Autobiographical fiction; France -- Social life and customs -- 19th century -- Fiction; Villages -- France -- Fiction
Then while the kitchen-maid--who, all unawares, made the superior
qualities of Françoise shine with added lustre, just as Error, by
force of contrast, enhances the triumph of Truth--took in coffee which
(according to Mamma) was nothing more than hot water, and then carried
up to our rooms hot water which was barely tepid, I would be lying
stretched out on my bed, a book in my hand, in my room which trembled
with the effort to defend its frail, transparent coolness against the
afternoon sun, behind its almost closed shutters through which, however,
a reflection of the sunlight had contrived to slip in on its golden
wings, remaining motionless, between glass and woodwork, in a corner,
like a butterfly poised upon a flower. It was hardly light enough for
me to read, and my feeling of the day's brightness and splendour was
derived solely from the blows struck down below, in the Rue de la Cure,
by Camus (whom Françoise had assured that my aunt was not 'resting' and
that he might therefore make a noise), upon some old packing-cases from
which nothing would really be sent flying but the dust, though the din
of them, in the resonant atmosphere that accompanies hot weather, seemed
to scatter broadcast a rain of blood-red stars; and from the flies who
performed for my benefit, in their small concert, as it might be the
chamber music of summer; evoking heat and light quite differently from
an air of human music which, if you happen to have heard it during a
fine summer, will always bring that summer back to your mind, the flies'
music is bound to the season by a closer, a more vital tie--born of
sunny days, and not to be reborn but with them, containing something
of their essential nature, it not merely calls up their image in our
memory, but gives us a guarantee that they do really exist, that they
are close around us, immediately accessible.
This dim freshness of my room was to the broad daylight of the street
what the shadow is to the sunbeam, that is to say, equally luminous,
and presented to my imagination the entire panorama of summer, which
my senses, if I had been out walking, could have tasted and enjoyed in
fragments only; and so was quite in harmony with my state of repose,
which (thanks to the adventures related in my books, which had just
excited it) bore, like a hand reposing motionless in a stream of running
water, the shock and animation of a torrent of activity and life.
But my grandmother, even if the weather, after growing too hot, had
broken, and a storm, or just a shower, had burst over us, would come up
and beg me to go outside. And as I did not wish to leave off my book, I
would go on with it in the garden, under the chestnut-tree, in a little
sentry-box of canvas and matting, in the farthest recesses of which I
used to sit and feel that I was hidden from the eyes of anyone who might
be coming to call upon the family.
Public-domain text, read in full here on John Shaqi.
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