CHAPTER XXII.

If a woman has been reading this story, she will probably throw it

aside at this place, with the contemptuous remark that Eusebe is an

absurd rustic, destitute of interest, without heart, and all that,

because the poor youth did not break his glass at the breakfast at

Viroflay, and exclaim,--

“You are three cowards! You insult a woman, a charming creature,

who has done you no wrong, and whom I love. You have lied! You are

unworthy, all three of you, to kiss the toe of her boot. You shall

give me satisfaction!”

I ask pardon of the lady, but there would be no sense in the remark.

If Eusebe had used, with passionate vehemence, all these and other

fine phrases, he would simply have shown himself familiar with the

literature of the Boulevard (yellow-covered literature).

The language of truth and nature no longer exists. Society,

lamentable to say, has adopted the favorite style of the stage. I

know that the theatre professes to copy the world as it is; but

it has exaggerated every thing, under the specious pretext that

the simple truth will not amuse. Swelling words, violent gestures,

absurd mannerisms, empty phrases, and unnatural dialogue are

cherished upon the stage, and thence communicated to society. Life

has become but a transcript of a drama at the “Porte Saint-Martin”

or a poor copy of a comedy at the “Odéon.”

Under the pressure of a great sorrow, the true man is always, no

matter what his temperament, gloomy and bowed down. Speak not of

griefs that are expressed by gesticulations, or of sorrows which

are worked off in loud complaints. They are false and affected.

Our age, which has been called the age of photography, is so

oppressed with mimicry that everybody mourns in the same style for

the father, mother, or brother whom death has removed. Do not break

forth in indignant denial, but strive to recollect. Whoever has

seen one funeral has seen all. The sons weep in the same manner,

wipe away their tears _à la mode_, walk with the same step, and

lean in the same manner upon the same friend of the family. The

husbands have their peculiar mode of grief. The mothers alone weep

without busying themselves with what occurs on the way. Some sob a

little too violently; but this happens only when the lost child was

_not_ the favorite.

I do not wish to be understood as representing that society is so

positively bad,--only that it is governed by conventional comedy.

Nothing is done without an accompaniment of ready-made phrases.

When two men engage in a duel, they salute each other, as it is

done at the theatre. If a husband finds himself the victim of a

deception, he bears himself in the same style and uses the same

language he has seen and heard at the theatre. Do not take your

daughters to the theatre. They will never believe themselves truly

loved unless they are wooed in the style of the actor Lafontaine.

Eusebe had not learned to love, to suffer, and to avenge himself

according to the rules which society has borrowed from the theatre;

and this is why he did not break his glass and indulge in stormy

exclamations at the breakfast given at Viroflay.

Human Follies (La Bêtise Humaine.) · 第 22 / 48 章