French fiction -- Translations into English; Paris (France) -- Fiction
Grandpapa was in his office, a little building independent of the main
house, where he passed his days fumbling among boxes and pigeonholes and
great books with green backs, with the rage for bureaucracy due to his
early ignorance and the strong impression made upon him long before by
the office of the notary in his village.
At that moment he was closeted there with his keeper, a sort of country
spy, a paid informer who apprised him as to all that was said and done in
the neighborhood.
He was the master's favorite. His name was Fouinat (polecat), and he had
the flat, crafty, blood-thirsty face appropriate to his name.
When Claire entered, pale and trembling under her furs, the old man
understood that something serious and unusual had happened, and he made a
sign to Fouinat, who disappeared, gliding through the half-open door as
if he were entering the very wall.
"What's the matter, little one? Why, you're all 'perlute'," said the
grandfather, seated behind his huge desk.
Perlute, in the Berrichon dictionary, signifies troubled, excited, upset,
and applied perfectly to Claire's condition. Her rapid walk in the cold
country air, the effort she had made in order to do what she was doing,
imparted an unwonted expression to her face, which was much less reserved
than usual. Without the slightest encouragement on his part, she kissed
him and seated herself in front of the fire, where old stumps, surrounded
by dry moss and pine needles picked up in the paths, were smouldering
with occasional outbursts of life and the hissing of sap. She did not
even take time to shake off the frost that stood in beads on her veil,
but began to speak at once, faithful to her resolution to state the
object of her visit immediately upon entering the room, before she
allowed herself to be intimidated by the atmosphere of fear and respect
which encompassed the grandfather and made of him a sort of awe-inspiring
deity.
She required all her courage not to become confused, not to interrupt her
narrative before that piercing gaze which transfixed her, enlivened from
her first words by a malicious joy, before that savage mouth whose
corners seemed tightly closed by premeditated reticence, obstinacy, a
denial of any sort of sensibility. She went on to the end in one speech,
respectful without humility, concealing her emotion, steadying her voice
by the consciousness of the truth of her story. Really, seeing them thus
face to face, he cold and calm, stretched out in his armchair, with his
hands in the pockets of his gray swansdown waistcoat, she carefully
choosing her words, as if each of them might condemn or absolve her, you
would never have said that it was a child before her grandfather, but an
accused person before an examining magistrate.
Public-domain text, read in full here on John Shaqi.
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