evil which had been officially recognised a nervous condition for which I was in no way responsible: I had the consolation that I need no longer mingle apprehensive scruples with the bitterness of my tears; I could weep henceforward without sin. I felt no small degree of pride, either, in Franchise's presence at this return to humane conditions which, not an hour after Mamma had refused to come up to my room and had sent the snubbing message that I was to go to sleep, raised me to the dignity of a grown-up person, brought me of a sudden to a sort of puberty of sorrow, to emancipation from tears. I ought then to have been happy; I was not. It struck me that my mother had just made a first concession which must have been painful to her, that it was a first step down from the ideal she had formed for me, and that for the first time she, with all her courage, had to confess herself beaten. It struck me that if I had just scored a victory it was over her; that I had succeeded, as sickness or sorrow or age might have succeeded, in relaxing her will, in altering her judgment; that this evening opened a new era, must remain a black date in the calendar. And if I had dared now, I should have said to Mamma: "No, I don't want you; you mustn't sleep here." But I was conscious of the practical wisdom, of what would be called nowadays the realism with which she tempered the ardent idealism of my grandmother's nature, and I knew that now the mischief was done she would prefer to let me enjoy the soothing pleasure of her company, and not to disturb my father again. Certainly my mother's beautiful features seemed to shine again with youth that evening, as she sat gently holding my hands and trying to check my tears; but, just for that reason, it seemed to me that this should not have happened; her anger would have been less difficult to endure than this new kindness which my childhood had not known; I felt that I had with 15 an impious and secret finger traced a first wrinkle upon her soul and made the first white hair shew upon her head. This thought redoubled my sobs, and then I saw that Mamma, who had never allowed herself to go to any length of tenderness with me, was suddenly overcome by my tears and had to struggle to keep back her own. Then, as she saw that I had noticed this, she said to me, with a smile: "Why, my little buttercup, my little canary-boy, he's going to make Mamma as silly as himself if this goes on. Look, since you can't sleep, and Mamma can't either, we mustn't go on in this stupid way; we must do something; I'll get one of your books." But I had none there. "Would you like me to get out the books now that your grandmother is going to give you for your birthday? Just think it over first, and don't be disappointed if there is nothing new for you then." I was only too delighted, and Mamma went to find a parcel of books in which I could not distinguish, through the paper in which it was wrapped, any more than its squareness and size, but which, even at this first glimpse, brief and obscure as it was, bade fair to eclipse already the paint-box of last New Year's Day and the silkworms of the year before. It contained La Mare au Diable, Francois le Champi, La Petite Fadette, and Les Maitres Sonneurs. My grandmother, as I learned afterwards, had at first chosen Mussel's poems, a volume of Rousseau, and Indiana; for while she considered light reading as unwholesome as sweets and cakes, she did not reflect that the strong breath of genius must have upon the very soul of a child an influence at once more dangerous and less quickening than those of fresh air and country breezes upon his body. But when my father had seemed almost to regard her as insane on learning the names of the books she proposed to give me, she had journeyed back by herself to Jouy-le-Vicomte to the bookseller's, so that there should be no fear of my not having my present in time (it was a burning hot day, and she had come home so unwell that the doctor had warned my mother not to allow her again to tire herself in that way), and had there fallen back upon the four pastoral novels of George Sand. "My dear," she had said to Mamma, "I could not allow myself to give the child anything that was not well written." The truth was that she could never make up her mind to purchase anything from which no intellectual profit was to be derived, and, above all, that profit which good things bestowed on us by teaching us to seek our pleasures elsewhere than in the barren satisfaction of worldly wealth. Even when she had to make some one a present of the kind called 'useful,' when she had to give an armchair or some table-silver or a walking-stick, she would choose 'antiques,' as though their long desuetude had effaced from them any semblance of utility and fitted them rather to instruct us in the lives of the men of other days than to serve the common requirements of our own. She would have liked me to have in my room photographs of ancient buildings or of beautiful places. But at the moment of buying them, and for all that the subject of the picture had an aesthetic value of its own, she would find that vulgarity and utility had too prominent a part in them, through the mechanical nature of their reproduction by photography. She attempted by a subterfuge, if not to eliminate altogether their commercial banality, at least to minimise it, to substitute for the bulk of it what was art still, to introduce, as it might be, several 'thicknesses' of art; instead of photographs of Chartres Cathedral, of the Fountains of Saint-Cloud, or of Vesuvius she would inquire of Swann whether some great painter had not made pictures of them, and preferred to give me photographs of 'Chartres Cathedral' after Corot, of the 'Fountains of Saint-Cloud' after Hubert Robert, and of 'Vesuvius' after Turner, which were a stage higher in the scale of art. But although the photographer had been prevented from reproducing directly the masterpieces or the beauties of nature, and had there been replaced by a great artist, he resumed his odious position when it came to reproducing the artist's interpretation. Accordingly, having to reckon again with vulgarity, my grandmother would endeavour to postpone the moment of contact still further. She would ask Swann if the picture had not been engraved, preferring, when possible, old engravings with some interest of association apart from themselves, such, for example, as shew us a master- piece in a state in which we can no longer see it to-day, as Morghen's print of the 'Cenacolo' of Leonardo before it was spoiled by restoration. It must be admitted that the results of this method of interpreting the art of making presents were not always happy. The idea which I formed of Venice, from a drawing by Titian which is supposed to have the lagoon in the background, was certainly far less accurate than what I have since derived from ordinary photographs. We could no longer keep count in the family (when my great-aunt tried to frame an indictment of my grandmother) of all the armchairs she had presented to married couples, young and old, which on a first attempt to sit down upon them had at once collapsed beneath the weight of their recipient. But my grandmother would have thought it sordid to concern herself too closely with the solidity of any piece of furniture in which could still be discerned a flourish, a smile, a brave conceit of the past. And even what in such pieces supplied a material need, since it did so in a manner to which we are no longer accustomed, was as charming to her as one of those old forms of speech in which we can still see traces of a metaphor whose fine point has been worn away by the rough usage of our modern tongue. In precisely the same way the pastoral novels of George Sand, which she was giving me for my birthday, were regular lumber-rooms of antique furniture, full of expressions that have fallen out of use and returned as imagery, such as one finds now only in country dialects. And my grandmother had bought them in preference to other books, just as she would have preferred to take a house that had a gothic dovecot, or some other such piece of antiquity as would have a pleasant effect on the mind, filling it with a nostalgic longing for impossible journeys through the realms of time. Mamma sat down by my bed; she had chosen Francois le Champi, whose reddish cover and incomprehensible title gave it a distinct personality in my eyes and a mysterious attraction. I had not then read any real novels. I had heard it said that George Sand was a typical novelist. That prepared me in advance to imagine that Francois le Champi contained something inexpressibly delicious. The 16 course of the narrative, where it tended to arouse curiosity or melt to pity, certain modes of expression which disturb or sadden the reader, and which, with a little experience, he may recognise as 'common form' in novels, seemed to me then distinctive--for to me a new book was not one of a number of similar objects, but was like an individual man, unmatched, and with no cause of existence beyond himself--an intoxicating whiff of the peculiar essence of Francois le Champi. Beneath the everyday incidents, the com- monplace thoughts and hackneyed words, I could hear, or overhear, an intonation, a rhythmic utterance fine and strange. The 'action' began: to me it seemed all the more obscure because in those days, when I read to myself, I used often, while I turned the pages, to dream of something quite different. And to the gaps which this habit made in my knowledge of the story more were added by the fact that when it was Mamma who was reading to me aloud she left all the love-scenes out. And so all the odd changes which take place in the relations between the miller's wife and the boy, changes which only the birth and growth of love can explain, seemed to me plunged and steeped in a mystery, the key to which (as I could readily believe) lay
