French fiction -- 20th century -- Translations into English
There came a time when she ceased to be deceived or provoked any longer,
especially at the rare moments when a vague suspicion warned her that
Marc was obstinately posing. Then, nervously and violently--we ask
modern pedagogues to forgive us--she spanked him. Truly she was going
against all good principles and affronting the dignity of her child!
From the point of view of an Anglo-Saxon, poor Annette dishonored
herself forever. But we old French people don't go quite so far as that.
_Qui bene amat_. . . . The maxim still flourishes in bourgeois families
that have preserved some tincture of Latin. We have all been "well
loved." And at bottom we believe, three-quarters of the time, like
Annette's boy, that we are getting more than our deserts. But it is also
true that if, like him, we continue to love those who spank us, the
spanking results in their losing a little of their prestige. Let us
admit that perhaps it is for this reason that we--Marc and we--provoke
them!
He had a fine time afterwards playing the part of the outraged victim.
And Annette reproached herself for abusing her power. She felt that she
was at fault. She would try to find a way back into his good graces. He
would wait for her to come to him. . . .
The triumph of weakness! It is a weapon that women are expert in
handling. But the most feminine of the two in this case was the child.
This young morsel of flesh, still all bathed in the maternal milk, was
more than half feminine, and it had all the wiles and tricks of a girl.
Annette was disarmed. Beside the little rogue she was the strong sex.
The stupid strong sex, which is ashamed of its strength and tries to win
forgiveness for itself. The contest was not equal. The child made a fool
of her.
XXV
But he was no artful comedian amusing himself. Like his grandfather, he
had more than one nature. Very few had been able to see what lay hidden
beneath the mocking mask of old Rivière, the drama concealed by that
jesting cynicism, that appetite for play-acting which is sometimes
characteristic of conquering spirits. Raoul had had his dark depths
which he never revealed. They exist more often than one might suppose
under the Gallic laugh. One keeps them to oneself. Annette, who had her
own secrets, had never told them to her father, and his secrets she had
known no more than she knew those of her son. They all remained walled
up in their own inner lives. A strange reserve. People blush less at
exposing their vices and their appetites--Raoul had fairly paraded
his--than the tragedy of the soul.
Public-domain text, read in full here on John Shaqi.
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