The Project Gutenberg eBook, The Attack on the Mill and Other Sketches of War, by Émile Zola

THE ATTACK ON THE MILL
AND OTHER SKETCHES OF WAR

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THE AVERAGE WOMAN

By
WOLCOTT BALESTIER

World.—“Characteristic, fresh, and simply-pathetic.”

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LONDON: WILLIAM HEINEMANN

The Attack on the Mill
AND OTHER SKETCHES OF WAR

BY
Émile Zola

WITH AN ESSAY ON THE
SHORT STORIES OF M. ZOLA
BY EDMUND GOSSE

LONDON
WILLIAM HEINEMANN
BEDFORD STREET W.C.
MDCCCXCII

All rights reserved

CONTENTS

THE SHORT STORIES OF M. ZOLA

It is by his huge novels, and principally by those of the Rougon-Macquart series, that M. Zola is known to the public and to the critics. Nevertheless, he has found time during the thirty years of his busy literary career to publish about as many small stories, now comprised in four separate volumes. It is natural that his novels should present so very much wider and more attractive a subject for analysis that, so far as I can discover, even in France no critic has hitherto taken the shorter productions separately, and discussed M. Zola as a maker of contes. Yet there is a very distinct interest in seeing how such a thunderer or bellower on the trumpet can breathe through silver, and, as a matter of fact, the short stories reveal a M. Zola considerably dissimilar to the author of “Nana” and of “La Terre”—a much more optimistic, romantic, and gentle writer. If, moreover, he had nowhere assailed the decencies more severely than he does in these thirty or forty short stories, he would never have been named among the enemies of Mrs. Grundy, and the gates of the Palais Mazarin would long ago have been opened to receive him. It is, indeed, to a lion with his mane en papillotes that I here desire to attract the attention of English readers; to a man-eating monster, indeed, but to one who is on his best behaviour and blinking in the warm sunshine of Provence.

I.

The first public appearance of M. Zola in any form was made as a writer of a short story. A southern journal, La Provence, published at Aix, brought out in 1859 a little conte entitled “La Fée Amoureuse.” When this was written, in 1858, the future novelist was a student of eighteen, attending the rhetoric classes at the Lycée St. Louis; when it was printed, life in Paris, far from his delicious South, was beginning to open before him, harsh, vague, with a threat of poverty and failure. “La Fée Amoureuse” may still be read by the curious in the Contes à Ninon. It is a fantastic little piece, in the taste of the eighteenth-century trifles of Crébillon or Boufflers, written with considerable care in an over-luscious vein—a fairy tale about an enchanted bud of sweet marjoram, which expands and reveals the amorous fay, guardian of the loves of Prince Loïs and the fair Odette. This is a moonlight-coloured piece of unrecognisable Zola, indeed, belonging to the period of his lost essay on “The Blind Milton dictating to his Elder Daughter, while the Younger accompanies him upon the Harp,” a piece which many have sighed in vain to see.

He was twenty when, in 1860, during the course of blackening reams of paper with poems à la Musset, he turned, in the aërial garret, or lantern above the garret of 35 Rue St. Victor, to the composition of a second story—“Le Carnet de Danse.” This is addressed to Ninon, the ideal lady of all M. Zola’s early writings—the fleet and jocund virgin of the South, in whom he romantically personifies the Provence after which his whole soul was thirsting in the desert of Paris. This is an exquisite piece of writing—a little too studied, perhaps, too full of opulent and voluptuous adjectives; written, as we may plainly see, under the influence of Théophile Gautier. The story, such as it is, is a conversation between Georgette and the programme-card of her last night’s ball. What interest “Le Carnet de Danse” possesses it owes to the style, especially that of the opening pages, in which the joyous Provençal life is elegantly described. The young man, still stumbling in the wrong path, had at least become a writer.

For the next two years M. Zola was starving, and vainly striving to be a poet. Another “belvédère,” as M. Aléxis calls it, another glazed garret above the garret, received him in the Rue Neuve St. Étienne du Mont. Here the squalor of Paris was around him; the young idealist from the forests and lagoons of Provence found himself lost in a loud and horrid world of quarrels, oaths, and dirt, of popping beer-bottles and yelling women. A year, at the age of two-and-twenty, spent in this atmosphere of sordid and noisy vice, left its mark for ever on the spirit of the young observer. He lived on bread and coffee, with two sous’ worth of apples upon gala days. He had, on one occasion, even to make an Arab of himself, sitting with the bed-wraps draped about him, because he had pawned his clothes. All the time, serene and ardent, he was writing modern imitations of Dante’s “Divina Commedia,” epics on the genesis of the world, didactic hymns to Religion, and love-songs by the gross. Towards the close of 1861 this happy misery, this wise folly, came to an end; he obtained a clerkship in the famous publishing house of M. Hachette.

But after these two years of poverty and hardship he began to write a few things which were not in verse. Early in 1862 he again addressed to the visionary Ninon a short story called “Le Sang.” He confesses himself weary, as Ninon also must be, of the coquettings of the rose and the infidelities of the butterfly. He will tell her a terrible tale of real life. But, in fact, he is absolutely in the clouds of the worst romanticism. Four soldiers, round a camp-fire, suffer agonies of ghostly adventure, in the manner of Hofmann or of Petrus Borel. We seem to have returned to the age of 1830, with its vampires and its ghouls. “Simplice,” which comes next in point of date, is far more characteristic, and here, indeed, we find one talent of the future novelist already developed. Simplice is the son of a worldly king, who despises him for his innocence; the prince slips away into the primæval forest and lives with dragon-flies and water-lilies. In the personal life given to the forest itself, as well as to its inhabitants, we have something very like the future idealisations in L’Abbé Mouret, although the touch is yet timid and the flashes of romantic insight fugitive. “Simplice” is an exceedingly pretty fairy story, curiously like what Mrs. Alfred Gatty used to write for sentimental English girls and boys: it was probably inspired to some extent by George Sand.

On a somewhat larger scale is “Les Voleurs et l’Âne,” which belongs to the same period of composition. It is delightful to find M. Zola describing his garret as “full of flowers and of light, and so high up that sometimes one hears the angels talking on the roof.” His story describes a summer day’s adventure on the Seine, an improvised picnic of strangers on a grassy island of elms, a siesta disturbed by the somewhat stagey trick of a fantastic coquette. According to his faithful biographer, M. Paul Aléxis, the author, towards the close of 1862, chose another lodging, again a romantic chamber, overlooking this time the whole extent of the cemetery of Montparnasse. In this elegiacal retreat he composed two short stories, “Sœur des Pauvres” and “Celle qui m’Aime.” Of these, the former was written as a commission for the young Zola’s employer, M. Hachette, who wanted a tale appropriate for a children’s newspaper which his firm was publishing. After reading what his clerk submitted to him, the publisher is said to have remarked, “Vous êtes un révolté,” and to have returned him the manuscript as “too revolutionary.” “Sœur des Pauvres” is a tiresome fable, and it is difficult to understand why M. Zola has continued to preserve it among his writings. It belongs to the class of semi-realistic stories which Tolstoi has since then composed with such admirable skill. But M. Zola is not happy among saintly visitants to little holy girls, nor among pieces of gold that turn into bats and rats in the hands of selfish peasants. Why this anodyne little religious fable should ever have been considered revolutionary, it is impossible to conceive.

Of a very different order is “Celle qui m’Aime,” a story of real power. Outside a tent, in the suburbs of Paris, a man in a magician’s dress stands beating a drum and inviting the passers-by to enter and gaze on the realisation of their dreams, the face of her who loves you. The author is persuaded to go in, and he finds himself in the midst of an assemblage of men and boys, women and girls, who pass up in turn to look through a glass trap in a box. In the description of the various types, as they file by, of the aspect of the interior of the tent, there is the touch of a new hand. The vividness of the study is not maintained; it passes off into romanesque extravagance, but for a few moments the attentive listener, who goes back to these early stories, is conscious that he has heard the genuine accent of the master of Naturalism.

Months passed, and the young Provençal seemed to be making but little progress in the world. His poems definitely failed to find a publisher, and for a while he seems to have flagged even in the production of prose. Towards the beginning of 1864, however, he put together the seven stories which I have already mentioned, added to them a short novel entitled “Aventures du Grand Sidoine,” prefixed a fanciful and very prettily turned address “À Ninon,” and carried off the collection to a new publisher, M. Hetzel. It was accepted, and issued in October of the same year. M. Zola’s first book appeared under the title of Contes à Ninon. This volume was very well received by the reviewers, but ten years passed before the growing fame of its author carried it beyond its first edition of one thousand copies.

There is no critical impropriety in considering these early stories, since M. Zola has never allowed them, as he has allowed several of his subsequent novels, to pass out of print. Nor, from the point of view of style, is there anything to be ashamed of in them. They are written with an uncertain and an imitative, but always with a careful hand, and some passages of natural description, if a little too precious, are excellently modulated. What is really very curious in the first Contes à Ninon is the optimistic tone, the sentimentality, the luscious idealism. The young man takes a cobweb for his canvas, and paints upon it in rainbow-dew with a peacock’s feather. Except, for a brief moment, in “Celle qui m’Aime,” there is not a phrase that suggests the naturalism of the Rougon-Macquart novels, and it is an amusing circumstance that, while M. Zola has not only been practising, but very sternly and vivaciously preaching, the gospel of Realism, this innocent volume of fairy stories should all the time have been figuring among his works. The humble student who should turn from the master’s criticism to find an example in his writings, and who should fall by chance on the Contes à Ninon, would be liable to no small distress of bewilderment.

II.

Ten years later, in 1874, M. Zola published a second volume of short stories, entitled Nouveaux Contes à Ninon. His position, his literary character, had in the meantime undergone a profound modification. In 1874 he was no longer unknown to the public or to himself. He had already published four of the Rougon-Macquart novels, embodying the natural and social history of a French family during the Second Empire. He was scandalous and famous, and already bore a great turbulent name in literature and criticism. The Nouveaux Contes à Ninon, composed at intervals during that period of stormy evolution, have the extraordinary interest which attends the incidental work thrown off by a great author during the early and noisy manhood of his talent. After 1864 M. Zola had written one unsuccessful novel after another, until at last, in Thérèse Raquin, with its magnificent study of crime chastised by its own hideous after-gust, he produced a really remarkable performance. The scene in which the paralytic mother tries to denounce the domestic murderess was in itself enough to prove that France possessed one novelist the more.

This was late in 1867, when M. Zola was in his twenty-eighth year. A phrase of Louis Ulbach’s, in reviewing Thérèse Raquin, which he called “littérature putride,” is regarded as having stated the question of Naturalism and M. Zola who had not, up to that time, had any notion of founding a school, or even of moving in any definite direction, was led to adopt the theories which we identify with his name during the angry dispute with Ulbach. In 1865 he had begun to be drawn towards Edmond and Jules de Goncourt, and to feel, as he puts it, that in the salons of the Parnassians he was growing more and more out of his element “among so many impenitent romantiques.” Meanwhile he was for ever feeding the furnaces of journalism, scorched and desiccated by the blaze of public life, by the daily struggle for bread. He was roughly affronting the taste of those who differed from him, with rude hands he was thrusting out of his path the timid, the dull, the old-fashioned. The spectacle of these years of M. Zola’s life is not altogether a pleasant one, but it leaves on us the impression of a colossal purpose pursued with force and courage. In 1870 the first of the Rougon Macquart novels appeared, and the author was fairly launched on his career. He was writing books of large size, in which he was endeavouring to tell the truth about modern life with absolute veracity, no matter how squalid, or ugly, or venomous that truth might be.

But during the whole of this tempestuous decade M. Zola, in his hot battle-field of Paris, heard the voice of Ninon calling to him from the leafy hollows, from behind the hawthorn hedges, of his own dewy Provence—the cool Provence of earliest flowery spring. When he caught these accents whistling to his memory from the past, and could no longer resist answering them, he was accustomed to write a little conte, light and innocent, and brief enough to be the note of a caged bird from indoors answering its mate in the trees of the garden. This is the real secret of the utterly incongruous tone of the Nouveaux Contes when we compare them with the Curée and Madeleine Férat of the same period. It would be utterly to misunderstand the nature of M. Zola to complain, as Pierre Loti did the other day, that the coarseness and cynicism of the naturalistic novel, the tone of a ball at Belleville, could not sincerely co-exist with a love of beauty, or with a nostalgia for youth and country pleasures. In the short stories of the period of which we are speaking, that poet which dies in every middle-aged man lived on for M. Zola, artificially, in a crystal box carefully addressed “à Ninon là-bas,” a box into which, at intervals, the master of the Realists slipped a document of the most refined ideality.

Of these tiny stories—there are twelve of them within one hundred pages—not all are quite worthy of his genius. He grimaces a little too much in “Les Epaules de la Marquise,” and M. Bourget has since analysed the little self-indulgent dévote of quality more successfully than M. Zola did in “Le Jeûne.” But most of them are very charming. Here is “Le Grand Michu,” a study of gallant, stupid boyhood; here “Les Paradis des Chats,” one of the author’s rare escapes into humour. In “Le Forgeron,” with its story of the jaded and cynical town-man, who finds health and happiness by retiring to a lodging within the very thunders of a village blacksmith, we have a profound criticism of life. “Le Petit Village” is interesting to us here, because, with its pathetic picture of Woerth in Alsace, it is the earliest of M. Zola’s studies of war. In other of these stories the spirit of Watteau seems to inspire the sooty Vulcan of Naturalism. He prattles of moss-grown fountains, of alleys of wild strawberries, of rendezvous under the wings of the larks, of moonlight strolls in the bosquets of a château. In every one, without exception, is absent that tone of brutality which we associate with the notion of M. Zola’s genius. All is gentle irony and pastoral sweetness, or else downright pathetic sentiment.

The volume of Nouveaux Contes à Ninon closes with a story which is much longer and considerably more important than the rest. “Les Quatre Journées de Jean Gourdon” deserves to rank among the very best things to which M. Zola has signed his name. It is a study of four typical days in the life of a Provençal peasant of the better sort, told by the man himself. In the first of these it is spring: Jean Gourdon is eighteen years of age, and he steals away from the house of his uncle Lazare, a country priest, that he may meet his coy sweetheart Babet by the waters of the broad Durance. His uncle follows and captures him, but the threatened sermon turns into a benediction, the priestly malediction into an impassioned song to the blossoming springtide. Babet and Jean receive the old man’s blessing on their betrothal.

Next follows a day in summer, five years later; Jean, as a soldier in the Italian war, goes through the horrors of a battle and is wounded, but not dangerously, in the shoulder. Just as he marches into action he receives a letter from Uncle Lazare and Babet, full of tender fears and tremors; he reads it when he recovers consciousness after the battle. Presently he creeps off to help his excellent colonel, and they support one another till both are carried off to hospital. This episode, which has something in common with the “Sevastopol” of Tolstoi, is exceedingly ingenious in its observation of the sentiments of a common man under fire.

The third part of the story occurs fifteen years later. Jean and Babet have now long been married, and Uncle Lazare, in extreme old age, has given up his cure, and lives with them in their farm by the river. All things have prospered with them save one. They are rich, healthy, devoted to one another, respected by all their neighbours; but there is a single happiness lacking—they have no child. And now, in the high autumn splendour—when the corn and the grapes are ripe, and the lovely Durance winds like a riband of white satin through the gold and purple of the landscape—this gift also is to be theirs. A little son is born to them in the midst of the vintage weather, and the old uncle, to whom life has now no further good thing to offer, drops painlessly from life, shaken down like a blown leaf by his access of joy, on the evening of the birthday of the child.

The optimistic tone has hitherto been so consistently preserved, that we must almost resent the tragedy of the fourth day. This is eighteen years later, and Jean is now an elderly man. His son Jacques is in early manhood. In the midst of their felicity, on a winter’s night, the Durance rises in spate, and all are swept away. It is impossible, in a brief sketch, to give an impression of the charm and romantic sweetness of this little masterpiece, a veritable hymn to the Ninon of Provence; but it raises many curious reflections to consider that this exquisitely pathetic pastoral, with all its gracious and tender personages, should have been written by the master of Naturalism, the author of Germinal and of Pot-Bouille.

III.

In 1878, M. Zola, who had long been wishing for a place whither to escape from the roar of Paris, bought a little property on the right bank of the Seine, between Poissy and Meulan, where he built himself the house which he still inhabits, and which he has made so famous. Médan, the village in which this property is placed, is a very quiet hamlet of less than two hundred inhabitants, absolutely unillustrious, save that, according to tradition, Charles the Bold was baptised in the font of its parish church. The river lies before it, with its rich meadows, its poplars, its willow groves; a delicious and somnolent air of peace hangs over it, though so close to Paris. Thither the master’s particular friends and disciples soon began to gather: that enthusiastic Boswell, M. Paul Aléxis; M. Guy de Maupassant, a stalwart oarsman, in his skiff, from Rouen; others, whose names were soon to come prominently forward in connection with that naturalistic school of which M. Zola was the leader.

It was in 1880 that the little hamlet on the Poissy Road awoke to find itself made famous by the publication of a volume which marks an epoch in French literature, and still more in the history of the short story. Les Soirées de Médan was a manifesto by the naturalists, the most definite and the most defiant which had up to that time been made. It consisted of six short stories, several of which were of remarkable excellence, and all of which awakened an amount of discussion almost unprecedented. M. Zola came first with “L’Attaque du Moulin,” of which a translation is here offered to the English public. The next story was “Boule de Suif,” a veritable masterpiece in a new vein, by an entirely new writer, a certain M. Guy de Maupassant, thirty years of age, who had been presented to M. Zola, with warm recommendations, by Gustave Flaubert. The other contributors were M. Henri Céard, who also had as yet published nothing, a man who seems to have greatly impressed all his associates, but who has done little or nothing to justify their hopes. M. Joris Karel Huysmans, older than the rest, and already somewhat distinguished for picturesque, malodorous novels; M. Léon Hennique, a youth from Guadeloupe, who had attracted attention by a very odd and powerful novel, La Dévouée, the story of an inventor who murders his daughter that he may employ her fortune on perfecting his machine; and finally, the faithful Paul Aléxis, a native, like M. Zola himself, of Aix in Provence, and full of the perfervid extravagance of the South. The thread on which the whole book is hung is the supposition that these stories are brought to Médan to be read of an evening to M. Zola, and that he leads off by telling a tale of his own.

Nothing need be said here, however, of the works of those disciples who placed themselves under the flag of Médan, and little of that story in which, with his accustomed bonhomie of a good giant, M. Zola accepted their comradeship and consented to march with them. “The Attack on the Windmill” is here offered to those who have not already met with it in the original, and it is for our readers to estimate its force and truth. Whenever M. Zola writes of war, he writes seriously and well. Like the Julien of his late reminiscences, he has never loved war for its own sake. He has little of the mad and pompous chivalry of the typical Frenchman in his nature. He sees war as the disturber, the annihilator; he recognises in it mainly a destructive, stupid, unintelligible force, set in motion by those in power for the discomfort of ordinary beings, of workers like himself. But in the course of three European wars—those of his childhood, of his youth, of his maturity—he has come to see beneath the surface, and in his latest novel, La Débâcle, he almost agrees with our young Jacobin poets of one hundred years ago, that Slaughter is God’s daughter.

In this connection, and as a commentary on “The Attack on the Windmill,” we may commend the three short papers appended to this story to the earnest attention of readers. Nothing on the subject has been written more picturesque, nor, in its simple way, more poignant, than the chain of reminiscences called “Three Wars.” Whether Louis and Julien existed under those forms, or whether the episodes which they illustrate are fictitious, matters little or nothing. The brothers are natural enough, delightful enough, to belong to the world of fiction, and if their story is, in the historical sense, true, it is one of those rare instances in which fact is better than fancy. The crisis under which the timid Julien, having learned the death of his spirited martial brother, is not broken down, but merely frozen into a cold soldierly passion, and spends the remainder of the campaign—he, the poet, the nestler by the fireside, the timid club-man—in watching behind hedges for Prussians to shoot or stab, is one of the most extraordinary and most interesting that a novelist has ever tried to describe. And the light that it throws on war as a disturber of the moral nature, as a dynamitic force exploding in the midst of an elaborately co-related society, is unsurpassed, even by the studies which Count Lyof Tolstoi has made in a similar direction. It is unsurpassed, because it is essentially without prejudice. It admits the discomfort, the horrible vexation and shame of war, and it tears aside the conventional purple and tinsel of it; but at the same time it admits, not without a sigh, that even this clumsy artifice may be the only one available for the cleansing of the people.

IV.

In 1883, M. Zola published a third volume of short stories, under the title of the opening one, Le Capitaine Burle. This collection contains the delicate series of brief semi-autobiographical essays called “Aux Champs,” little studies of past impression, touched with a charm which is almost kindred to that of Mr. Robert Louis Stevenson’s memories. With this exception, the volume consists of four short stories, and of a set of little death-bed anecdotes, called “Comment on Meurt.” This latter is hardly in the writer’s best style, and suffers by suggesting the immeasurably finer and deeper studies of the same kind which the genius of Tolstoi has elaborated. Of these little sketches of death, one alone, that of Madame Rousseau, the stationer’s wife, is quite of the best class. This is an excellent episode from the sort of Parisian life which M. Zola seems to understand best, the lower middle class, the small and active shopkeeper, who just contrives to be respectable and no more. The others seem to be invented rather than observed.

The four stories which make up the bulk of this book are almost typical examples of M. Zola’s mature style. They are worked out with extreme care, they display in every turn the skill of the practised narrator, they are solid and yet buoyant in style, and the construction of each may be said to be faultless. It is faultless to a fault; in other words, the error of the author is to be mechanically and inevitably correct. It is difficult to define wherein the over-elaboration shows itself, but in every case the close of the story leaves us sceptical and cold. The dénouement is too brilliant and conclusive, the threads are drawn together with too much evidence of preoccupation. The impression is not so much of a true tale told as of an extraordinary situation frigidly written up to and accounted for. In each case a certain social condition is described at the beginning, and a totally opposite condition is discovered at the end of the story. We are tempted to believe that the author determined to do this, to turn the whole box of bricks absolutely topsy-turvy. This disregard of the soft and supple contours of nature, this rugged air of molten metal, takes away from the pleasure we should otherwise legitimately receive from the exhibition of so much fancy, so much knowledge, so many proofs of observation.

The story which gives its name to the book, “Le Capitaine Burle” is perhaps the best, because it has least of this air of artifice. In a military county town, a captain, who lives with his anxious mother and his little pallid, motherless son, sinks into vicious excesses, and pilfers from the regiment to pay for his vices. It is a great object with the excellent major, who discovers this condition, to save his friend the captain in some way which will prevent an open scandal, and leave the child free for ultimate success in the army. After trying every method, and discovering that the moral nature of the captain is altogether too soft and too far sunken to be redeemed, as the inevitable hour of publicity approaches, the major insults his friend in a café, so as to give him an opportunity of fighting a duel and dying honourably. This is done, and the scandal is evaded, without, however, any good being thereby secured to the family, for the little boy dies of weakness and his grandmother starves. Still, the name of Burle has not been dragged through the mud.

M. Zola has rarely displayed the quality of humour, but it is present in the story called “La Fête à Coqueville.” Coqueville is the name given to a very remote Norman fishing-village, set in a gorge of rocks, and almost inaccessible except from the sea. Here a sturdy population of some hundred and eighty souls, all sprung from one or other of two rival families, live in the condition of a tiny Verona, torn between contending interests. A ship laden with liqueurs is wrecked on the rocks outside, and one precious cask after another comes riding into Coqueville over the breakers. The villagers, to whom brandy itself has hitherto been the rarest of luxuries, spend a glorious week of perfumed inebriety, sucking splinters that drip with bénédictine, catching noyeau in iron cups, and supping up curaçao from the bottom of a boat. Upon this happy shore chartreuse flows like cider, and trappistine is drunk out of a mug. The rarest drinks of the world—Chios mastic and Servian sliwowitz, Jamaica rum and arrack, crême de moka and raki drip among the mackerel nets and deluge the seaweed. In the presence of this extraordinary and fantastic bacchanal all the disputes of the rival families are forgotten, class prejudices are drowned, and the mayor’s rich daughter marries the poorest of the fisher-sons of the enemy’s camp. It is very amusingly and very picturesquely told, but spoiled a little by M. Zola’s pet sin—the overcrowding of details, the theatrical completeness and orchestral big-drum of the final scene. Too many barrels of liqueur come in, the village becomes too universally drunk, the scene at last becomes too Lydian for credence.

In the two remaining stories of this collection—“Pour une Nuit d’Amour” and “L’Inondation”—the fault of mechanical construction is still more plainly obvious. Each of these narratives begins with a carefully accentuated picture of a serene life: in the first instance, that of a timid lad sequestered in a country town; in the second, that of a prosperous farmer, surrounded by his family and enjoying all the delights of material and moral success. In each case this serenity is but the prelude to events of the most appalling tragedy—a tragedy which does not merely strike or wound, but positively annihilates. The story called “L’Inondation,” which describes the results of a bore on the Garonne, would be as pathetic as it is enthralling, exciting, and effective, if the destruction were not so absolutely complete, if the persons so carefully enumerated at the opening of the piece were not all of them sacrificed, and, as in the once popular song called “An ’Orrible Tale,” each by some different death of peculiar ingenuity. As to “Pour une Nuit d’Amour,” it is not needful to do more than say that it is one of the most repulsive productions ever published by its author, and a vivid exception to the general innocuous character of his short stories.

No little interest, to the practical student of literature, attaches to the fact that in “L’Inondation” M. Zola is really re-writing, in a more elaborate form, the fourth section of his “Jean Gourdon.” Here, as there, a farmer who has lived in the greatest prosperity, close to a great river, is stripped of everything—of his house, his wealth, and his family—by a sudden rising of the waters. It is unusual for an author thus to re-edit a work, or tell the same tale a second time at fuller length, but the sequences of incidents will be found to be closely identical, although the later is by far the larger and the more populous story. It is not uninteresting to the technical student to compare the two pieces, the composition of which was separated by about ten years.

V.

Finally, in 1884, M. Zola published a fourth collection, named, after the first of the series, Naïs Micoulin. This volume contained in all six stories, each of considerable extent. I do not propose to dwell at any length on the contents of this book, partly because they belong to the finished period of naturalism, and seem more like castaway fragments of the Rougon-Macquart epos than like independent creations, but also because they clash with the picture I have sought to draw of an optimistic and romantic Zola returning from time to time to the short story as a shelter from his theories. Of these tales, one or two are trifling and passably insipid; the Parisian sketches called “Nantas” and “Madame Neigon” have little to be said in favour of their existence. Here M. Zola seems desirous to prove to us that he could write as good Octave Feuillet, if he chose, as the author of Monsieur de Camors himself. In “Les Coquillages de M. Chabre,” which I confess I read when it first appeared, and have now re-read, with amusement, we see the heavy M. Zola endeavouring to sport as gracefully as M. de Maupassant, and in the same style. The impression of buoyant Atlantic seas and hollow caverns is well rendered in this most unedifying story. “Naïs Micoulin,” which gives its name to the book, is a disagreeable tale of seduction and revenge in Provence, narrated with the usual ponderous conscientiousness. In each of the last mentioned the background of landscape is so vivid that we half forgive the faults of the narrative.

The two remaining stories in the book are more remarkable, and one of them, at least, is of positive value. It is curious that in “Le Mort d’Olivier Bécaille” and “Jacques Damour” M. Zola should in the same volume present versions of the Enoch Arden story, the now familiar episode of the man who is supposed to be dead, and comes back to find his wife re-married. Olivier Bécaille is a poor clerk, lately arrived in Paris with his wife; he is in wretched health, and has always been subject to cataleptic seizures. In one of these he falls into a state of syncope so prolonged that they believe him to be dead, and bury him. He manages to break out of his coffin in the cemetery, and is picked up fainting by a philanthropic doctor. He has a long illness, at the end of which he cannot discover what has become of his wife. After a long search, he finds that she has married a very excellent young fellow, a neighbour; and in the face of her happiness, Olivier Bécaille has not the courage to disturb her. Like Tennyson’s “strong, heroic soul,” he passes out into the silence and the darkness.

The exceedingly powerful story called “Jacques Damour” treats the same idea, but with far greater mastery, and in a less conventional manner. Jacques Damour is a Parisian artisan, who becomes demoralised during the siege, and joins the Commune. He is captured by the Versailles army, and sentenced to penal servitude in New Caledonia, leaving a wife and a little girl behind him in Paris. After some years, in company with two or three other convicts, he makes an attempt to escape. He, in fact, succeeds in escaping, with one companion, the rest being drowned before they get out of the colony. One of the dead men being mistaken for him, Jacques Damour is reported home deceased. When, after credible adventures, and at the declaration of the amnesty, he returns to Paris, his wife and daughter have disappeared. At length he finds the former married to a prosperous butcher in the Batignolles, and he summons up courage, egged on by a rascally friend, to go to the shop in midday and claim his lawful wife. The successive scenes in the shop, and the final one, in which the ruddy butcher, sure of his advantage over this squalid and prematurely wasted ex-convict, bids Félicie take her choice, are superb. M. Zola has done nothing more forcible or life-like. The poor old Damour retires, but he still has a daughter to discover. The finale of the tale is excessively unfitted for the young person, and no serious critic could do otherwise than blame it. But, at the same time, I am hardened enough to admit that I think it very true to life and not a little humorous, which, I hope, is not equivalent to a moral commendation. We may, if we like, wish that M. Zola had never written “Jacques Damour,” but nothing can prevent it from being a superbly constructed and supported piece of narrative, marred by unusually few of the mechanical faults of his later work.

Since 1884 M. Zola, more and more absorbed in the completion of his huge central edifice, has not found time to build many arbours or pavilions in his literary garden. No one can possibly say what such an active and forcible talent, still in the prime of life, will or will not do in the future. But it is very probable that the day of his sentimental short stories is over, and that those who like the oddity of studying a moonlight-coloured Zola are already in full possession of the materials for so doing.

Edmund Gosse.

THE ATTACK ON THE MILL

I.

It was high holiday at Father Merlier’s mill on that pleasant summer afternoon. Three tables had been brought out into the garden and placed end to end in the shadow of the great elm, and now they were awaiting the arrival of the guests. It was known throughout the length and breadth of the land that that day was to witness the betrothal of old Merlier’s daughter, Françoise, to Dominique, a young man who was said to be not overfond of work, but whom never a woman for three leagues of the country around could look at without sparkling eyes, such a well-favoured young fellow was he.

That mill of Father Merlier’s was truly a very pleasant spot. It was situated right in the heart of Rocreuse, at the place where the main road makes a sharp bend. The village has but a single street, bordered on either side by a row of low, whitened cottages, but just there, where the road curves, there are broad stretches of meadow-land, and huge trees, which follow the course of the Morelle, cover the low grounds of the valley with a most delicious shade. All Lorraine has no more charming bit of nature to show. To right and left dense forests, great monarchs of the wood, centuries old, rise from the gentle slopes and fill the horizon with a sea of verdure, while away toward the south extends the plain, of wondrous fertility and checkered almost to infinity with its small inclosures, divided off from one another by their live hedges. But what makes the crowning glory of Rocreuse is the coolness of this verdurous nook, even in the hottest days of July and August. The Morelle comes down from the woods of Gagny, and it would seem as if it gathered to itself on the way all the delicious freshness of the foliage beneath which it glides for many a league; it brings down with it the murmuring sounds, the glacial, solemn shadows of the forest. And that is not the only source of coolness; there are running waters of all kinds singing among the copses; one cannot take a step without coming on a gushing spring, and as he makes his way along the narrow paths he seems to be treading above subterranean lakes that seek the air and sunshine through the moss above and profit by every smallest crevice, at the roots of trees or among the chinks and crannies of the rocks, to burst forth in fountains of crystalline clearness. So numerous and so loud are the whispering voices of these streams that they silence the song of the bullfinches. It is as if one were in an enchanted park, with cascades falling on every side.

The meadows below are never athirst. The shadows beneath the gigantic chestnut trees are of inky blackness, and along the edges of the fields long rows of poplars stand like walls of rustling foliage. There is a double avenue of huge plane trees ascending across the fields toward the ancient castle of Gagny, now gone to rack and ruin. In this region, where drought is never known, vegetation of all kinds is wonderfully rank; it is like a flower garden down there in the low ground between those two wooded hills, a natural garden, where the lawns are broad meadows and the giant trees represent colossal beds. When the noonday sun pours down his scorching rays the shadows lie blue upon the ground, the glowing vegetation slumbers in the heat, while every now and then a breath of icy coldness passes under the foliage.

Such was the spot where Father Merlier’s mill enlivened with its cheerful clack nature run riot. The building itself, constructed of wood and plaster, looked as if it might be coeval with our planet. Its foundations were in part washed by the Morelle, which here expands into a clear pool. A dam, a few feet in height, afforded sufficient head of water to drive the old wheel, which creaked and groaned as it revolved, with the asthmatic wheezing of a faithful servant who has grown old in her place. Whenever Father Merlier was advised to change it, he would shake his head and say that like as not a young wheel would be lazier and not so well acquainted with its duties, and then he would set to work and patch up the old one with anything that came to hand, old hogshead-staves, bits of rusty iron, zinc, or lead. The old wheel only seemed the gayer for it, with its odd profile, all plumed and feathered with tufts of moss and grass, and when the water poured over it in a silvery tide its gaunt black skeleton was decked out with a gorgeous display of pearls and diamonds.

That portion of the mill which was bathed by the Morelle had something of the look of a barbaric arch that had been dropped down there by chance. A good half of the structure was built on piles; the water came in under the floor, and there were deep holes, famous throughout the whole country for the eels and the huge crawfish that were to be caught there. Below the fall the pool was as clear as a mirror, and when it was not clouded by foam from the wheel one could see troops of great fish swimming about in it with the slow, majestic movements of a squadron. There was a broken stairway leading down to the stream, near a stake to which a boat was fastened, and over the wheel was a gallery of wood. Such windows as there were were arranged without any attempt at order. The whole was a quaint conglomeration of nooks and corners, bits of wall, additions made here and there as afterthoughts, beams and roofs, that gave the mill the aspect of an old dismantled citadel, but ivy and all sorts of creeping plants had grown luxuriantly and kindly covered up such crevices as were too unsightly, casting a mantle of green over the old dwelling. Young ladies who passed that way used to stop and sketch Father Merlier’s mill in their albums.

The side of the house that faced the road was less irregular. A gateway in stone afforded access to the principal courtyard, on the right and left hand of which were sheds and stables. Beside a well stood an immense elm that threw its shade over half the court. At the further end, opposite the gate, stood the house, surmounted by a dovecote, the four windows of its first floor in a symmetrical line. The only vanity that Father Merlier ever allowed himself was to paint this façade every ten years. It had just been freshly whitened at the time of our story, and dazzled the eyes of all the village when the sun lighted it up in the middle of the day.

For twenty years had Father Merlier been mayor of Rocreuse. He was held in great consideration on account of his fortune; he was supposed to be worth something like eighty thousand francs, the result of patient saving. When he married Madeleine Guillard, who brought him the mill as her dowry, his entire capital lay in his two strong arms, but Madeleine had never repented of her choice, so manfully had he conducted their joint affairs. Now his wife was dead, and he was left a widower with his daughter Françoise. Doubtless he might have sat himself down to take his rest and suffered the old mill-wheel to sleep among its moss, but he would have found idleness too irksome and the house would have seemed dead to him. He kept on working still, for the pleasure of it. In those days Father Merlier was a tall old man, with a long, silent face, on which a laugh was never seen, but beneath which there lay, none the less, a large fund of good-humour. He had been elected mayor on account of his money, and also for the impressive air that he knew how to assume when it devolved on him to marry a couple.

Françoise Merlier had just completed her eighteenth year. She was small, and for that reason was not accounted one of the beauties of the country. Until she reached the age of fifteen she had been even homely; the good folks of Rocreuse could not see how it was that the daughter of Father and Mother Merlier, such a hale, vigorous couple, had such a hard time of it in getting her growth. When she was fifteen, however, though still remaining delicate, a change came over her and she took on the prettiest little face imaginable. She had black hair, black eyes, and was red as a rose withal; her mouth was always smiling, there were delicious dimples in her cheeks, and a crown of sunshine seemed to be ever resting on her fair, candid forehead. Although small as girls went in that region, she was far from being thin; she might not have been able to raise a sack of wheat to her shoulder, but she became quite plump as she grew older, and gave promise of becoming eventually as well-rounded and appetising as a partridge. Her father’s habits of taciturnity had made her reflective while yet a young girl; if she always had a smile on her lips it was in order to give pleasure to others. Her natural disposition was serious.

As was no more than to be expected, she had every young man in the countryside at her heels as a suitor, more even for her money than for her attractiveness, and she had made a choice at last, a choice that had been the talk and scandal of the entire neighbourhood. On the other side of the Morelle lived a strapping young fellow who went by the name of Dominique Penquer. He was not to the manor born; ten years previously he had come to Rocreuse from Belgium to receive the inheritance of an uncle who had owned a small property on the very borders of the forest of Gagny, just facing the mill and distant from it only a few musket-shots. His object in coming was to sell the property, so he said, and return to his own home again; but he must have found the land to his liking, for he made no move to go away. He was seen cultivating his bit of a field and gathering the few vegetables that afforded him an existence. He fished, he hunted; more than once he was near coming in contact with the law through the intervention of the keepers. This independent way of living, of which the peasants could not very clearly see the resources, had in the end given him a bad name. He was vaguely looked on as nothing better than a poacher. At all events he was lazy, for he was frequently found sleeping in the grass at hours when he should have been at work. Then, too, the hut in which he lived, in the shade of the last trees of the forest, did not seem like the abode of an honest young man; the old women would not have been surprised at any time to hear that he was on friendly terms with the wolves in the ruins of Gagny. Still, the young girls would now and then venture to stand up for him, for he was altogether a splendid specimen of manhood, was this individual of doubtful antecedents, tall and straight as a young poplar, with a milk-white skin and ruddy hair and beard that seemed to be of gold when the sun shone on them. Now one fine morning it came to pass that Françoise told Father Merlier that she loved Dominique, and that never, never would she consent to marry any other young man.

It may be imagined what a knockdown blow it was that Father Merlier received that day! As was his wont, he said never a word; his countenance wore its usual reflective look, only the fun that used to bubble up from within no longer shone in his eyes. Françoise, too, was very serious, and for a week father and daughter scarcely spoke to each other. What troubled Father Merlier was to know how that rascal of a poacher had succeeded in bewitching his daughter. Dominique had never shown himself at the mill. The miller played the spy a little, and was rewarded by catching sight of the gallant, on the other side of the Morelle, lying among the grass and pretending to be asleep. Françoise could see him from her chamber window. The thing was clear enough; they had been making sheep’s eyes at each other over the old mill-wheel, and so had fallen in love.

A week slipped by; Françoise became more and more serious. Father Merlier still continued to say nothing. Then, one evening, of his own accord, he brought Dominique to the house, without a word. Françoise was just setting the table. She made no demonstration of surprise; all she did was to add another plate, but her laugh had come back to her, and the little dimples appeared again upon her cheeks. Father Merlier had gone that morning to look for Dominique at his hut on the edge of the forest, and there the two men had had a conference, with closed doors and windows that lasted three hours. No one ever knew what they said to each other; the only thing certain is that when Father Merlier left the hut he already treated Dominique as a son. Doubtless the old man had discovered that he whom he had gone to visit was a worthy young fellow, even though he did lie in the grass to gain the love of young girls.

All Rocreuse was up in arms. The women gathered at their doors, and could not find words strong enough to characterise Father Merlier’s folly in thus receiving a ne’er-do-well into his family. He let them talk. Perhaps he thought of his own marriage. Neither had he possessed a penny to his name at the time he married Madeleine and her mill, and yet that had not prevented him from being a good husband to her. Moreover, Dominique put an end to their tittle-tattle by setting to work in such strenuous fashion that all the countryside was amazed. It so happened just then that the boy of the mill drew an unlucky number and had to go for a soldier, and Dominique would not hear of their engaging another. He lifted sacks, drove the cart, wrestled with the old wheel when it took an obstinate fit and refused to turn, and all so pluckily and cheerfully that people came from far and near merely for the pleasure of seeing him. Father Merlier laughed his silent laugh. He was highly elated that he had read the youngster aright. There is nothing like love to hearten up young men.

In the midst of all that laborious toil Françoise and Dominique fairly worshipped each other. They had not much to say, but their tender smiles conveyed a world of meaning. Father Merlier had not said a word thus far on the subject of their marriage, and they had both respected his silence, waiting until the old man should see fit to give expression to his will. At last, one day along toward the middle of July, he had had three tables laid in the courtyard, in the shade of the big elm, and had invited his friends of Rocreuse to come that afternoon and drink a glass of wine with him. When the courtyard was filled with people, and every one there had a full glass in his hand, Father Merlier raised his own high above his head, and said:

“I have the pleasure of announcing to you that Françoise and this lad will be married in a month from now, on Saint Louis’ fête-day.”

Then there was a universal touching of glasses, attended by a tremendous uproar; every one was laughing. But Father Merlier, raising his voice above the din, again spoke:

“Dominique, kiss your wife that is to be. It is no more than customary.”

And they kissed, very red in the face, both of them, while the company laughed louder still. It was a regular fête; they emptied a small cask. Then, when only the intimate friends of the house remained, conversation went on in a calmer strain. Night had fallen, a starlit night, and very clear. Dominique and Françoise sat on a bench, side by side, and said nothing. An old peasant spoke of the war that the Emperor had declared against Prussia. All the lads of the village were already gone off to the army. Troops had passed through the place only the night before. There were going to be hard knocks.

“Bah!” said Father Merlier, with the selfishness of a man who is quite happy, “Dominique is a foreigner; he won’t have to go—and if the Prussians come this way, he will be here to defend his wife.”

The idea of the Prussians coming there seemed to the company an exceedingly good joke. The army would give them one good conscientious thrashing, and the affair would be quickly ended.

“I have seen them before, I have seen them before,” the old peasant repeated, in a low voice.

There was silence for a little, then they all touched glasses once again. Françoise and Dominique had heard nothing; they had managed to clasp hands behind the bench in such a way as not to be seen by the others, and this condition of affairs seemed so beatific to them that they sat there, mute, their gaze lost in the darkness of the night.

What a magnificent, balmy night! The village lay slumbering on either side of the white road as peacefully as a little child. The deep silence was undisturbed save by the occasional crow of a cock in some distant barnyard acting on a mistaken impression that dawn was at hand. Perfumed breaths of air, like long-drawn sighs, came down from the great woods that lay around and above, sweeping softly over the roofs, as if caressing them. The meadows, with their black intensity of shadow, took on a dim, mysterious majesty of their own, while all the springs, all the brooks and watercourses that gurgled in the darkness, might have been taken for the cool and rhythmical breathing of the sleeping country. Every now and then the old dozing mill-wheel seemed to be dreaming like a watch-dog that barks uneasily in his slumber; it creaked, it talked to itself, rocked by the fall of the Morelle, whose current gave forth the deep, sustained music of an organ-pipe. Never was there a more charming or happier nook, never did a deeper peace came down to cover it.

II.

One month later to a day, on the eve of the fête of Saint Louis, Rocreuse was in a state of alarm and dismay. The Prussians had beaten the Emperor, and were advancing on the village by forced marches. For a week past people passing along the road had brought tidings of the enemy: “They are at Lormières, they are at Nouvelles;” and by dint of hearing so many stories of the rapidity of their advance, Rocreuse woke up every morning in the full expectation of seeing them swarming down out of Gagny wood. They did not come, however, and that only served to make the affright the greater. They would certainly fall upon the village in the night-time, and put every soul to the sword.

There had been an alarm the night before, a little before daybreak. The inhabitants had been aroused by a great noise of men tramping upon the road. The women were already throwing themselves upon their knees and making the sign of the cross, when some one, to whom it happily occurred to peep through a half-opened window, caught sight of red trousers. It was a French detachment. The captain had forthwith asked for the mayor, and, after a long conversation with Father Merlier, had remained at the mill.

The sun shone bright and clear that morning, giving promise of a warm day. There was a golden light floating over the woodland, while in the low grounds white mists were rising from the meadows. The pretty village, so neat and trim, awoke in the cool dawning, and the country, with its streams and its fountains, was as gracious as a freshly plucked bouquet. But the beauty of the day brought gladness to the face of no one; the villagers had watched the captain, and seen him circle round and round the old mill; examine the adjacent houses, then pass to the other bank of the Morelle, and from thence scan the country with a field-glass; Father Merlier, who accompanied him, appeared to be giving explanations. After that the captain had posted some of his men behind walls, behind trees, or in hollows. The main body of the detachment had encamped in the courtyard of the mill. So there was going to be a fight, then? And when Father Merlier returned, they questioned him. He spoke no word, but slowly and sorrowfully nodded his head. Yes, there was going to be a fight.

Françoise and Dominique were there in the courtyard, watching him. He finally took his pipe from his lips and gave utterance to these few words:

“Ah! my poor children, I shall not be able to marry you to-day!”

Dominique, with lips tight set and an angry frown upon his forehead, raised himself on tiptoe from time to time and stood with eyes bent on Gagny wood, as if he would have been glad to see the Prussians appear and end the suspense they were in. Françoise, whose face was grave and very pale, was constantly passing back and forth, supplying the needs of the soldiers. They were preparing their soup in a corner of the courtyard, joking and chaffing one another while awaiting their meal.

The captain appeared to be highly pleased. He had visited the chambers and the great hall of the mill that looked out on the stream. Now, seated beside the well, he was conversing with Father Merlier.

“You have a regular fortress here,” he was saying. “We shall have no trouble in holding it until evening. The bandits are late; they ought to be here by this time.”

The miller looked very grave. He saw his beloved mill going up in flame and smoke, but uttered no word of remonstrance or complaint, considering that it would be useless. He only opened his mouth to say:

“You ought to take steps to hide the boat; there is a hole behind the wheel fitted to hold it. Perhaps you may find it of use to you.”

The captain gave an order to one of his men. This captain was a tall, fine-looking man of about forty, with an agreeable expression of countenance. The sight of Dominique and Françoise seemed to afford him much pleasure; he watched them as if he had forgotten all about the approaching conflict. He followed Françoise with his eyes as she moved about the courtyard, and his manner showed clearly enough that he thought her charming. Then, turning to Dominique:

“You are not with the army, I see, my boy?” he abruptly asked.

“I am a foreigner,” the young man replied.

The captain did not seem particularly pleased with the answer; he winked his eyes and smiled. Françoise was doubtless a more agreeable companion than a musket would have been. Dominique, noticing his smile, made haste to add:

“I am a foreigner, but I can lodge a rifle-bullet in an apple at five hundred yards. See, there’s my rifle, behind you.”

“You may find use for it,” the captain dryly answered.

Françoise had drawn near; she was trembling a little, and Dominique, regardless of the bystanders, took and held firmly clasped in his own the two hands that she held forth to him, as if committing herself to his protection. The captain smiled again, but said nothing more. He remained seated, his sword between his legs, his eyes fixed on space, apparently lost in dreamy reverie.

It was ten o’clock. The heat was already oppressive. A deep silence prevailed. The soldiers had sat down in the shade of the sheds in the courtyard and begun to eat their soup. Not a sound came from the village, where the inhabitants had all barricaded their houses, doors and windows. A dog, abandoned by his master, howled mournfully upon the road. From the woods and the near-by meadows, that lay fainting in the heat, came a long-drawn, whispering, soughing sound, produced by the union of what wandering breaths of air there were. A cuckoo called. Then the silence became deeper still.

And all at once, upon that lazy, sleepy air, a shot rang out. The captain rose quickly to his feet, the soldiers left their half-emptied plates. In a few seconds all were at their posts; the mill was occupied from top to bottom. And yet the captain, who had gone out through the gate, saw nothing; to right and left the road stretched away, desolate and blindingly white in the fierce sunshine. A second report was heard, and still nothing to be seen, not even so much as a shadow; but just as he was turning to re-enter he chanced to look over toward Gagny and there beheld a little puff of smoke floating away on the tranquil air, like thistle-down. The deep peace of the forest was apparently unbroken.

“The rascals have occupied the wood,” the officer murmured. “They know we are here.”

Then the firing went on, and became more and more continuous, between the French soldiers posted about the mill and the Prussians concealed among the trees. The bullets whistled over the Morelle without doing any mischief on either side. The firing was irregular; every bush seemed to have its marksman, and nothing was to be seen save those bluish smoke wreaths that hung for a moment on the wind before they vanished. It lasted thus for nearly two hours. The officer hummed a tune with a careless air. Françoise and Dominique, who had remained in the courtyard, raised themselves to look out over a low wall. They were more particularly interested in a little soldier who had his post on the bank of the Morelle, behind the hull of an old boat; he would lie face downward on the ground, watch his chance, deliver his fire, then slip back into a ditch a few steps in his rear to reload, and his movements were so comical, he displayed such cunning and activity, that it was difficult for any one watching him to refrain from smiling. He must have caught sight of a Prussian, for he rose quickly and brought his piece to the shoulder, but before he could discharge it he uttered a loud cry, whirled completely around in his tracks and fell backward into the ditch, where for an instant his legs moved convulsively, just as the claws of a fowl do when it is beheaded. The little soldier had received a bullet directly through his heart. It was the first casualty of the day. Françoise instinctively seized Dominique’s hand and held it tight in a convulsive grasp.

“Come away from there,” said the captain. “The bullets reach us here.”

As if to confirm his words a slight, sharp sound was heard up in the old elm, and the end of a branch came to the ground, turning over and over as it fell, but the two young people never stirred, riveted to the spot as they were by the interest of the spectacle. On the edge of the wood a Prussian had suddenly emerged from behind a tree, as an actor comes upon the stage from the wings, beating the air with his arms and falling over upon its back. And beyond that there was no movement; the two dead men appeared to be sleeping in the bright sunshine; there was not a soul to be seen in the fields on which the heat lay heavy. Even the sharp rattle of the musketry had ceased. Only the Morelle kept on whispering to itself with its low, musical murmur.

Father Merlier looked at the captain with an astonished air, as if to inquire whether that were the end of it.

“Here comes their attack,” the officer murmured. “Look out for yourself! Don’t stand there!”

The words were scarcely out of his mouth when a terrible discharge of musketry ensued. The great elm was riddled, its leaves came eddying down as thick as snowflakes. Fortunately the Prussians had aimed too high. Dominique dragged, almost carried Françoise from the spot, while Father Merlier followed them, shouting:

“Get into the small cellar, the walls are thicker there.”

But they paid no attention to him; they made their way to the main hall, where ten or a dozen soldiers were silently waiting, watching events outside through the chinks of the closed shutters. The captain was left alone in the courtyard, where he sheltered himself behind the low wall, while the furious fire was maintained uninterruptedly. The soldiers whom he had posted outside only yielded their ground inch by inch; they came crawling in, however, one after another, as the enemy dislodged them from their positions. Their instructions were to gain all the time they could, taking care not to show themselves, in order that the Prussians might remain in ignorance of the force they had opposed to them. Another hour passed, and as a sergeant came in, reporting that there were now only two or three men left outside, the officer took his watch from his pocket, murmuring:

“Half-past two. Come, we must hold out for four hours yet.”

He caused the great gate of the courtyard to be tightly secured, and everything was made ready for an energetic defence. The Prussians were on the other side of the Morelle, consequently there was no reason to fear an assault at the moment. There was a bridge, indeed, a mile and a quarter away, but they were probably unaware of its existence, and it was hardly to be supposed that they would attempt to cross the stream by fording. The officer, therefore, simply caused the road to be watched; the attack, when it came, was to be looked for from the direction of the fields.

The firing had ceased again. The mill appeared to lie there in the sunlight, void of all life. Not a shutter was open, not a sound came from within. Gradually, however, the Prussians began to show themselves at the edge of Gagny wood. Heads were protruded here and there; they seemed to be mustering up their courage. Several of the soldiers within the mill brought up their pieces to an aim, but the captain shouted:

“No, no; not yet; wait. Let them come nearer.”

They displayed a great deal of prudence in their advance, looking at the mill with a distrustful air; they seemed hardly to know what to make of the old structure, so lifeless and gloomy, with its curtain of ivy. Still they kept on advancing. When there were fifty of them or so in the open, directly opposite, the officer uttered one word:

“Now!”

A crashing, tearing discharge burst from the position, succeeded by an irregular, dropping fire. Françoise, trembling violently, involuntarily raised her hands to her ears. Dominique, from his position behind the soldiers, peered out upon the field, and when the smoke drifted away a little, counted three Prussians extended on their backs in the middle of the meadow. The others had sought shelter among the willows and the poplars. And then commenced the siege.

For more than an hour the mill was riddled with bullets; they beat and rattled on its old walls like hail. The noise they made was plainly audible as they struck the stonework, were flattened, and fell back into the water; they buried themselves in the woodwork with a dull thud. Occasionally a creaking sound would announce that the wheel had been hit. Within the building the soldiers husbanded their ammunition, firing only when they could see something to aim at. The captain kept consulting his watch every few minutes, and as a ball split one of the shutters in halves and then lodged in the ceiling:

“Four o’clock,” he murmured. “We shall never be able to hold the position.”

The old mill, in truth, was gradually going to pieces beneath that terrific fire. A shutter that had been perforated again and again, until it looked like a piece of lace, fell off its hinges into the water, and had to be replaced by a mattress. Every moment, almost, Father Merlier exposed himself to the fire in order to take account of the damage sustained by his poor wheel, every wound of which was like a bullet in his own heart. Its period of usefulness was ended this time for certain; he would never be able to patch it up again. Dominique had besought Françoise to retire to a place of safety, but she was determined to remain with him; she had taken a seat behind a great oaken clothes-press, which afforded her protection. A ball struck the press, however, the sides of which gave out a dull, hollow sound, whereupon Dominique stationed himself in front of Françoise. He had as yet taken no part in the firing, although he had his rifle in his hand; the soldiers occupied the whole breadth of the windows, so that he could not get near them. At every discharge the floor trembled.

“Look out! look out!” the captain suddenly shouted.

He had just descried a dark mass emerging from the wood. As soon as they gained the open they set up a telling platoon fire. It struck the mill like a tornado. Another shutter parted company, and the bullets came whistling in through the yawning aperture. Two soldiers rolled upon the floor; one lay where he fell and never moved a limb; his comrades pushed him up against the wall because he was in their way. The other writhed and twisted, beseeching some one to end his agony, but no one had ears for the poor wretch; the bullets were still pouring in, and every one was looking out for himself and searching for a loophole whence he might answer the enemy’s fire. A third soldier was wounded; that one said not a word, but with staring, haggard eyes sank down beneath a table. Françoise, horror-stricken by the dreadful spectacle of the dead and dying men, mechanically pushed away her chair and seated herself on the floor, against the wall; it seemed to her that she would be smaller there and less exposed. In the meantime men had gone and secured all the mattresses in the house; the opening of the window was partially closed again. The hall was filled with débris of every description, broken weapons, dislocated furniture.

“Five o’clock,” said the captain. “Stand fast, boys. They are going to make an attempt to pass the stream.”

Just then Françoise gave a shriek. A bullet had struck the floor, and, rebounding, grazed her forehead on the ricochet. A few drops of blood appeared. Dominique looked at her, then went to the window and fired his first shot, and from that time kept on firing uninterruptedly. He kept on loading and discharging his piece mechanically, paying no attention to what was passing at his side, only pausing from time to time to cast a look at Françoise. He did not fire hurriedly or at random, moreover, but took deliberate aim. As the captain had predicted, the Prussians were skirting the belt of poplars and attempting the passage of the Morelle, but each time that one of them showed himself he fell with one of Dominique’s bullets in his brain. The captain, who was watching the performance, was amazed; he complimented the young man, telling him that he would like to have many more marksmen of his skill. Dominique did not hear a word he said. A ball struck him in the shoulder, another raised a contusion on his arm. And still he kept on firing.

There were two more deaths. The mattresses were torn to shreds and no longer availed to stop the windows. The last volley that was poured in seemed as if it would carry away the mill bodily, so fierce it was. The position was no longer tenable. Still, the officer kept repeating:

“Stand fast. Another half-hour yet.”

He was counting the minutes, one by one, now. He had promised his commanders that he would hold the enemy there until nightfall, and he would not budge a hair’s-breadth before the moment that he had fixed on for his withdrawal. He maintained his pleasant air of good-humour, smiling at Françoise by way of reassuring her. He had picked up the musket of one of the dead soldiers and was firing away with the rest.

There were but four soldiers left in the room. The Prussians were showing themselves en masse on the other bank of the Morelle, and it was evident that they might now pass the stream at any moment. A few moments more elapsed; the captain was as determined as ever, and would not give the order to retreat, when a sergeant came running into the room, saying:

“They are on the road; they are going to take us in rear.”

The Prussians must have discovered the bridge. The captain drew out his watch again.

“Five minutes more,” he said. “They won’t be here within five minutes.”

Then exactly at six o’clock he at last withdrew his men through a little postern that opened on a narrow lane, whence they threw themselves into the ditch, and in that way reached the forest of Sauval. The captain took leave of Father Merlier with much politeness, apologising profusely for the trouble he had caused. He even added:

“Try to keep them occupied for a while. We shall return.”

While this was occurring Dominique had remained alone in the hall. He was still firing away, hearing nothing, conscious of nothing; his sole thought was to defend Françoise. The soldiers were all gone, and he had not the remotest idea of the fact; he aimed and brought down his man at every shot. All at once there was a great tumult. The Prussians had entered the courtyard from the rear. He fired his last shot, and they fell upon him with his weapon still smoking in his hand.

It required four men to hold him; the rest of them swarmed about him, vociferating like madmen in their horrible dialect. Françoise rushed forward to intercede with her prayers. They were on the point of killing him on the spot, but an officer came in and made them turn the prisoner over to him. After exchanging a few words in German with his men he turned to Dominique and said to him roughly, in very good French:

“You will be shot in two hours from now.”

III.

It was the standing regulation, laid down by the German staff, that every Frenchman, not belonging to the regular army, taken with arms in his hands, should be shot. Even the compagnies franches were not recognised as belligerents. It was the intention of the Germans, in making such terrible examples of the peasants who attempted to defend their firesides, to prevent a rising en masse, which they greatly dreaded.

The officer, a tall, spare man about fifty years old, subjected Dominique to a brief examination. Although he spoke French fluently, he was unmistakably Prussian in the stiffness of his manner.

“You are a native of this country?”

“No, I am a Belgian.”

“Why did you take up arms? These are matters with which you have no concern.”

Dominique made no reply. At this moment the officer caught sight of Françoise where she stood listening, very pale; her slight wound had marked her white forehead with a streak of red. He looked from one to the other of the young people and appeared to understand the situation; he merely added:

“You do not deny having fired on my men?”

“I fired as long as I was able to do so,” Dominique quietly replied.

The admission was scarcely necessary, for he was black with powder, wet with sweat, and the blood from the wound in his shoulder had trickled down and stained his clothing.

“Very well,” the officer repeated. “You will be shot two hours hence.”

Françoise uttered no cry. She clasped her hands and raised them above her head in a gesture of mute despair. Her action was not lost upon the officer. Two soldiers had led Dominique away to an adjacent room, where their orders were to guard him and not lose sight of him. The girl had sunk upon a chair; her strength had failed her, her legs refused to support her; she was denied the relief of tears, it seemed as if her emotion was strangling her. The officer continued to examine her attentively, and finally addressed her:

“Is that young man your brother?” he inquired.

She shook her head in negation. He was as rigid and unbending as ever, without the suspicion of a smile on his face. Then, after an interval of silence, he spoke again:

“Has he been living in the neighbourhood long?”

She answered yes, by another motion of the head.

“Then he must be well acquainted with the woods about here?”

This time she made a verbal answer. “Yes, sir,” she said, looking at him with some astonishment.

He said nothing more, but turned on his heel, requesting that the mayor of the village should be brought before him. But Françoise had risen from her chair, a faint tinge of colour on her cheeks, believing that she had caught the significance of his questions, and with renewed hope she ran off to look for her father.

As soon as the firing had ceased Father Merlier had hurriedly descended by the wooden gallery to have a look at his wheel. He adored his daughter and had a strong feeling of affection for Dominique, his son-in-law who was to be; but his wheel also occupied a large space in his heart. Now that the two little ones, as he called them, had come safe and sound out of the fray, he thought of his other love, which must have suffered sorely, poor thing, and bending over the great wooden skeleton he was scrutinising its wounds with a heart-broken air. Five of the buckets were reduced to splinters, the central framework was honeycombed. He was thrusting his fingers into the cavities that the bullets had made to see how deep they were, and reflecting how he was ever to repair all that damage. When Françoise found him he was already plugging up the crevices with moss and such débris as he could lay hands on.

“They are asking for you, father,” said she.

And at last she wept as she told him what she had just heard. Father Merlier shook his head. It was not customary to shoot people like that. He would have to look into the matter. And he re-entered the mill with his usual placid, silent air. When the officer made his demand for supplies for his men, he answered that the people of Rocreuse were not accustomed to be ridden roughshod, and that nothing would be obtained from them through violence; he was willing to assume all the responsibility, but only on condition that he was allowed to act independently. The officer at first appeared to take umbrage at this easy way of viewing matters, but finally gave way before the old man’s brief and distinct representations. As the latter was leaving the room the other recalled him to ask:

“Those woods there, opposite, what do you call them?”

“The woods of Sauval.”

“And how far do they extend?”

The miller looked him straight in the face. “I do not know,” he replied.

And he withdrew. An hour later the subvention in money and provisions that the officer had demanded was in the courtyard of the mill. Night was closing in; Françoise followed every movement of the soldiers with an anxious eye. She never once left the vicinity of the room in which Dominique was imprisoned. About seven o’clock she had a harrowing emotion; she saw the officer enter the prisoner’s apartment, and for a quarter of an hour heard their voices raised in violent discussion. The officer came to the door for a moment and gave an order in German which she did not understand, but when twelve men came and formed in the courtyard with shouldered muskets, she was seized with a fit of trembling and felt as if she should die. It was all over, then; the execution was about to take place. The twelve men remained there ten minutes; Dominique’s voice kept rising higher and higher in a tone of vehement denial. Finally the officer came out, closing the door behind him with a vicious bang and saying:

“Very well; think it over. I give you until to-morrow morning.”

And he ordered the twelve men to break ranks by a motion of his hand. Françoise was stupefied. Father Merlier, who had continued to puff away at his pipe while watching the platoon with a simple, curious air, came and took her by the arm with fatherly gentleness. He led her to her chamber.

“Don’t fret,” he said to her; “try to get some sleep. To-morrow it will be light and we shall see more clearly.”

He locked the door behind him as he left the room. It was a fixed principle with him that women are good for nothing, and that they spoil everything whenever they meddle in important matters. Françoise did not lie down, however; she remained a long time seated on her bed, listening to the various noises in the house. The German soldiers quartered in the courtyard were singing and laughing; they must have kept up their eating and drinking until eleven o’clock, for the riot never ceased for an instant. Heavy footsteps resounded from time to time through the mill itself, doubtless the tramp of the guards as they were relieved. What had most interest for her was the sounds that she could catch in the room that lay directly under her own; several times she threw herself prone upon the floor and applied her ear to the boards. That room was the one in which they had locked up Dominique. He must have been pacing the apartment, for she could hear for a long time his regular, cadenced tread passing from the wall to the window and back again; then there was a deep silence; doubtless he had seated himself. The other sounds ceased too; everything was still. When it seemed to her that the house was sunk in slumber she raised her window as noiselessly as possible and leaned out.

Without, the night was serene and balmy. The slender crescent of the moon, which was just setting behind Sauval wood, cast a dim radiance over the landscape. The lengthening shadows of the great trees stretched far athwart the fields in bands of blackness, while in such spots as were unobscured the grass appeared of a tender green, soft as velvet. But Françoise did not stop to consider the mysterious charm of night. She was scrutinising the country and looking to see where the Germans had posted their sentinels. She could clearly distinguish their dark forms outlined along the course of the Morelle. There was only one stationed opposite the mill, on the far bank of the stream, by a willow whose branches dipped in the water—Françoise had an excellent view of him; he was a tall young man, standing quite motionless with face upturned toward the sky, with the meditative air of a shepherd.

When she had completed her careful inspection of localities she returned and took her former seat upon the bed. She remained there an hour, absorbed in deep thought. Then she listened again; there was not a breath to be heard in the house. She went again to the window and took another look outside, but one of the moon’s horns was still hanging above the edge of the forest, and this circumstance doubtless appeared to her unpropitious, for she resumed her waiting. At last the moment seemed to have arrived; the night was now quite dark; she could no longer discern the sentinel opposite her, the landscape lay before her black as a sea of ink. She listened intently for a moment, then formed her resolve. Close beside her window was an iron ladder made of bars set in the wall, which ascended from the mill-wheel to the granary at the top of the building, and had formerly served the miller as a means of inspecting certain portions of the gearing, but a change having been made in the machinery the ladder had long since become lost to sight beneath the thick ivy that covered all that side of the mill.

Françoise bravely climbed over the balustrade of the little balcony in front of her window, grasped one of the iron bars and found herself suspended in space. She commenced the descent; her skirts were a great hindrance to her. Suddenly a stone became loosened from the wall, and fell into the Morelle with a loud splash. She stopped, benumbed with fear, but reflection quickly told her that the waterfall, with its continuous roar, was sufficient to deaden any noise that she could make, and then she descended more boldly, putting aside the ivy with her foot, testing each round of her ladder. When she was on a level with the room that had been converted into a prison for her lover she stopped. An unforeseen difficulty came near depriving her of all her courage; the window of the room beneath was not situated directly under the window of her bedroom; there was a wide space between it and the ladder, and when she extended her hand it only encountered the naked wall.

Would she have to go back the way she came and leave her project unaccomplished? Her arms were growing very tired; the murmuring of the Morelle, far down below, was beginning to make her dizzy. Then she broke off bits of plaster from the wall and threw them against Dominique’s window. He did not hear; perhaps he was asleep. Again she crumbled fragments from the wall, until the skin was peeled from her fingers. Her strength was exhausted; she felt that she was about to fall backward into the stream, when at last Dominique softly raised his sash.

“It is I,” she murmured. “Take me quick; I am about to fall.” Leaning from the window he grasped her and drew her into the room, where she had a paroxysm of weeping, stifling her sobs in order that she might not be heard. Then, by a supreme effort of the will she overcame her emotion.

“Are you guarded?” she asked in a low voice.

Dominique, not yet recovered from his stupefaction at seeing her there, made answer by simply pointing toward his door. There was a sound of snoring audible on the outside; it was evident that the sentinel had been overpowered by sleep and had thrown himself upon the floor close against the door in such a way that it could not be opened without arousing him.

“You must fly,” she continued earnestly. “I came here to bid you fly and say farewell.”

But he seemed not to hear her. He kept repeating:

“What, is it you, is it you? Oh, what a fright you gave me! You might have killed yourself.” He took her hands, he kissed them again and again. “How I love you, Françoise! You are as courageous as you are good. The only thing I feared was that I might die without seeing you again; but you are here, and now they may shoot me when they will. Let me but have a quarter of an hour with you and I am ready.”

He had gradually drawn her to him; her head was resting on his shoulder. The peril that was so near at hand brought them closer to each other, and they forgot everything in that long embrace.

“Ah, Françoise!” Dominique went on in low, caressing tones, “to-day is the fête of Saint Louis, our wedding-day, that we have been waiting for so long. Nothing has been able to keep us apart, for we are both here, faithful to our appointment, are we not? It is now our wedding morning.”

“Yes, yes,” she repeated after him, “our wedding morning.”

They shuddered as they exchanged a kiss. But suddenly she tore herself from his arms; the terrible reality arose before her eyes.

“You must fly, you must fly,” she murmured breathlessly. “There is not a moment to lose.” And as he stretched out his arms in the darkness to draw her to him again, she went on in tender, beseeching tones: “Oh! listen to me, I entreat you. If you die, I shall die. In an hour it will be daylight. Go, go at once; I command you to go.”

Then she rapidly explained her plan to him. The iron ladder extended downward to the wheel; once he had got so far he could climb down by means of the buckets and get into the boat, which was hidden in a recess. Then it would be an easy matter for him to reach the other bank of the stream and make his escape.

“But are there no sentinels?” said he.

“Only one, directly opposite here, at the foot of the first willow.”

“And if he sees me, if he gives the alarm?”

Françoise shuddered. She placed in his hand a knife that she had brought down with her. They were silent.

“And your father—and you?” Dominique continued. “But no, it is not to be thought of; I must not fly. When I am no longer here those soldiers are capable of murdering you. You do not know them. They offered to spare my life if I would guide them into Sauval forest. When they discover that I have escaped, their fury will be such that they will be ready for every atrocity.”

The girl did not stop to argue the question. To all the considerations that he adduced her one simple answer was: “Fly. For the love of me, fly. If you love me, Dominique, do not linger here a single moment longer.”

She promised that she would return to her bedroom; no one should know that she had helped him. She concluded by folding him in her arms and smothering him with kisses, in an extravagant outburst of passion. He was vanquished. He put only one more question to her:

“Will you swear to me that your father knows what you are doing, and that he counsels my flight?”

“It was my father who sent me to you,” Françoise unhesitatingly replied.

She told a falsehood. At that moment she had but one great, overmastering longing, to know that he was in safety, to escape from the horrible thought that the morning’s sun was to be the signal for his death. When he should be far away, then calamity and evil might burst upon her head; whatever fate might be in store for her would seem endurable, so that only his life might be spared. Before and above all other considerations, the selfishness of her love demanded that he should be saved.

“It is well,” said Dominique; “I will do as you desire.”

No further word was spoken. Dominique went to the window to raise it again. But suddenly there was a noise that chilled them with affright. The door was shaken violently; they thought that some one was about to open it; it was evidently a party going the rounds who had heard their voices. They stood by the window, close locked in each other’s arms, awaiting the event with anguish unspeakable. Again there came the rattling at the door, but it did not open. Each of them drew a deep sigh of relief; they saw how it was. The soldier lying across the threshold had turned over in his sleep. Silence was restored indeed, and presently the snoring began again.

Dominique insisted that Françoise should return to her room first of all. He took her in his arms, he bade her a silent farewell, then helped her to grasp the ladder, and himself climbed out on it in turn. He refused to descend a single step, however, until he knew that she was in her chamber. When she was safe in her room she let fall, in a voice scarce louder than a whisper, the words:

“Au revoir. I love you!”

She kneeled at the window, resting her elbows on the sill, straining her eyes to follow Dominique. The night was still very dark. She looked for the sentinel, but could see nothing of him; the willow alone was dimly visible, a pale spot upon the surrounding blackness. For a moment she heard the rustling of the ivy as Dominique descended, then the wheel creaked, and there was a faint plash which told that the young man had found the boat. This was confirmed when, a minute later, she descried the shadowy outline of the skiff on the grey bosom of the Morelle. Then a horrible feeling of dread seemed to clutch her by the throat. Every moment she thought she heard the sentry give the alarm; every faintest sound among the dusky shadows seemed to her overwrought imagination to be the hurrying tread of soldiers, the clash of steel, the click of musket-locks. The seconds slipped by, however, the landscape still preserved its solemn peace. Dominique must have landed safely on the other bank. Françoise no longer had eyes for anything. The silence was oppressive. And she heard the sound of trampling feet, a hoarse cry, the dull thud of a heavy body falling. This was followed by another silence, even deeper than that which had gone before. Then, as if conscious that Death had passed that way, she became very cold in presence of the impenetrable night.

IV.

At early daybreak the repose of the mill was disturbed by the clamour of angry voices. Father Merlier had gone and unlocked Françoise’s door. She descended to the courtyard, pale and very calm, but when there, could not repress a shudder upon being brought face to face with the body of a Prussian soldier that lay on the ground beside the well, stretched out upon a cloak.

Around the corpse soldiers were shouting and gesticulating angrily. Several of them shook their fists threateningly in the direction of the village. The officer had just sent a summons to Father Merlier to appear before him in his capacity as mayor of the commune.

“Here is one of our men,” he said, in a voice that was almost unintelligible from anger, “who was found murdered on the bank of the stream. The murderer must be found, so that we may make a salutary example of him, and I shall expect you to co-operate with us in finding him.”

“Whatever you desire,” the miller replied, with his customary impassiveness. “Only it will be no easy matter.”

The officer stooped down and drew aside the skirt of the cloak which concealed the dead man’s face, disclosing as he did so a frightful wound. The sentinel had been struck in the throat and the weapon had not been withdrawn from the wound. It was a common kitchen-knife, with a black handle.

“Look at that knife,” the officer said to Father Merlier. “Perhaps it will assist us in our investigation.”

The old man had started violently, but recovered himself at once; not a muscle of his face moved as he replied:

“Every one about here has knives like that. Like enough your man was tired of fighting and did the business himself. Such things have happened before now.”

“Be silent!” the officer shouted in a fury. “I don’t know what it is that keeps me from setting fire to the four corners of your village.”

His anger fortunately kept him from noticing the great change that had come over Françoise’s countenance. Her feelings had compelled her to sit down upon the stone bench beside the well. Do what she would she could not remove her eyes from the body that lay stretched upon the ground, almost at her feet. He had been a tall, handsome young man in life, very like Dominique in appearance, with blue eyes and yellow hair. The resemblance went to her heart. She thought that perhaps the dead man had left behind him in his German home some sweetheart who would weep for his loss. And she recognised her knife in the dead man’s throat. She had killed him.

The officer, meantime, was talking of visiting Rocreuse with some terrible punishment, when two or three soldiers came running in. The guard had just that moment ascertained the fact of Dominique’s escape. The agitation caused by the tidings was extreme. The officer went to inspect the locality, looked out through the still open window, saw at once how the event had happened, and returned in a state of exasperation.

Father Merlier appeared greatly vexed by Dominique’s flight. “The idiot!” he murmured; “he has upset everything.”

Françoise heard him, and was in an agony of suffering. Her father, moreover, had no suspicion of her complicity. He shook his head, saying to her in an undertone:

“We are in a nice box, now!”

“It was that scoundrel! it was that scoundrel!” cried the officer. “He has got away to the woods; but he must be found, or the village shall stand the consequences.” And addressing himself to the miller: “Come, you must know where he is hiding?”

Father Merlier laughed in his silent way, and pointed to the wide stretch of wooded hills.

“How can you expect to find a man in that wilderness?” he asked.

“Oh! there are plenty of hiding-places that you are acquainted with. I am going to give you ten men; you shall act as guide to them.”

“I am perfectly willing. But it will take a week to beat up all the woods of the neighbourhood.”

The old man’s serenity enraged the officer; he saw, indeed, what a ridiculous proceeding such a hunt would be. It was at that moment that he caught sight of Françoise where she sat, pale and trembling, on her bench. His attention was aroused by the girl’s anxious attitude. He was silent for a moment, glancing suspiciously from father to daughter and back again.

“Is not that man,” he at last coarsely asked the old man, “your daughter’s lover?”

Father Merlier’s face became ashy pale, and he appeared for a moment as if about to throw himself on the officer and throttle him. He straightened himself up and made no reply. Françoise had hidden her face in her hands.

“Yes, that is how it is,” the Prussian continued; “you or your daughter have helped him to escape. You are his accomplices. For the last time, will you surrender him?”

The miller did not answer. He had turned away and was looking at the distant landscape with an air of indifference, just as if the officer were talking to some other person. That put the finishing touch to the latter’s wrath.

“Very well, then!” he declared, “you shall be shot in his stead.”

And again he ordered out the firing-party. Father Merlier was as imperturbable as ever. He scarcely did so much as shrug his shoulders; the whole drama appeared to him to be in very doubtful taste. He probably believed that they would not take a man’s life in that unceremonious manner. When the platoon was on the ground he gravely said:

“So, then, you are in earnest? Very well, I am willing it should be so. If you feel you must have a victim, it may as well be I as another.”

But Françoise arose, greatly troubled, stammering: “Have mercy, sir; do not harm my father. Kill me instead of him. It was I who helped Dominique to escape; I am the only guilty one.”

“Hold your tongue, my girl,” Father Merlier exclaimed. “Why do you tell such a falsehood? She passed the night locked in her room, sir; I assure you that she does not speak the truth.”

“I am speaking the truth,” the girl eagerly replied. “I got down by the window; I incited Dominique to fly. It is the truth, the whole truth.”

The old man’s face was very white. He could read in her eyes that she was not lying, and her story terrified him. Ah, those children! those children! how they spoiled everything, with their hearts and their feelings! Then he said angrily:

“She is crazy; do not listen to her. It is a lot of trash she is telling you. Come, let us get through with this business.”

She persisted in her protestations; she kneeled, she raised her clasped hands in supplication. The officer stood tranquilly by and watched the harrowing scene.

“Mon Dieu!” he said at last, “I take your father because the other has escaped me. Bring me back the other man, and your father shall have his liberty.”

She looked at him for a moment with eyes dilated by the horror which his proposal inspired in her.

“It is dreadful,” she murmured. “Where can I look for Dominique now? He is gone; I know nothing beyond that.”

“Well, make your choice between them; him or your father.”

“Oh, my God! how can I choose? Even if I knew where to find Dominique I could not choose. You are breaking my heart. I would rather die at once. Yes, it would be more quickly ended thus. Kill me, I beseech you, kill me——”

The officer finally became weary of this scene of despair and tears. He cried:

“Enough of this! I wish to treat you kindly; I will give you two hours. If your lover is not here within two hours, your father shall pay the penalty that he has incurred.”

And he ordered Father Merlier away to the room that had served as a prison for Dominique. The old man asked for tobacco, and began to smoke. There was no trace of emotion to be descried on his impassive face. Only when he was alone he wept two big tears that coursed slowly down his cheeks. His poor, dear child, what a fearful trial she was enduring!

Françoise remained in the courtyard. Prussian soldiers passed back and forth, laughing. Some of them addressed her with coarse pleasantries which she did not understand. Her gaze was bent upon the door through which her father had disappeared, and with a slow movement she raised her hand to her forehead, as if to keep it from bursting. The officer turned sharply on his heel, and said to her:

“You have two hours. Try to make good use of them.”

She had two hours. The words kept buzzing, buzzing in her ears. Then she went forth mechanically from the courtyard; she walked straight ahead with no definite end. Where was she to go? what was she to do? She did not even endeavour to arrive at any decision, for she felt how utterly useless were her efforts. And yet she would have liked to see Dominique; they could have come to some understanding together, perhaps they might have hit on some plan to extricate them from their difficulties. And so, amid the confusion of her whirling thoughts, she took her way downward to the bank of the Morelle, which she crossed below the dam by means of some stepping-stones which were there. Proceeding onward, still involuntarily, she came to the first willow, at the corner of the meadow, and stooping down, beheld a sight that made her grow deathly pale—a pool of blood. It was the spot. And she followed the track that Dominique had left in the tall grass; it was evident that he had run, for the footsteps that crossed the meadow in a diagonal line were separated from one another by wide intervals. Then, beyond that point, she lost the trace, but thought she had discovered it again in an adjoining field. It led her onward to the border of the forest, where the trail came abruptly to an end.

Though conscious of the futility of the proceeding, Françoise penetrated into the wood. It was a comfort to her to be alone. She sat down for a moment, then, reflecting that time was passing, rose again to her feet. How long was it since she left the mill? Five minutes, or a half-hour? She had lost all idea of time. Perhaps Dominique had sought concealment in a clearing that she knew of, where they had gone together one afternoon and eaten hazelnuts. She directed her steps toward the clearing; she searched it thoroughly. A blackbird flew out, whistling his sweet and melancholy note; that was all. Then she thought that he might have taken refuge in a hollow among the rocks where he went sometimes with his gun, but the spot was untenanted. What use was there in looking for him? She would never find him, and little by little the desire to discover his hiding-place became a passionate longing. She proceeded at a more rapid pace. The idea suddenly took possession of her that he had climbed into a tree, and thenceforth she went along with eyes raised aloft and called him by name every fifteen or twenty steps, so that he might know she was near him. The cuckoos answered her; a breath of air that rustled the leaves made her think that he was there and was coming down to her. Once she even imagined that she saw him; she stopped with a sense of suffocation, with a desire to run away. What was she to say to him? Had she come there to take him back with her and have him shot? Oh! no, she would not mention those things; she would tell him that he must fly, that he must not remain in the neighbourhood. Then she thought of her father awaiting her return, and the reflection caused her most bitter anguish. She sank upon the turf, weeping hot tears, crying aloud:

“My God! My God! why am I here!”

It was a mad thing for her to have come. And as if seized with sudden panic, she ran hither and thither, she sought to make her way out of the forest. Three times she lost her way, and had begun to think she was never to see the mill again, when she came out into a meadow, directly opposite Rocreuse. As soon as she caught sight of the village she stopped. Was she going to return alone?

She was standing there when she heard a voice calling her by name, softly:

“Françoise! Françoise!”

And she beheld Dominique raising his head above the edge of a ditch. Just God! she had found him.

Could it be, then, that Heaven willed his death? She suppressed a cry that rose to her lips, and slipped into the ditch beside him.

“You were looking for me?” he asked.

“Yes,” she replied bewilderedly, scarce knowing what she was saying.

“Ah! what has happened?”

She stammered, with eyes downcast: “Why, nothing; I was anxious, I wanted to see you.”

Thereupon, his fears alleviated, he went on to tell her how it was that he had remained in the vicinity. He was alarmed for them. Those rascally Prussians were not above wreaking their vengeance on women and old men. All had ended well, however, and he added, laughing:

“The wedding will be put off for a week, that’s all.”

He became serious, however, upon noticing that her dejection did not pass away.

“But what is the matter? You are concealing something from me.”

“No, I give you my word I am not. I am tired; I ran all the way here.”

He kissed her, saying it was imprudent for them both to talk there any longer, and was about to climb out of the ditch in order to return to the forest. She stopped him; she was trembling violently.

“Listen, Dominique; perhaps it will be as well for you to stay here, after all. There is no one looking for you; you have nothing to fear.”

“Françoise, you are concealing something from me,” he said again.

Again she protested that she was concealing nothing. She only liked to know that he was near her. And there were other reasons still that she gave in stammering accents. Her manner was so strange that no consideration could now have induced him to go away. He believed, moreover, that the French would return presently. Troops had been seen over toward Sauval.

“Ah! let them make haste; let them come as quickly as possible,” she murmured fervently.

At that moment the clock of the church at Rocreuse struck eleven; the strokes reached them, clear and distinct. She arose in terror; it was two hours since she had left the mill.

“Listen,” she said, with feverish rapidity, “should we need you, I will go up to my room and wave my handkerchief from the window.”

And she started off homeward on a run, while Dominique, greatly disturbed in mind, stretched himself at length beside the ditch to watch the mill. Just as she was about to enter the village Françoise encountered an old beggar man, Father Bontemps, who knew every one and everything in that part of the country. He saluted her; he had just seen the miller, he said, surrounded by a crowd of Prussians; then, making numerous signs of the Cross and mumbling some inarticulate words, he went his way.

“The two hours are up,” the officer said when Françoise made her appearance.

Father Merlier was there, seated on the bench beside the well. He was smoking still. The young girl again proffered her supplication kneeling before the officer and weeping. Her wish was to gain time. The hope that she might yet behold the return of the French had been gaining strength in her bosom, and amid her tears and sobs she thought she could distinguish in the distance the cadenced tramp of an advancing army. Oh! if they would but come and deliver them all from their fearful trouble!

“Hear me, sir: grant us an hour, just one little hour. Surely you will not refuse to grant us an hour!”

But the officer was inflexible. He even ordered two men to lay hold of her and take her away, in order that they might proceed undisturbed with the execution of the old man. Then a dreadful conflict took place in Françoise’s heart. She could not allow her father to be murdered in that manner; no, no, she would die in company with Dominique rather; and she was just darting away in the direction of her room in order to signal to her fiancé, when Dominique himself entered the courtyard.

The officer and his soldiers gave a great shout of triumph, but he, as if there had been no soul there but Françoise, walked straight up to her; he was perfectly calm, and his face wore a slight expression of sternness.