_Circumstances Antecedent to the Main Action_: Hazelton, who cannot
sell his “blond” canvasses, paints “La Guigne Noire,” a study in
dark. He is immediately approved by the public. After three years he
has ceased exposing pictures of his earlier and better manner.
_Initial Incident_: While he is engaged on “Le Mal du Ventre,” he
meets Raoul de Vilmarte, an inferior artist but gentleman of means.
The latter admires the former work, and insists that Hazelton should
claim his position as the apostle of light. Hazelton suggests that
another signature might bring recognition. De Vilmarte lightly offers
his name.
_Steps toward the Dramatic Climax_: He signs a Hazelton picture,
which is immediately accepted and acclaimed. The two artists decide
to keep the secret, as the best way out of what has become an awkward
situation. Hazelton decides to go on with his “darker” method. Some
months later the two men make another bargain--De Vilmarte buys a
painting of Hazelton. The traffic continues, whenever De Vilmarte
needs a picture or Hazelton needs money. (Notice the motivation for
the needs.) Hazelton, having transferred his affection to his second
manner, feels a mad sense of rivalry. On the occasion of the next
exhibition De Vilmarte wins the second medal. Hazelton has only
one picture on the line. Raoul is sorry; Hazelton says the thing
must stop. But now De Vilmarte’s mother urges a private exhibition.
Hazelton bargains once more, but with the statement that one of
the four must die--he, his wife, De Vilmarte, or De Vilmarte’s
mother.--“There is death in our little drama.” De Vilmarte falls in
love; his agony increases. Hazelton paints an unusually fine picture.
Raoul signs it but declares that it is the end; he has defiled
himself too long.
_Dramatic Climax_: The supposed artist receives the Legion of Honor.
Mme. de Vilmarte comments on the resemblance between her son’s “work”
and Hazelton’s, “as though you were two halves of a whole, a day and
night.” Hazelton gives up his thought of exposing De Vilmarte.
_Steps toward the Climax of Action_: The struggle continues;
Hazelton, at intervals, threatens De Vilmarte; the latter plans to
kill Hazelton, then himself. But he decides to wait until his mother
dies. Affairs have reached this state when war breaks out, and France
claims both artists. Hazelton writes to Raoul that he must not fear
for his mother, if he comes to harm. Both are engaged for some time
in fighting.
_Climax of Action_: Wounded, they meet in a hospital. Hazelton learns
that De Vilmarte’s right hand is injured; he dies in an ironic burst
of laughter that Raoul’s luck holds to the end.
The details of plot are presented chronologically, from the
omniscient author’s point of view. Do you see any value in the
author’s exercising omniscience over the mind of first one character
then the other? Would the story gain if she had invaded only Raoul’s
mind? Hazelton’s?
CHARACTERS. In Hazelton, the dominant character, Mrs. Vorse presents an
interesting study of dual personality. She gains the reader’s sympathy
for him chiefly by showing that his better nature, as revealed in his
“first manner,” lacked appreciation from the artistic world. He was,
in a measure, forced to rely upon his “second” or “darker” manner. In
this respect the narrative offers a novel divergence from other stories
of the type. At the same time, the contrasting features in the man’s
physical appearance, in his craftsmanship, and in his behavior toward
De Vilmarte testify to the indubitable presence of light and shade in
his intrinsic make-up.
De Vilmarte is only a foil, but sufficiently vitalized to share,
proportionately, the reader’s interest.
SETTING. Nowhere except in France could the development of events be so
easily compassed. From the salon of the beginning to the hospital at
the close, the setting is an integral part of the story.