speak of their work in the schoolroom, work even more childish seemingly than the games they played, with a gravity essentially puerile; and their words changed in tone, like the lyrics of ancient times when poetry, still hardly differentiated from music, was declaimed upon the different notes of a scale. In spite of which, the girls’ voices already gave a quite clear indication of the attitude that each of these little people had adopted towards life, an attitude so personal that it would be speaking in far too general terms to say of one: «She treats everything as a joke,» of another: «She jumps from assertion to assertion,» of a third: «She lives in a state of expectant hesitation.» The features of our face are hardly more than gestures which force of habit has made permanent. Nature, like the destruction of Pompeii, like the metamorphosis of a nymph into a tree, has arrested us in an accustomed movement. Similarly, our intonations embody our philosophy of life, what a person says to himself about things at any given moment. No doubt these peculiarities were to be found not only in the girls. They were those of their parents. The individual is a part of something that is more generally diffused than himself. By this reckoning, our parents furnish us not only with those habitual gestures which are the outlines of our face and voice, but also with certain mannerisms in speech, certain favourite expressions, which, almost as unconscious as an intonation, almost as profound, indicate likewise a definite point of view towards life. It is quite true, since we are speaking of girls, that there are certain of these expressions which their parents do not hand on to them until they have reached a certain age, as a rule not before they are women. These are kept in reserve. Thus, for instance, if you were to speak of the pictures of one of Elstir’s friends, Andrée, whose hair was still «down», could not yet make use, personally, of the expression which her mother and elder sister employed: «It appears, the man is quite charming!» But that would come in due course, when she was allowed to go to the Palais-Royal. And already, since her first communion, Albertine had begun to say, like a friend of her aunt: «I’m sure I should find that simply terrible!» She had also had given to her, as a little present, the habit of repeating whatever you had just been saying to her, so as to appear to be interested, and to be trying to form an opinion of her own. If you said that an artist’s work was good, or his house nice, «Oh, his work is good, is it?» «Oh, his house is nice, is it?» Last of all, and even more general than the family heritage, was the rich layer imposed by the native province from which they derived their voices and of which indeed their intonations smacked. When Andrée sharply struck a solemn note she could not prevent the Perigordian string of her vocal instrument from giving back a resonant sound quite in harmony, moreover, with the Meridional purity of her features; while to the incessant pranks of Rosemonde the substance of her North-Country face and voice responded, whatever her mood at the time, in the accent of their province. Between that province and the temperament of the little girl who dictated these inflexions, I caught a charming dialogue. A dialogue, not in any sense a discord. It would not have been possible to separate the girl herself and her native place. She was herself; she was still it also. Moreover this reaction of locally procured materials on the genius who utilises them and to whose work their reaction imparts an added freshness, does not make the work any less individual, and whether it be that of an architect, a cabinet-maker or a composer, it reflects no less minutely the most subtle shades of the artist’s personality, because he has been compelled to work in the millstone of Senlis or the red sandstone of Strasbourg, has respected the knots peculiar to the ash-tree, has borne in mind, when writing his score, the resources, the limitations, the volume of sound, the possibilities of flute or alto voice.

All this I realised, and yet we talked so little. Whereas with Mme. de Villeparisis or Saint-Loup I should have displayed by my words a great deal more pleasure than I should actually have felt, for I used always to be worn out when I parted from them; when, on the other hand, I was lying on the grass among all these girls, the plentitude of what I was feeling infinitely outweighed the paucity, the infrequency of our speech, and brimmed over from my immobility and silence in floods of happiness, the waves of which rippled up to die at the feet of these young roses.

For a convalescent who rests all day long in a flower-garden or orchard, a scent of flowers or fruit does not more completely pervade the thousand trifles that compose his idle hours than did for me that colour, that fragrance in search of which my eyes kept straying towards the girls, and the sweetness of which finally became incorporated in me. So it is that grapes grow sugary in sunshine. And by their slow continuity these simple little games had gradually wrought in me also, as in those who do nothing else all day but lie outstretched by the sea, breathing the salt air and growing sunburned, a relaxation, a blissful smile, a vague sense of dizziness that had spread from brain to eyes.

Now and then a pretty attention from one or another of them would stir in me vibrations which dissipated for a time my desire for the rest. Thus one day Albertine had suddenly asked: «Who has a pencil?» Andrée had provided one, Rosemonde the paper; Albertine had warned them: «Now, young ladies, you are not to look at what I write.» After carefully tracing each letter, supporting the paper on her knee, she had passed it to me with: «Take care no one sees.» Whereupon I had unfolded it and read her message, which was: «I love you.»

«But we mustn’t sit here scribbling nonsense,» she cried, turning impetuously, with a sudden gravity of demeanour, to Andrée and Rosemonde, «I ought to shew you the letter I got from Gisèle this morning. What an idiot I am; I’ve had it all this time in my pocket—and you can’t think how important it may be to us.» Gisèle had been moved to copy out for her friend, so that it might be passed on to the others, the essay which she had written in her certificate examination. Albertine’s fears as to the difficulty of the subjects set had been more than justified by the two from which Gisèle had had to choose. The first was: «Sophocles, from the Shades, writes to Racine to console him for the failure of Athalie»; the other: «Suppose that, after the first performance of Esther, Mme. de Sévigné is writing to Mme. de La Fayette to tell her how much she regretted her absence.» Now Gisèle, in an excess of zeal which ought to have touched the examiners’ hearts, had chosen the former, which was also the more difficult of the two subjects, and had handled it with such remarkable skill that she had been given fourteen marks, and had been congratulated by the board. She would have received her «mention» if she had not «dried up» in the Spanish paper. The essay, a copy of which Gisèle had now sent her, was immediately read aloud to us by Albertine, for, having presently to pass the same examination, she was anxious to have an opinion from Andrée, who was by far the cleverest of them all and might be able to give her some good «tips». «She did have a bit of luck!» was Albertine’s comment. «It’s the very subject her French mistress made her swot up while she was here.» The letter from Sophocles to Racine, as drafted by Gisèle, ran as follows: «My dear friend, You must pardon me the liberty of addressing you when I have not the honour of your personal acquaintance, but your latest tragedy, Athalie shews, does it not, that you have made the most thorough study of my own modest works. You have not only put poetry in the mouths of the protagonists, or principal persons of the drama, but you have written other, and, let me tell you without flattery, charming verses for the choruses, a feature which was not too bad, according to all one hears, in Greek Tragedy, but is a complete novelty in France. Nay more, your talent always so fluent, so finished, so winning, so fine, so delicate, has here acquired an energy on which I congratulate you. Athalie, Joad—these are figures which your rival Corneille could have wrought no better. The characters are virile, the plot simple and strong. You have given us a tragedy in which love is not the keynote, and on this I must offer you my sincerest compliments. The most familiar proverbs are not always the truest. I will give you an example:

«This passion treat, which makes the poet’s art
Fly, as on wings, straight to the listener’s heart.»

You have shewn us that the religious sentiment in which your choruses are steeped is no less capable of moving us. The general public may have been puzzled at first, but those who are best qualified to judge must give you your