Autobiographical fiction; Impressionist artists -- France -- Paris -- Fiction; Paris (France) -- Intellectual life -- Fiction
The sun having shown itself again, some delightful days followed, the
months slipping away amid monotonous felicity. They never knew the date,
they were for ever mixing up the days of the week. Every day, after the
second breakfast, came endless strolls, long walks across the tableland
planted with apple trees, over the grassy country roads, along the banks
of the Seine through the meadows as far as La Roche-Guyon; and there
were still more distant explorations, perfect journeys on the opposite
side of the river, amid the cornfields of Bonnières and Jeufosse. A
person who was obliged to leave the neighbourhood sold them an old boat
for thirty francs, so that they also had the river at their disposal,
and, like savages, became seized with a passion for it, living on its
waters for days together, rowing about, discovering new countries, and
lingering for hours under the willows on the banks, or in little creeks,
dark with shade. Betwixt the eyots scattered along the stream there was
a shifting and mysterious city, a network of passages along which, with
the lower branches of the trees caressingly brushing against them, they
softly glided, alone, as it were, in the world, with the ringdoves and
the kingfishers. He at times had to spring out upon the sand, with bare
legs, to push off the skiff. She bravely plied the oars, bent on forcing
her way against the strongest currents, and exulting in her strength.
And in the evening they ate cabbage soup in the kitchen, laughing at
Mélie’s stupidity, as they had laughed at it the day before; to begin
the morrow just in the same fashion.
Every evening, however, Christine said to Claude:
‘Now, my dear, you must promise me one thing--that you’ll set to work
to-morrow.’
‘Yes, to-morrow; I give you my word.’
‘And you know if you don’t, I shall really get angry this time. Is it I
who prevent you?’
‘You! what an idea. Since I came here to work--dash it all! you’ll see
to-morrow.’
On the morrow they started off again in the skiff; she looked at him
with an embarrassed smile when she saw that he took neither canvas nor
colours. Then she kissed him, laughing, proud of her power, moved by
the constant sacrifice he made to her. And then came fresh affectionate
remonstrances: ‘To-morrow, ah! to-morrow she would tie him to his
easel!’
Public-domain text, read in full here on John Shaqi.
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