grandfather himself fastened it—for the last time, thirty years ago.
TREES AND GRASS AND FLOWERS AND LITTLE BIRDS THERE WERE IN GRANDMOTHER’S YARD. FANNY DID NOT BELIEVE THERE WAS A PRETTIER YARD THAN THIS IN ALL THE WORLD. SHE TAKES HER KNIFE FROM HER POCKET PROMPTLY, AND CUTS HER BREAD AS THE VILLAGE PEOPLE DO.
Printed in France
But the hours pass and the first thing one knows it’s time to get ready for the noonday dinner. Grandmother stirs up the wood fire that has been slumbering [3]quietly, and then she breaks some eggs in the black tiled hearth, while Fanny watches with great interest the omelette and bacon that turns gold and sings in the flame. Grandmother knows better than any one how to make ham omelettes and tell stories. Fanny, seated on the little stove, her cheek no higher than the table, eats the steaming omelette and drinks sparkling cider. Grandmother, however, as her habit is, eats standing near the corner of the hearth. She holds her knife in her right hand, and in the other her snack spread on a crust of bread. When they have finished, both of them, Fanny says:
“Grandmother, tell me the story of the blue bird.”
And grandmother tells her story of the blue bird, how a wicked fairy changed a beautiful young prince into a bird the color of the deep sky, and of the great sorrow the princess felt when she saw the change and beheld her lover flying all ruddy and dripping toward the window of the tower in which she was shut up.
Fanny is very thoughtful when she hears this story.
“Was it a long, long time ago, Grandmother, that the blue bird flew toward the tower where the princess was shut up?”
Grandmother replies that it was all a good while ago, those things, in the days when animals could talk.
“Were you young then?” asks Fanny. “I wasn’t born yet,” says Grandmother. And Fanny says to her: “I suppose a great many things happened before you were born, didn’t they, Grandmother?”
When they are through with their little talk Grandmother gives Fanny an apple and some bread.
“Now run away, pet, and eat this in the yard.”
And Fanny goes out into the yard, where there are trees and grass and flowers and little birds.
Trees and grass and flowers and little birds there were in grandmother’s yard. Fanny did not believe there was a prettier yard than this in all the world. Already she takes her knife from her pocket to cut her bread as the village people do. She crunches into the apple first thing of all and then begins to munch her bread. Just then a little bird comes fluttering near her, then another, and then a third, then ten, twenty, thirty of them, all circling about her, some of them gray, some red, some brown and green and blue, all of them so pretty, and all singing. Fanny could not guess at first what they all wanted. But soon she perceives that they are after bread, like little beggars. They are indeed beggars, but they are also songsters. Fanny was too kindhearted [5]to refuse them bread when they paid for it with songs. She was only a little farmer’s girl and she did not know that once upon a time, in a country where white rocks bathe in the blue sea, a blind old man earned his bread singing songs to the shepherds, songs that learned men admire even to this day. But her heart heard the little birds, and she threw them crumbs that scarcely touched the earth before they caught them in the air.
SOON SHE PERCEIVED THAT THEY WERE AFTER BREAD, LIKE LITTLE BEGGARS. THEY WERE INDEED BEGGARS, BUT THEY WERE ALSO SONGSTERS. FANNY WAS TOO KINDHEARTED TO REFUSE THEM BREAD WHEN THEY PAID FOR IT WITH SONGS.
Printed in France
Fanny saw that the birds were not all of the same nature. Some of them, ranged in a circle at her feet, waited till the crumbs fell near their little beaks. They were philosophers. There were others who circled neatly around her in the air, and one even who came and actually pecked at the slice of bread in her hand.
She crumbled the bread and threw the crumbs to them all. But they didn’t all eat it, because as Fanny could see, the boldest and cleverest left nothing for the others.
“It isn’t right,” she said to them; “each one must take his turn.”
They hardly heard her. One is not always heard when one speaks of justice. She tried in every way to favor the weaker ones, and encourage the timid, but she did not succeed with them. No matter how she tried she fed the fat at the expense of the thin. It made her very sorry: simple child that she was, she did not know it was the way of the world.
Crumb by crumb the slice of bread all went to the little singers, and Fanny went into her grandmother’s house again quite pleased.
At evening the grandmother took the basket in which Fanny had brought the cake to her, and filling it with plums and raisins put the handle over her arm, and said:
“Now, Fanny, run straight home, and don’t stop to amuse yourself and play with any of the village scamps. Be a good girl always. Good-bye.”
She kissed her, but Fanny stood a while very thoughtful at the threshold.
“Grandmother,” said she.
“Yes, Fanny dear.”
“I should like so much to know,” said Fanny, “if there were any fine princes among the birds that ate my bread.”
“No,” said grandmother; “nowadays there are no more fairies, and the birds are all creatures.”
“Good-bye, Grandmother.”
“Good-bye, Fanny.”
AS SHE WENT ON HER WAY WITH EVEN STEPS AND LOOKING VERY WISE AND GOOD SHE HEARD A PRETTY SOUND OF BIRDS CRYING BEHIND HER, AND TURNING HER HEAD SHE RECOGNIZED THE LITTLE BEGGARS THAT SHE HAD FED WHEN THEY WERE HUNGRY. THEY HAD BEEN FOLLOWING HER. “GOOD NIGHT, LITTLE FRIENDS,” SHE CALLED TO THEM. “GOOD NIGHT. IT’S TIME TO GO TO BED NOW. GOOD NIGHT.”
Printed in France
[7] And Fanny went away across the fields toward home. She could see the chimney of her house smoking in the distance against the red sunset sky.
On the way she met Antony, the gardener’s little boy, who said to her: “Are you coming to play with me?”
“No,” replied Fanny, “I’m not coming to play with you because my grandmother told me not to stop. But I’ll give you an apple, because I like you very much.”
Antony took the apple and kissed Fanny nicely.
They loved each other dearly, these two. He would say: “She’s my little wife.” And she would agree: “He’s my little man.”
As she went on her way with even steps and looking very wise and good she heard a pretty sound of birds crying behind her, and turning her head she recognized the little beggars that she had fed when they were hungry. They had been following her.
“Goodnight, little friends,” she called to them. “Good night. It’s time to go to bed now. Good night!”
And the little winged singers replied in cries that meant, in bird language: “God keep you safe.”
Thus Fanny came back home to her mother, followed by bird music in the air.
Fanny went to bed before candle time in a little bed that a cabinet-maker of the village had made a long time ago, with a frame of walnut and graceful banisters. Long ago the good man had gone to sleep in the shadow of the church, under a black cross, in a bed with a coverlet of grass, for Fanny’s bed had been her grandfather’s when he was a little baby, and the little girl slept now in the same place as her ancestor. She slept. A cotton curtain with a pattern of roses protected her slumbers. She slept and dreamed. She saw the blue bird flying toward the castle of his love. He looked as beautiful as a star, but she did not expect for a moment to see him perch on her shoulder. She knew she was not a princess, and couldn’t expect visits from a prince changed into a bird the color of deep sky. However, she told herself that all birds are not princes, that the birds in the village are villagers and among them may well enough have been some country boy changed into a sparrow by a wicked fairy, and having a love for Fanny in his heart beneath his gray feathers. Such an one, if she should find him, she would give not only bread, but cakes and kisses too. She would like to see him. And now she does see him! He comes and perches on her shoulder. He’s just a little cock sparrow, not fine or rare, [9]but very alert and lively. To tell the truth his appearance is a little tousled: one tail feather is missing, lost in a fight, that is unless he has encountered some bad fairy in the village. Fanny suspects him of having a bad head; but she is a girl, and it does not worry her that her cock sparrow has a bad head if his heart is good. She pets him and calls him pretty names. All of a sudden he grows bigger and longer: his wings change into two arms. He turns into a boy, and Fanny recognizes Antony the gardener’s little boy, who says to her: “Let’s come and play together.”
SHE JUMPS OUT OF BED IN HER NIGHTGOWN, OPENS THE WINDOW, AND THERE IN THE GARDEN, AMONG THE ROSES AND GERANIUMS AND MORNING GLORIES, ARE THE LITTLE BIRD BEGGARS, THE LITTLE MUSICIANS OF LAST NIGHT, SITTING IN A ROW ON THE GARDEN FENCE AND GIVING HER A MORNING SONG TO PAY FOR THEIR CRUMBS OF BREAD.
Printed in France
She claps her hands with joy and starts to go—then suddenly wakes up. She rubs her eyes. No sparrow, no Antony! She is alone in the little room. The dawn, shining through the little flowered curtain, spreads its innocent light on the bed. She hears the birds singing in the garden. She jumps out of bed in her nightgown, opens the window, and there in the garden, among the roses and geraniums and morning glories, are the little bird beggars, the little musicians of last night, sitting in a row on the fence rail and giving her a morning song to pay for their crumbs of bread.
Here are little boys like knights of old, and little girls who are heroines. Here are shepherdesses with dresses looped up in paniers and garlands of roses, and shepherds in satin suits with knots of ribbons on their shepherd’s crooks. Dear me, what pretty white sheep such shepherds must have in their flocks! And here are Alexander and Zarius, Pyerhus and Merope, Mahomet, Harlequin, Scapin, Blaise and Babette. They have come from everywhere, from Greece and Rome and blue distant countries, to dance with one another. It’s a fine thing, a fancy dress ball, and very agreeable for an hour or two to be a great king or an illustrious princess. It has no inconveniences. You have not to sustain your costumes by actions or even by your words.
It would not be very amusing to wear a hero’s dress if you had to show his courage too. The hearts of heroes are torn in all sorts of ways. For the most[11] part they are famous through their misfortunes. If any of them lived happily they are not remembered now. Merope never cared about dancing. Pyerhus was wickedly killed by Orestes just as he was going to be married, and the innocent Zarius perished at the hands of the Turk his friend, a philosophical trick indeed. As to Blaise and Babette the song says that their pangs of love were never-ending.
AND HERE ARE ALEXANDER AND ZAIRA, PYRRHUS AND MEROPE, MAHOMET, HARLEQUIN, SCAPIN, AND THE PASTORAL BLAISE AND BABETTE. THEY HAVE COME FROM EVERYWHERE, FROM GREECE AND ROME AND THE BLUE COUNTRIES, TO DANCE WITH ONE ANOTHER.
Printed in France
In the same way, if it comes to Pierrot and Scapin, you know as well as I that they were perfect rascals, and that people more than once tweaked their ears for them. No, glory comes very high, even the glory of an Harlequin. On the other hand it’s very nice to be a little boy or girl and masquerade as these old characters. That’s why there’s no fun like a fancy ball where the costumes are fine enough. You feel grand just by wearing them. See how well all the pretty company wears its plumes and cloaks. What a fine and gallant air they have, how well they look and how much old time grace they can display.
On the balcony, in the part that you don’t see in the picture, the musicians tune their violins with a sweet and plaintive sound. The music of a quadrille in the grand style is open on the leader’s desk. They are going to strike up this piece. At the first notes of it our heroes and masks will step forth and dance.
I declare I believe Miss Genseigne’s school is the best school for girls anywhere in the world. I maintain that those who believe and say the contrary are false and misleading. All Miss Genseigne’s scholars are well-behaved and diligent. There is nothing so pleasant as to see them, with their little stiff bodies and their heads so erect. You would say they were so many little bottles into which Miss Genseigne was pouring knowledge.
Miss Genseigne sits up perfectly straight on her platform; very grave and sweet. Her braided head band and her black cape inspire respect and sympathy.
Miss Genseigne, who is very well educated, is giving a lesson in arithmetic to her little pupils. She says to Rose Benoit: “Rose Benoit, if I take four from a dozen how many have I left?”
“Four!” replies Rose Benoit. Miss Genseigne is not quite satisfied with this answer.
“And you, Emmeline Capel, if I take four from a dozen how many have I left?”
“Eight,” replies Emmeline Capel.
[13] “You hear, Rose Benoit? I have eight left,” adds Miss Genseigne.
Rose Benoit lapses into a deep revery. She hears Miss Genseigne say she has eight left, but whether it is eight hats or handkerchiefs, or for that matter eight apples or pens she does not know. The thing worries her for quite a long while. She understands very little about arithmetic.
On the other hand she is very well up in sacred history. Miss Genseigne has not a single scholar who can describe the garden of Eden or Noah’s Ark like Rose Benoit. Rose Benoit knows all the flowers of paradise and all the animals that were in the ark. She knows as many fables as Miss Genseigne herself. She knows all the story of the Crow and the Fox, of the Ass and the Little Dog, of the Cock and the Pullet. It never surprises her to hear it said that the animals talked in the olden days. She would be more surprised to hear that they did not talk any more. She is quite sure that she understands the language of her big dog Tom, and of little Cheep her canary. And she is right, too. Animals have always talked, and always will talk, but they talk only to their friends. Rose Benoit loves them and they love her. That’s why she understands them. To be understood there is nothing like sympathy.
To-day Rose Benoit has recited her lesson without a fault. She receives a good mark. Emmeline Capel too receives a good mark for her recitation in arithmetic.
When the class is out she tells her mother about her good mark, and then she asks: “What’s the use of a good mark, Mamma?”
“A good mark is no use at all,” says her mother. “That’s just the reason why you should be proud to have it. You will know one day, child, that the rewards men think the most of are those that give them honor rather than profit.”
Little girls have a natural desire to gather flowers and stars. But stars won’t let themselves be picked and so seem to teach little girls that in this world there are some desires that are destined never to be satisfied.
Miss Mary went out in the park, where she discovered a basket of hortensias. She knew that the flowers of hortensias are pretty, and so she picked one. It was very hard to pick too. She seized the plant in both hands, at great risk of sitting down hard when the stem broke. She was very pleased and proud at what she’d done. But her nurse saw her: and scolded and darted at Miss Mary, seizing her by the arm. To make her do penance she did not put her in the dark closet this time, but posted her underneath a great chestnut tree, in the shade of a big Japanese umbrella.
There Miss Mary sits, surprised and astonished, and thinks it all over. Her[15] flower in her hand, with the stripes of the umbrella making rays around her, she looked like some queer little foreign idol.
THE LITTLE PENITENT, PERFECTLY STILL BENEATH HER SHINING FRAME, LOOKS AROUND HER AT THE SKY AND THE EARTH. THEY ARE LARGE, THE EARTH AND SKY, AND CAN AMUSE A LITTLE GIRL FOR A WHILE. BUT THE HYDRANGEA INTERESTS HER MORE THAN ANYTHING.
Printed in France
Her nurse said: “Mary, I forbid you to carry that flower in your mouth. If you disobey me your little dog Toto will eat your ears up for you”—with which warning she departed.
The little penitent, perfectly still beneath her shining frame, looks around her at the sky and the earth. They are large, the earth and sky, and can amuse a little girl for a while. But the hortensia flower interests her more than anything. She reflects: “A flower should smell good.” And she raises nearer to her nose the beautiful rosy, blue tempered ball. She tries to smell it but can smell nothing. She is not clever at smelling perfumes. Not so very, very long ago she used to breathe over the roses instead of sniffing them in. We must not laugh at her for that: one can’t learn everything at once. Besides, she might have had, like her mother, a very subtle sense of smell that could smell nothing. The flower of the hortensia has no odor. That is why one grows tired of it, in spite of its beauty. But Miss Mary thinks: “This flower is made of sugar, maybe.” With that she opens her mouth wide, and starts to raise the flower to her lips.
A cry recalls her. Yap!
It is the little dog Toto, who, darting round a border of geraniums, comes and sets himself, his ears straight up, before Miss Mary and looks at her warningly with his round bright eyes.
Three children of the same village, Peter, James and John, are standing up looking off at something. Ranged side by side they form together the outline of a Pan Pipes with three reeds. Peter, at the left, is a big boy; John, at the right, is small; James, between the two, may consider himself big or little, according as he regards his neighbor on the left or right. It is a situation upon which I invite you to meditate, for it is yours, as it is mine or any one in the world’s. Each one of us, just like James, may consider himself great or small, according as his neighbor cuts a big or little figure in the world.
That’s why one can truthfully say that James is neither big nor little; that he is both big and little. It is as God wishes it to be. He is the last reed of all in our living Pan Pipes.
THREE CHILDREN OF THE SAME VILLAGE, PETER, JAMES AND JOHN, ARE STANDING UP LOOKING OFF AT SOMETHING. RANGED SIDE BY SIDE THEY FORM TOGETHER THE OUTLINE OF A PAN PIPES WITH THREE REEDS.
Printed in France
But what are his two comrades doing? They are gazing off into space, all three of them. At what? At something which has disappeared below the horizon, something which they can’t see any more but still see in their mind’s eye, and which still dazzles them. Little John has forgotten his eel-skin whip with which just now he incessantly beat up his wooden shoes in the dusty road. Peter and James, their hands behind their backs, gaze stolidly.
What they saw, all three, was the wagon of a travelling peddler, a wagon drawn by his own arms, which had stopped in the village street.
The peddler pulled back the oilcloth that covered his wagon, and in a minute any quantity of knives, scissors, little guns, puppets, soldiers of wood and lead, cologne bottles, cakes of soap, pictures, a thousand dazzling things were exposed to the admiring view of all the men, women and children in the town. The servants from the farm and the mill were pale with longing; Peter and James were red with joy. Little John lost his tongue. Everything in the wagon seemed beautiful and precious to them. But the most desirable things of all were the unknown articles of which they could not guess either use or reason: as for example the bowls polished like mirrors that reflected your face comically deformed; paintings of Epinol, covered with faces more lively than reality; needle cases and mysterious boxes that contained unimaginable things.
The women made purchases of guimpes and lace by the yard, and the peddler rolled the black oilcloth back again over the riches in his wagon, and putting himself in the traces once more started on his further way; and now the wagon and the waggoner have disappeared below the horizon.
It’s a great care to keep up a stable. The horse is a delicate animal and requires a thousand attentions. If you don’t believe me ask Roger.
Just now he is grooming his beautiful chestnut, who would be the pearl of wooden horses, the flower of the Black Forest steeds, if he had not lost half his tail in battle. It’s a matter of some moment with Roger to know if wooden horses’ tails grow in again.
Again having made believe groom his horses, Roger gives them some imaginary oats, for it is an understood thing that the little wooden animals on which small boys ride through the land of dreams are always fed in this way.
Behold Roger starting out for his ride. He has mounted his horse. Even though the poor beast has no more ears, and all his mane looks like an old broken comb, Roger loves him. Why?
JUST NOW HE IS GROOMING HIS BEAUTIFUL CHESTNUT, WHO WOULD BE THE PEARL OF WOODEN HORSES, THE FLOWER OF THE BLACK FOREST STUD, IF HE HAD NOT LOST HALF HIS TAIL IN BATTLE.
Printed in France
[19] It would be hard to say. This red horse was a present from a poor man, and maybe there is some secret grace in the gifts of the poor. Remember our Lord who blessed the widow’s mite.
Roger is gone. He is quite far away. The flowers on the carpet already seem to him like flowers in tropical, distant countries. A pleasant journey, little Roger! May your hobby horse conduct you safely through the world. May you never have a hobby more dangerous. Little or great we all ride. Who has not his hobby?
Men’s hobbies ride like mad through all the ways of life; one makes a bid for glory, another for pleasure; many of them jump from high places and break their rider’s necks. I hope when you are grown up, little Roger, you will bestride two hobby horses that will keep you always in the right path: one lively, the other quiet; both beautiful—courage and kindness.
Louisa and Frederick have gone to school along the village street. The sun is shining and the two children sing. They sing like the nightingale because their hearts are gay. They sing an old song that their grandmothers sang when they were little girls and which one day their children’s children will sing, for songs are frail immortals which fly from lip to lip throughout the ages. The lips that sing them lose their color and are silent one after the other, but the songs are always on the wing. There are songs that come down to us from a time when all the men were shepherds and all the women shepherdesses—which tell us of nothing but sheep and wolves.
Louisa and Frederick sing, their mouths round as flowers, and their song rises shrill and clear on the morning air. But suddenly the sound catches in Frederick’s wind pipe.
What power invisible has strangled the song in this schoolboy throat? It is fear. Each day inevitably, at the end of the village street, he meets the dog that belongs to the big butcher, and each day his heart shrivels and his legs grow weak at the sight. It is not the pig man’s dog ever attacks or menaces him. He just sits peaceably on the threshold of his master’s shop. But he is black, and his eyes are fixed and bloodshot, and sharp, white teeth show beneath his baboon[21] jaws. He is terrifying. And then he sits there in the midst of all sorts of meat cut up for pies and hashes, and seems the more terrible on that account. Of course no one supposes he has been the cause of all this carnage, but he presides over it. He’s a fierce dog, the pig man’s. And so, as far away as Frederick can see him in the doorway, he picks up a big stone, following the example of men he has seen arm themselves in this way against surly dogs, and goes hugging the wall of the house across the street from the pig butcher’s closely.
THEY SING LIKE THE NIGHTINGALE BECAUSE THEIR HEARTS ARE GAY. THEY SING AN OLD SONG THAT THEIR GRANDMOTHERS SANG WHEN THEY WERE LITTLE GIRLS AND WHICH ONE DAY THEIR CHILDREN’S CHILDREN WILL SING, FOR SONGS ARE FRAIL IMMORTALS WHICH FLY FROM LIP TO LIP THROUGHOUT THE AGES.
Printed in France
This time he has followed this practice, but Louisa mocks at him.
She has taken none of these violent precautions, against which people always arm themselves more violently still. No, she doesn’t even speak to him, but keeps on singing, only changing her tone in such a mocking way that Frederick grows red to his ears. Then there is great travail in his little head. He understands that he must fear fear as much as danger. And he is afraid to be afraid.
And so, when school is out, and he sees the pig man’s dog again, he stalks by that astonished animal proudly.
History adds that he looked at Louisa out of the corner of his eye to see if she were looking. It must be admitted that with no ladies or young maidens in the world men might be less brave.
Five o’clock, and Miss Catherine is receiving her dolls. It is her day at home. The dolls don’t talk: the little genius that gave them smiles refused them speech. It must have been done for the good of the world, for if dolls could talk people would listen to no one else. However, the circle to-day is very animated. Miss Catherine talks for her visitors as well as for herself. She makes the questions and gives the answers.
“How are you, madame?—Very well, madame. I broke my arm yesterday morning going to buy some gloves, but it’s cured now.—Oh, that’s good. And how is your little girl?—She has the whooping cough.—Oh, what a pity! Does she cough much?—No, it’s a whooping cough that has no cough. You know, madame, I had two children last week?—Really? That makes four.—Four or five, I don’t know which. When you have so many you get confused.—You have a very pretty dress on.—Oh, I have still nicer ones at home—Do you go to the[23] theatre?—Every evening.—I went yesterday to the opera, but Punch did not act, because a wolf ate him up.—I, my dear, go to a dance every day.—That’s very amusing.—Yes, I wear a blue dress and I dance with all the young people, the very nicest, generals, princes, confectioners.—You are as pretty as heart could wish to-day, little one.—It’s the springtime.—Yes, but too bad it snows.—I like the snow, because it’s so white.—Oh, but this is black snow.—Yes, isn’t it a horrid kind?”
THE LITTLE GENIUS THAT GAVE THEM SMILES REFUSED THEM SPEECH. IT MUST HAVE BEEN DONE FOR THE GOOD OF THE WORLD. FOR IF DOLLS COULD TALK PEOPLE WOULD LISTEN TO NO ONE ELSE. HOWEVER, THE CIRCLE TO-DAY IS VERY ANIMATED. MISS CATHERINE TALKS FOR HER VISITORS AS WELL AS FOR HER SELF.
Printed in France
This fine conversation Miss Catherine maintains with much skill. I have only one fault to find with it: she talks always to the same caller, who is pretty and has a pretty dress. That is wrong. A good hostess is equally polite to all her guests. She treats them all with consideration, and if she shows any preference it is for those who are most modest and least fortunate. One must flatter the unfortunate: it is the only flattery that is permissible. But Catherine has found this out herself. She has found the true politeness—which comes from the heart. She serves tea to her guests, and remembers every one. Indeed, she insists especially with those dollies that are poor or unhappy or shy that they take some invisible cakes or sandwiches made of dominos.
Catherine will one day be a hostess in whose drawing room no doubt politeness of the real old-fashioned kind will flourish.
They are little sailors, real little sea dogs, every one. Look how they pull their caps down low on their necks so that the sea wind, misty and whistling, shall not split their ears with its terrible groanings. They wear suits of heavy wool, for protection against the cold and damp. Their made-over pea jackets and breeches were their elder brothers’ before them. Their garments in turn were made out of their fathers’ old suits. Their hearts too are of the same stuff as their father’s—simple, patient and full of courage. Since they came into the world they have been simple and big of heart. Who has made them so? After God and their fathers and mothers it is the ocean. The ocean teaches sailors courage through danger—a rude benefactor.
That is why the little sailors, in their childish hearts, bear such brave thoughts.[25] Stooping over the parapet of the stockade they look off over the sea. They see more than the thin blue line of boundary between the sky and sea. The ocean does not interest them for its fine changing colors, nor the sky for the huge grotesque shapes of its clouds. What they see off there in space is something more real to them than the tint of waters and the face of the clouds: something that they love. They look for the boats that sailed for the fishing grounds, and that must now soon appear on the horizon bringing back besides their full cargoes of shrimps, uncles and older brothers and fathers. The little fleet will soon show its white or weather-stained sails down there, between the ocean and God’s good sky. To-day the sky is clear, the ocean still: the tide brings the fishers gently to the shore. But the ocean is a changeable old veteran, who takes many forms and sings in many tones. To-day he smiles: to-morrow he will scold beneath his foamy beard. He will capsize the ablest ships, ships that have been blest by the priest with songs and Te Deums: he will drown his sturdiest patrons. It is his fault that one sees, outside the doors where the chaluts dry in the baskets, so many women wearing the black caps of widows.
Transcriber’s Note:
Inconsistencies in names between the body text and illustration captions—Zarius/Zaira, Pyerhus/Pyrrhus, Gissing’s/Genseigne’s, hydrangea/hortensia—have been retained as they appear in the original publication.
Changes have been made as follows:
***END OF THE PROJECT GUTENBERG EBOOK OUR CHILDREN***
******* This file should be named 28695-h.txt or 28695-h.zip *******
This and all associated files of various formats will be found in:
http://www.gutenberg.org/2/8/6/9/28695
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 "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://www.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. "Project Gutenberg" 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 ("the Foundation"
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 "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" 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 "Project Gutenberg" 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
"Plain Vanilla ASCII" 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 "Plain Vanilla ASCII" 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, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- 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
"Defects," 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 "Right
of Replacement or Refund" 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 'AS-IS,' 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'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.gutenberg.org/fundraising/pglaf.
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's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation'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's web site and official
page at http://www.gutenberg.org/about/contact
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://www.gutenberg.org/fundraising/pglaf
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://www.gutenberg.org/fundraising/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.
Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.
Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number. The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.
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.
EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date. If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.
http://www.gutenberg.org/dirs/etext06/
(Or /etext 05, 04, 03, 02, 01, 00, 99,
98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way. The year of a release date is no longer part
of the directory path. The path is based on the etext number (which is
identical to the filename). The path to the file is made up of single
digits corresponding to all but the last digit in the filename. For
example an eBook of filename 10234 would be found at:
http://www.gutenberg.org/dirs/1/0/2/3/10234
or filename 24689 would be found at:
http://www.gutenberg.org/dirs/2/4/6/8/24689
An alternative method of locating eBooks:
http://www.gutenberg.org/dirs/GUTINDEX.ALL
*** END: FULL LICENSE ***