grime or broken into black stars. A few steps farther I think I saw the childish shadow of little Antoinette, whose bad eyes they don't seem to be curing; but not being certain enough to go and find her I turn into my court, as I do every evening.

Every evening I find Monsieur Crillon at the door of his shop at the end of the court, where all day long he is fiercely bent upon trivial jobs, and he rises before me like a post. At sight of me the kindly giant nods his big, shaven face, and the square cap on top, his huge nose and vast ears. He taps the leather apron that is hard as a plank. He sweeps me along to the side of the street, sets my back against the porch and says to me, in a low voice, but with heated conviction, "That Pétrarque chap, he's really a bad lot."

He takes off his cap, and while the crescendo nodding of his bristly head seems to brush the night, he adds: "I've mended him his purse. It had become percolated. I've put him a patch on that cost me thirty centimes, and I've resewn the edge with braid, and all the lot. They're expensive, them jobs. Well, when I open my mouth to talk about that matter of his sewing-machine that I'm interested in and that he can't use himself, he becomes congealed."

He recounts to me the mad claims of Trompson in the matter of his new soles, and the conduct of Monsieur Becret, who, though old enough to know better, had taken advantage of his good faith by paying for the repair of his spout with a knife "that would cut anything it sees." He goes on to detail for my benefit all the important matters in his life. Then he says, "I'm not rich, I'm not, but I'm consentious. If I'm a botcher, it's 'cos my father and my grandfather were botchers before me. There's some that's for making a big stir in the world, there are. I don't hold with that idea. What I does, I does."

Suddenly a sonorous tramp persists and repeats itself in the roadway, and a shape of uncertain equilibrium emerges and advances towards us by fits and starts; a shape that clings to itself and is impelled by a force stronger than itself. It is Brisbille, the blacksmith, drunk, as usual.

Espying us, Brisbille utters exclamations. When he has reached us he hesitates, and then, smitten by a sudden idea, he comes to a standstill, his boots clanking on the stones, as if he were a cart. He measures the height of the curb with his eye, but clenches his fists, swallows what he wanted to say, and goes off reeling, with an odor of hatred and wine, and his face slashed with red patches.

"That anarchist!" said Crillon, in disgust; "loathsome notions, now, aren't they? Ah! who'll rid us of him and his alcoholytes?" he adds, as he offers me his hand. "Good-night. I'm always saying to the Town Council, 'You must give 'em clink,' I says, 'that gang of Bolshevists, for the slightest infractionment of the laws against drunkenness.' Yes, indeed! There's that Jean Latrouille in the Town Council, eh? They talk about keeping order, but as soon as it's a question of a-doing of it, they seem like a cold draught."

The good fellow is angry. He raises his great fist and shakes it in space like a medieval mace. Pointing where Brisbille has just plunged floundering into the night, he says, "That's what Socialists are,—the conquering people what can't stand up on their legs! I may be a botcher in life, but I'm for peace and order. Good-night, good-night. Is she well, Aunt Josephine? I'm for tranquillity and liberty and order. That's why I've always kept clear of their crowd. A bit since, I saw her trotting past, as vivacious as a young girl,—but there, I talk and I talk!"

He enters his shop, but turns on his heel and calls me back, with a mysterious sign. "You know they've all arrived up yonder at the castle?" Respect has subdued his voice; a vision is absorbing him of the lords and ladies of the manor, and as he leaves me he bows, instinctively.

His shop is a narrow glass cage, which is added to our house, like a family relation. Within I can just make out the strong, plebeian framework of Crillon himself, upright beside a serrated heap of ruins, over which a candle is enthroned. The light which falls on his accumulated tools and on those hanging from the wall makes a decoration obscurely golden around the picture of this wise man; this soul all innocent of envious demands, turning again to his botching, as his father and grandfather botched.

I have mounted the steps and pushed our door; the gray door, whose only relief is the key. The door goes in grumblingly, and makes way for me into the dark passage, which was formerly paved, though now the traffic of soles has kneaded it with earth, and changed it into a footpath. My forehead strikes the lamp, which is hooked on the wall; it is out, oozing oil, and it stinks. One never sees that lamp, and always bangs it.

And though I had hurried so—I don't know why—to get home, at this moment of arrival I slow down. Every evening I have the same small and dull disillusion.

I go into the room which serves us as kitchen and dining-room, where my aunt is lying. This room is buried in almost complete darkness.

"Good evening, Mame."

A sigh, and then a sob arise from the bed crammed against the pale celestial squares of the window.

Then I remember that there was a scene between my old aunt and me after our early morning coffee. Thus it is two or three times a week. This time it was about a dirty window-pane, and on this particular morning, exasperated by the continuous gush of her reproaches, I flung an offensive word, and banged the door as I went off to work. So Mame has had to weep all the day. She has fostered and ruminated her spleen, and sniffed up her tears, even while busy with household duties. Then, as the day declined, she put out the lamp and went to bed, with the object of sustaining and displaying her chagrin.

When I came in she was in the act of peeling invisible potatoes; there are potatoes scattered over the floor, everywhere. My feet kick them and send them rolling heavily among odds and ends of utensils and a soft deposit of garments that are lying about. As soon as I am there my aunt overflows with noisy tears.

Not daring to speak again, I sit down in my usual corner.

Over the bed I can make out a pointed shape, like a mounted picture, silhouetted against the curtains, which slightly blacken the window. It is as though the quilt were lifted from underneath by a stick, for my Aunt Josephine is leanness itself.

Gradually she raises her voice and begins to lament. "You've no feelings, no—you're heartless,—that dreadful word you said to me,—you said, 'You and your jawing!' Ah! people don't know what I have to put up with—ill-natured—cart-horse!"

In silence I hear the tear-streaming words that fall and founder in the dark room from that obscure blot on the pillow which is her face.

I stand up. I sit down again. I risk saying, "Come now, come; that's all done with."

She cries: "Done with? Ah! it will never be done with!"

With the sheet that night is begriming she muzzles herself, and hides her face. She shakes her head to left and to right, violently, so as to wipe her eyes and signify dissent at the same time.

"Never! A word like that you said to me breaks the heart forever. But I must get up and get you something to eat. You must eat. I brought you up when you were a little one,"—her voice capsizes—"I've given up all for you, and you treat me as if I were an adventuress."

I hear the sound of her skinny feet as she plants them successively on the floor, like two boxes. She is seeking her things, scattered over the bed or