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Putois by Anatole France

Produced by David Widger

PUTOIS

By Anatole France

Translated by William Patten.

Copyright, 1907, by P. F. Collier & Son.

Dedicated to Georges Brandes

I

This garden of our childhood, said Monsieur Bergeret, this garden that one could pace off in twenty steps, was for us a whole world, full of smiles and surprises.

"Lucien, do you recall Putois?" asked Zoe, smiling as usual, the lips pressed, bending over her work.

"Do I recall Putois! Of all the faces I saw as a child that of Putois remains the clearest in my remembrance. All the features of his face and his character are fixed in my mind. He had a pointed cranium..."

"A low forehead," added Mademoiselle Zoe.

And the brother and sister recited alternately, in a monotonous voice, with an odd gravity, the points in a sort of description:

"A low forehead."

"Squinting eyes."

"A shifty glance."

"Crow's-feet at the temples."

"The cheek-bones sharp, red and shining."

"His ears had no rims to them."

"The features were devoid of all expression."

"His hands, which were never still, alone expressed his meaning."

"Thin, somewhat bent, feeble in appearance..."

"In reality he was unusually strong."

"He easily bent a five-franc piece between the first finger and the thumb..."

"Which was enormous."

"His voice was drawling..."

"And his speech mild."

Suddenly Monsieur Bergeret exclaimed: "Zoe! we have forgotten 'Yellow hair and sparse beard.' Let us begin all over again."

Pauline, who had listened with astonishment to this strange recital, asked her father and aunt how they had been able to learn by heart this bit of prose, and why they recited it as if it were a litany.

Monsieur Bergeret gravely answered:

"Pauline, what you have heard is a text, I may say a liturgy, used by the Bergeret family. It should be handed down to you so that it may not perish with your aunt and me. Your grandfather, my daughter, your grandfather, Eloi Bergeret, who was not amused with trifles, thought highly of this bit, principally because of its origin. He called it 'The Anatomy of Putois.' And he used to say that he preferred, in certain respects, the anatomy of Putois to the anatomy of Quaresmeprenant. 'If the description by Xenomanes,' he said, 'is more learned and richer in unusual and choice expressions, the description of Putois greatly surpasses it in clarity and simplicity of style.' He held this opinion because Doctor Ledouble, of Tours, had not yet explained chapters thirty, thirty-one, and thirty-two of the fourth book of Rabelais."


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