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La Mare au Diable (The Devil’s Pool) by George Sand (Summary, Chapters 11-17)

13 Thursday Jun 2019

Posted by Lisa Hill in Bibliotheque Nelson, French, Lisa Hill (ANZ LitLovers), Summaries and Reviews

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George Sand, La Mare au Diable (The Devil's Pool), Summary

La Mare du Diable 001

This is the third instalment of my summary of La Mare au Diable (The Devil’s Pool) by George Sand. It covers Chapters V1-X of the 1947 French edition; see here for a summary of Chapters I-V, and here for a summary of Chapters V1-X.

Chapter XI A La Belle Étoile (A Beautiful Star)

In this chapter Germain declares his desire to take Marie as his wife.  Marie’s teeth are chattering and she is trembling with the cold, and when he takes her hands in his to warm them up, he is overcome by his senses and asks her to consider being his wife, despite her intention to marry someone younger.  In the original French, this is signalled by his use of the familiar ‘tu’ instead of ‘vous’, but Marie continues to use the formal ‘vous’; when Marie rejects his earnest pleading, he reverts to the formal ‘vous’, a distinction which is lost in translation.

—Si vous m’aimiez un peu, vous ne verriez pas si clairement mes défauts.  Mais vous n’aimez pas, voilà!

—Eh bien! ce n’est pas ma faute, répondit-elle, un peu blesse de ce qu’il ne la tutoyait plus… (p.142, underlining mine)

—If you loved me a little, you would not see my faults so clearly.  But you don’t love me, you see!

—Well, that’s not my fault, she replied, a little wounded that he no longer used the intimate form of address.

The conversation falters: Germain holds his head in his hands cursing his lot and wishing he were dead, while Marie, too astonished to sleep, tends the fire.  When dawn breaks, he is too discouraged to ask how she is, though he knows she hasn’t slept.  He gathers their belongings, takes Petit Pierre in his arms, and asks if Marie still wants him to escort her to Ormeaux?

No, she does not, and this wounds him further. They set off and a passing wood-cutter sets them on the right route to got their separate ways, but also tells him that Grise is in his yard. Germain decides to retrieve the horse first. Marie offers to clean up Petit Pierre and look after him at Ormeaux until Germain is ready to present him to the woman at Fourche.  Somewhat bitterly, Germain scorns the idea that having declared himself to Marie, he should then pay advances to another women, but again, in the French original, he has reverted to the intimate ‘tu’. (She maintains the formal address). Marie tells him that it was just an idea that came to him in the night when his spirits were un peu dérangé (a little deranged).  She reminds him about the expectations that his father-in-law has of him and says she’ll take Petit-Pierre to force him to go to Fourche, and Germain’s parting words to his son are that he should persuade Marie to become his mother because they both want that.

Ch Xii ‘La Lionne du Village’ (‘The Village Lioness’)

Having tidied himself and his horse, Germain receives a hearty welcome from his prospective new father-in-law, but is disconcerted to find that there are three other suitors who’ve been paying court to the widow for two years. Two of these rustics are no competition, but there is a younger one though he is just as stupid as they are.  The Widow Guérin herself, was handsome enough but a bit smug.  Her frivolous style of dressing does not appeal to him at all, but that’s because he is determined to find fault with her.

Cette recherche d’habillement et ces manières dégagées la lui firent trouver vieille et laide, quoiqu’elle ne fût ni l’un ni l’autre.

This style of clothing and her free and easy manners made her seem old and ugly, though she was neither.

Germain is mortified when his gloomy manner is ascribed to him being love and anxious about the competition, and when they all set off for Mass together, he keeps aloof while the widow flirts with the other three.

Ch XIII ‘Le Maître’ (‘The Master’)

At the church Germain refuses to give the woman the satisfaction of parading in with all four suitors, and instead churlishly talks with others that he knows and enters by a different door. He then refuses to dance with her afterwards, saying that he has not danced with anyone since losing his wife, and when Père Leonard remarks that mourning is over once you’re looking for a new wife, Germain says he’s too old for it now anyway.

And in response to Père Leonard’s pep talk about how he should put his pride in his pocket and woo the widow by coming to dance with her each week, Germain tells him that actually he’s not a suitor, he’s there to buy two of the cattle.  (This is partly true, and Germain figures his father will be less cross with him if he comes back with oxen that he’d wanted to buy.)

But on his way to inspect the cattle, he decides to call in at Ormeaux.  He’s given up on his hopes for Marie, but he wants to see Petit-Pierre.  To his dismay, they are not there.  They were, but left in a hurry.  They’d gone looking for Germain at Fourche and not found him there, and the household servants had turned them away as beggars, reinforcing Germain’s scorn for rich people and their lack of kindness.   Germain becomes frantic when a gossipy farmer tells him that the farmer from Ormeaux is in pursuit of Marie, and c’est un gaillard endiablé pour courir après les filles. (He’s a devilish fellow for running after the girls).

Ch XIV ‘La Vielle’ (‘The Old Woman’)

Germain soon finds himself back beside the pool where he had spent the night with Marie and Petit-Pierre.  There’s a superstitious old woman there, who tells him the name: It’s the Devil’s Pool and one must always approach it first by throwing three stones from the left hand and then making the sign of the Cross with the right.  That drives away the evil spirits. Germain isn’t interested in her nonsense, he asks if she’s seen a girl with a child.

The old woman shocks Germain by telling him that a child drowned there, but then goes on to say it was a long time ago. But his confidence is shaken when she tells him that if anyone has the misfortune to stay there at night, they have no hope of leaving there before dawn, no matter how many leagues they might walk. (This is what happened to Germain and Marie in Chapter X, see here).

Anyway, Germain sets off in search of Petit Pierre, but finds no one until a farmer turns up on his horse.  Germain suspects that this is the farmer from Ormeaux, but restrains himself while the farmer tells him that he is in search of his shepherdess who left without taking her money when he decided she wasn’t strong enough for the work.

Germain half believes this, until he sees Petit Pierre hiding under a bush, and the child comes out, terrified of the farmer.  Marie emerges too, and runs into Germain’s arms.  Her clothing is torn and she’s very pale, but #CodeForHerVirtueStillIntact she has no trace of shame on her face.

The farmer, alarmed that she might tell others what he tried to do, tries to bribe her, but she throws his gold coins in his face, and Germain unhorses him and knocks him down. The farmer tries to make a joke of it, but Germain warns him of the reception he’d get if he showed his face in their town, and storms off, taking Petit Pierre by one hand and Marie by the other.

Ch XV ‘Le Retour a La Ferme’ (‘The Return to the Farm’)

As they make their way home, Petit Pierre recounts his version of what had happened at Fourche and Ormeaux though he’s careful to say that he has forgotten exactly what That Bad Man said to Marie.  But he says he will tell Germain if he really wants to know!

At the farm, Germain explains as best he can, and though his in-laws are disappointed, they agree that he could not have acted otherwise and that it must have been God’s Will. Germain, meanwhile, says nothing further to Marie, and dares not ask his father-in-law if he can hire her to look after the children.  He knows this means poverty for Marie and her mother, but all he can do is surreptitiously maintain their stocks of firewood and leave sacks of wheat and potatoes in their barn.  And though Marie suspects the source of these magical gifts, they keep quiet about this because her mother thinks that people will think she’s a witch.

Ch XVI ‘La Mère Maurice’ (‘Mother Maurice’)

Germain continues to mope, and one day Mother Maurice taxes him with getting a wife who can help lift his mood.  But the one he wants won’t have him, he says, and Mother Maurice (a bit shocked when he reveals that it’s Marie) undertakes to see what she can do.

Ch XVII ‘La Petite Marie’ (‘Little Marie’)

On Sunday after Mass, Mother Maurice challenges him again to speak to Marie, and because he has the permission of his in-laws, he finally does it.  There is a touching scene in which he pleads his case while she is turned away from him, and he is trembling with emotion too, so he doesn’t realise until the last few lines that she has changed mind and loves him after all.

And that doesn’t just make Germain happy, but Petit Pierre is happy too!


In this edition there is also an Appendix which is apparently about the marriage customs in France during this era, but I haven’t read it yet…

Author: George Sand
Title: La Mare au Diable (The Devil’s Pool)
Publisher: Nelson, Paris, London, Edinburgh & New York, 1947, first published 1846, 282 pages (A6)
ISBN: none
Source: gift of Bill Holloway from The Australian Legend.

La Mare au Diable (The Devil’s Pool) by George Sand (Summary, Chapters 6-10)

12 Wednesday Jun 2019

Posted by Lisa Hill in Bibliotheque Nelson, French, Lisa Hill (ANZ LitLovers), Summaries and Reviews

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George Sand, La Mare au Diable (The Devil's Pool), Summary

La Mare du Diable 001

This is the second instalment of my summary of La Mare au Diable (The Devil’s Pool) by George Sand. It covers Chapters V1-X of the 1947 French edition; see here for a summary of Chapters I-V.

Chapter VI: ‘Petit Pierre’ (‘Little Peter’)

The chapter begins with an image of Grise, the horse pictured on the cover, galloping away as her mother la vieille Grise (Old Grise) tries and fails to follow her on her journey.  [This image clearly symbolises Old Mother Guillette’s anxiety and distress about the departure of her daughter.]

At the sight of this, Germain remembers that he didn’t kiss Petit Pierre goodbye before leaving.  He tells Marie that Petit Pierre was very distressed the night before and had cried for an hour in his bed.  But when it was time to leave in the morning, the boy was nowhere to be found.  Marie asks Germain why he didn’t bring the child along too, and Germain repeats his father-in-law’s advice that it would be best not to show his potential new wife the burdens she would have to take on.  Marie is just remonstrating that his children are so lovely that no one could reject them when they see (as per the cover illustration) Petit Pierre asleep under a bush.  There follows a scene in which Petit Pierre uses all his manipulative wiles to wangle his way into accompanying his father.  Germain rues that he did not previously hire Marie to care for his children and she offers to do it if it turns out that his new wife doesn’t like children.

Il ne faut pas voir comme ça les choses par le mauvais côté, répondit la petite Marie, en tenant la bride du cheval pendant que germain plaçait son fils sur le devant du large bât garni de peau de chèvre: si votre femme n’aime pas les enfants, vous me prendrez à votre service l’an prochain, et, soyez tranquille, je les amuserai si bien qu’ils ne s’apercevront de rien. (p.83, underlining mine)

You shouldn’t look at things from the dark side, replied little Marie, holding the horse’s bridle while Germain placed his son at the front of the broad goatskin pack-saddle; if your wife doesn’t like children, you can take me into your service next year, and, relax, I will amuse them so well that they won’t notice anything.

And even though in the original French text Sand has been careful for these two to address each other using the formal ‘vous’ rather than the more intimate ‘tu’—the reader, watching closely, can see where Marie’s tenderness towards Germain’s children, is going to lead…

Chapter VII: ‘Dans La Lande’ (‘On the Moor’)

Having arranged to send a message to Maurice that Petit Pierre was with them, the trio set off again. But before long Petit Pierre is hungry, and so they stop at Mère Rebec’s wine-shop.  Marie claims that she is too sad to eat, but Germain reminds her that she had earlier given her bread to Petit Pierre, and so they have a meal of omelette, bread and wine and it takes the best part of an hour.  This delay makes them late, and it is getting dark when Germain loses his way.  He thinks they are bewitched:

Je crois que nous sommes ensorcelés, dit Germain en s’arrêtant, car ces bois ne sont pas assez grands pour qu’on s’y perde, à moins d’être ivre, et il y a deux heures au moins que nous y tournons sans pouvoir en sortir. (p.92-3)

I believe we are bewitched, said Germain as he stopped, because these woods aren’t big enough to get lost in, unless a man is drunk, and yet we’ve been riding about for two hours without getting out of them.

They dismount and try walking instead so that they can see the way better, but Grise is fed up and breaks away, so with the perils of a ditch and a pond somewhere about,  Germain decides that the best thing to do is stay put and wait till the mist rises.  Then they can look for a house…

Ch VIII ‘Sous Les Grandes Chênes’ (‘Under the Great Oak Trees’)

Marie proves herself a very capable young lady in this chapter.  She takes Germain to task for being so pessimistic, organises a bed for the sleeping child and a fire to keep them warm; and she cooks Germain’s gift for his potential new father-in-law—some partridges and a hare.  They were in his saddlebag (which was thrown off, fortuitously, by Grise as she bolted), and Marie supplements them with some chestnuts that she had (fortuitously) gathered along the way.  Germain is very impressed by her ingenuity and skills, notes that she wouldn’t cost much to keep since (unused to eating four meals a day like he is) she eats barely a morsel, and thinks that she will make a very good wife one day.

But like the respectable young lady she is, Marie doesn’t notice the turn that Germain’s thoughts are taking, and just as he begins to discuss her marriage prospects, Petit Pierre (fortuitously) wakes up.

Ch IX ‘La Prière du Soir’ (‘The Evening Prayer’)

A cannon-shot, apparently, wouldn’t wake Pierre, but the sound of anyone eating certainly does, and he soon tucks into the meal, Marie still staunchly claiming that she’s not hungry.

[It’s my recollection that a lot of fiction in this era portrays women and girls as too ladylike to have a hearty appetite, see R.D. Blackmore’s Lorna Doone (1869), for example, nibbling so delicately that it’s not possible to see that she’s eating at all.]

Once properly awake, Petit Pierre remembers the wolves his father had said were in the forest, but Marie cleverly reassures him, impressing Germain with the way she knows just what to say to children. It’s because she’s so young herself and remembers her own mother’s reassurances, says Germain, cursing the 30-year-old woman he’s supposed to marry because she won’t know how to be a mother to his children.

This reminds Petit-Pierre that he should say his prayer for his mother, and he does so at Marie’s breast, eventually nodding off… only to wake briefly and say:

Mon petit père, dit-il, si tu veux me donner une autre mère, je veux que ce soit la petite Marie.

Et, sans attendre de réponse, il ferma les yeux et s’endormit.

Dear father, said he, if you want to give me another mother, I want it to be Little Marie.

And without waiting for an answer, he closed his eyes and fell asleep.

Ch X ‘Malgré Le Froid’ (‘Despite the Cold’)

Marie pays no attention to the child’s strange words, and tells Germain to get some sleep while she watches over them both.  He can’t sleep, he tells her, he has 50 ideas in his head, and she mocks him a little.  She thinks he has only one idea: before, it was the idea of eating, and now it’s the idea of sleeping. He’s a bit offended, and she ticks him off for being such a worrier, not showing much courage for a man, and certainly not as much courage as she has in dealing with her own grief.

He talks about her likely fate among strangers, and again she ticks him off for this pessimistic forecast: he should be optimistic for her sake, she thinks. He leads her onto the idea of marriage as an escape route, and is dismayed to find that when she’s saved up enough money, she wants a young man, not someone his age.

Un vieux, sans doute; mais, par exemple, un homme de mon âge?

Votre âge est vieux pour moi, Germain; j’aimerais l’âge de Bastien, quoique Bastien ne soit pas si joli homme que vous.

Tu aimerais mieux Bastien le porcher? dit Germain avec humeur.  Un garçon qui a les yeux faits comme les bêtes qu’il mène?

An old man,  of course not, but, for example, a man of my age?

Your age is old for me, Germain.  I would like someone of Bastien’s age, though he is not as good-looking as you are.

You would prefer Bastien the swineherd? said Germain moodily.  A boy who has eyes like the beasts he tends?

Bastien is 18, you see…

However, she goes on to say, he’s not very bright and he’s not very clean, but when Germain presses her on this, she asks Qu’est-ce que ça fait? (What’s it got to do with you?) It’s just as well that she doesn’t hear his intemperate words in response because she’s fallen asleep, just like a child…

But Germain can’t sleep.  He wanders about in circles, almost falling over the sleeping pair in the dark, and when Marie wakes, they set off in hope of finding a house because Germain knows it will only get colder as dawn approaches.  Germain takes Marie in under his cloak, (because hers is around the still sleeping Petit Pierre), and he struggles to keep his feelings under control.

But after two hours, they find themselves back where they were.


On to XI A La Belle Étoile (A Beautiful Star) in the next instalment…

Author: George Sand
Title: La Mare au Diable (The Devil’s Pool)
Publisher: Nelson, Paris, London, Edinburgh & New York, 1947, first published 1846, 282 pages (A6)
ISBN: none
Source: gift of Bill Holloway from The Australian Legend.

La Mare au Diable (The Devil’s Pool) by George Sand (Summary, Chapters 1-5)

11 Tuesday Jun 2019

Posted by Lisa Hill in Bibliotheque Nelson, French, Lisa Hill (ANZ LitLovers), Summaries and Reviews

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George Sand, La Mare au Diable (The Devil's Pool), Summary

La Mare du Diable 001I’ve been slowly reading this 1947 French edition of La Mare au Diable for a while, but I’ve now decided to start summarising each chapter here as I read it…

The book begins with a ‘Notice’, narrated in first person, and dated 12 April 1851.  In it, she says that when she began writing this story, as part of a series of rustic tales called Veillées du Chanvreur (Evenings with Hemp-workers), she had no ambition to write anything revolutionary.  Stories of country life have been around for ever, and like many others which celebrate the simple life, she merely intended to write a story about such a life. Critics searching for greater meaning than that are mistaken.

Holbein's Ploughman

The Ploughman, engraving by Hans Holbein (1538) Source: Clip Art Etc

Sand was inspired by an engraving of a ploughman by Holbein, she says, and I think it’s this one,  from his 1538 series ‘Danse Macabre’ (‘The Dance of Death’) in which Death is hastening along beside the exhausted ploughman as he tills the barren soil that stretches before him.  In the ensuing ‘L’Auteur au Lecteur’ (‘Note to the Reader’), she quotes an old French quatrain, and explains that in all of Holbein’s series, Death is a fearsome spectre, except for just one image: Lazarus, the poor man who does not fear Death because life is so burdensome.

A la sueur de ton visaige
Tu gagnerois ta pauvre vie,
Après long travail et usaige,
Voicy la mort qui te convie.

By the sweat of your brow
You earn your poor living
After long years of exploitation
Here is your invitation to death.

Sand rejects Holbein’s vision: for him, there was divine retribution for rich sinners and consolation for the misery of a poor life, but Sand wants to celebrate life because she believes that God blessed it. As an artist working in another form, she doesn’t want to depict poverty as ugly, vicious and criminal. The novelist has a more poetic task. She wants to make her subject lovable, and perhaps flatter him if necessary to achieve it.

II ‘Le Labour’ (‘The Ploughing’)

After musing further on the contrast between the common images of labour in the fields and what can actually be seen there, the narrator, walking in the countryside, sees an old man, steadily ploughing his team of two placid oxen, while at the far end a younger man with a team of four is guiding a spirited team of four over stony ground.  His task is harder because his oxen are not yet used to the yoke, but he has youth on his side. He is accompanied by a beautiful young child of six or seven, (beau comme un ange) who is doing his best to goad the beasts but is hampered by the sweetness of his young voice. It is a scene of hard work but also contentment, in marked contrast to Holbein’s scene of despair.  The narrator acknowledges that the peasant lacks sophistication and high intelligence, but she cautions against patronising him, because she knows Germain, and she knows his story…and she will rescue it from oblivion.

III ‘Le Père Maurice’ (Father Maurice)

Maurice tells his son-in-law Germain that he needs to remarry: his three children Petit-Pierre (7), Solange and Sylvain (not yet 4) have been cared for by their grandparents, but they’re a handful and a burden.  Not only that, but the grandparents will soon have another one to look after because their daughter-in-law is about to give birth, and she won’t be able to look after her other child while she’s lying-in. Germain’s children must be watched because of the accidents that could easily happen, so it’s time he took a second wife.

Germain is still grieving for the death of his wife Catherine (Maurice’s daughter): he says it’s not part of the bargain that he should forget her if he were unlucky enough to lose her. She was a wonderful woman:

J’avais une brave femme, une belle femme, douce, courageuse, bonne à ses père et mère, bonne à sa mari, bonne à ses enfants, bonne au travail, aux champs comme à la maison, adroite à l’ouvrage, bonne à tout enfin.

I had a valiant wife, a beautiful wife, sweet, courageous, good to her father and mother, good to her husband, good to her children, as good at work in the fields as in the house, clever at her work, good at everything.

Maurice acknowledges his loss, a grief which he shares.  But he’s not telling Germain to forget her.  He says that if Catherine could speak, she would tell him that the children need a mother.  It will be hard to find someone worthy of her, but when they do, Germain will love her as he loved their daughter, because he is an honest man.

Germain acquiesces, and Maurice goes on to advise against a young wife because youth is fickle and three children are a burden.  He should have a wife about the same age as he is, and willing to accept her duty.  And, rejecting Germain’s suggestions of local women as either too young or too poor, Maurice recommends a widow without children of her own, pretty enough to bear attractive children, and preferably with some property of her own.  Neither of them know of such a perfect woman in their own village.

IV ‘Germain Le Fin Labourer’ (Germain, The Astute Ploughman’)

What Maurice has in mind is a woman (also called Catherine) who lives in the village of Fourche. It turns out that he has already made overtures and established that she is good-hearted, good-looking enough when she was younger though she’s 32 now, and (importantly) she has land she could sell. Because he’s a simple fellow, Germain is a bit taken aback by his father-in-law’s preoccupation with money, but Maurice says so much the better if Germain has a wife with brains. Maurice is a little worried that after he dies, there may be trouble between Germain and his son, but Germain reassures him that he would never make a claim on Jacques’ inheritance.

Maurice reminds him that things do not always turn out as expected, and also he needs to be mindful that any children he has with a second wife could have no claim on his first wife’s inheritance. So she needs to have some property of her own.

Still reluctant about the whole idea, Germain tries to stall with claims of too much work to do, but Maurice insists and Germain caves in, musing on his grief but not strong enough to argue against Maurice’s rather cold-blooded plans.

V. ‘La Guillette’ (‘Mother Guillette’)

That night, Old Mother Guillette calls on Maurice, her neighbour, to borrow some embers for the fire. She’s interested to hear the news about Germain, and when she hears that he is going to Fourche, she asks if he could escort her only daughter Marie to nearby Ormeaux.  They are very hard up because their farm isn’t big enough to support them both, so, aged 16, Marie is going away to work as a shepherdess.

Maurice readily agrees, but the narrator sounds a note of caution.  More sophisticated folk would balk at the idea of a 28-year-old man being entrusted with the care of a 16 year-old girl, but in this simple rustic world, Germain wouldn’t dream of corrupting her chastity.  Maurice and his family are held in high regard, and since Germain is going in search of a wife, it doesn’t enter anyone’s head that he could take advantage of her.


On to VI ‘Petit-Pierre’ (‘Little Peter’) in the next instalment…

Author: George Sand
Title: La Mare au Diable (The Devil’s Pool)
Publisher: Nelson, Paris, London, Edinburgh & New York, 1947, first published 1846, 282 pages (A6)
ISBN: none
Source: gift of Bill Holloway from The Australian Legend.

La Mare au Diable (The Devil’s Pool) cover images

12 Tuesday Sep 2017

Posted by Lisa Hill in Bibliotheque Nelson, Book cover art work, Contributor, Images, Lisa Hill (ANZ LitLovers)

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George Sand, La Mare au Diable (The Devil's Pool)

La Mare au Diable (translated as The Devil’s Pool or The Haunted Pool, was published in 1846.   This French edition was published by Bibliothèque Neson, Paris, 1947.

Available translations in English appear to be public domain versions.

For images of other book cover art work, visit the Images page in the top menu.

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