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          <title xml:lang="en" type="main">The Complete Stories</title>
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        <author>Guy de Maupassant</author>
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          <resp>Translated by:</resp>
          <name>Albert M. C. McMaster</name>
          <name>A. E. Henderson</name>
          <name>Mme. Quesada</name>
          <name>et al.</name>
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        <sponsor>Sayahna Foundation</sponsor>
        <funder>River Valley Technologies</funder>
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        <publisher>Sayahna Foundation</publisher>
        <pubPlace>Trivandrum, India</pubPlace>
        <date when="2021">October 18, 2021</date>
        <address>
          <addrLine>JWRA 34, Jagthy</addrLine>
          <addrLine>Trivandrum 695014</addrLine>
          <addrLine>India</addrLine>
        </address>
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          <p>The text of the original item is in the public domain. The text encoding and
editorial notes were created and/or prepared by the Sayahna Foundation and are
licensed under a <ref target="https://creativecommons.org/licenses/by-sa/4.0/">Creative
Commons Attribution By ShareAlike 4.0 International License</ref>  <hi rend="sc">(cc by-sa 4.0)</hi>. Any reuse of the material should credit the
Sayahna Foundation and must be shared under the same terms.</p>
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              <title xml:lang="en" type="main">The Complete Stories</title>
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            <title type="short">maupassant-stories</title>
            <author>Guy de Maupassant</author>
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            <edition>Vol. 8</edition>
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            <date>2004 Jan 1</date>
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          <figDesc>Café-Concert, a painting by <ref target="hhttps://en.wikipedia.org/wiki/Georges_Seurat">Georges
Seurat</ref>  (1859–1891). </figDesc>
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      <div prev="8.13" next="8.15" type="chapter" n="8.14" xml:id="chp.8.14">
        <head type="chaphead">The Spasm</head>
        <div type="lsection">
          <p style="noindent">The hotel guests slowly entered the dining-room and took
their places. The waiters did not hurry themselves, in order to give the late comers
a chance and thus avoid the trouble of bringing in the dishes a second time. The old
bathers, the habitues, whose season was almost over, glanced, gazed toward the
door whenever it opened, to see what new faces might appear.
</p>
          <p style="indent">This is the principal distraction of watering places. People
look forward to the dinner hour in order to inspect each day’s new arrivals, to find
out who they are, what they do, and what they think. We always have a vague
desire to meet pleasant people, to make agreeable acquaintances, perhaps to meet
with a love adventure. In this life of elbowings, unknown strangers assume an
extreme importance. Curiosity is aroused, sympathy is ready to exhibit itself, and
sociability is the order of the day.
</p>
          <p style="indent">We cherish antipathies for a week and friendships for a month;
we see people with different eyes, when we view them through the medium of
acquaintanceship at watering places. We discover in men suddenly, after an hour’s
chat, in the evening after dinner, under the trees in the park where the healing
spring bubbles up, a high intelligence and astonishing merits, and a month
afterward we have completely forgotten these new friends, who were so fascinating
when we first met them.
</p>
          <p style="indent">Permanent and serious ties are also formed here sooner than
anywhere else. People see each other every day; they become acquainted very
quickly, and their affection is tinged with the sweetness and unrestraint of
long-standing intimacies. We cherish in after years the dear and tender memories of
those first hours of friendship, the memory of those first conversations in which a
soul was unveiled, of those first glances which interrogate and respond to questions
and secret thoughts which the mouth has not as yet uttered, the memory of that
first cordial confidence, the memory of that delightful sensation of opening our
hearts to those who seem to open theirs to us in return.
</p>
          <p style="indent">And the melancholy of watering places, the monotony of days
that are all alike, proves hourly an incentive to this heart expansion.
</p>
          <p style="indent">Well, this evening, as on every other evening, we awaited the
appearance of strange faces.
</p>
          <p style="indent">Only two appeared, but they were very remarkable, a man
and a woman– father and daughter. They immediately reminded me of some of
Edgar Poe’s characters; and yet there was about them a charm, the charm
associated with misfortune. I looked upon them as the victims of fate. The man was
very tall and thin, rather stooped, with perfectly white hair, too white for his
comparatively youthful physiognomy; and there was in his bearing and in his person
that austerity peculiar to Protestants. The daughter, who was probably twenty-four
or twenty-five, was small in stature, and was also very thin, very pale, and she had
the air of one who was worn out with utter lassitude. We meet people like this from
time to time, who seem too weak for the tasks and the needs of daily life, too weak
to move about, to walk, to do all that we do every day. She was rather pretty; with
a transparent, spiritual beauty. And she ate with extreme slowness, as if she were
almost incapable of moving her arms.
</p>
          <p style="indent">It must have been she, assuredly, who had come to take the
waters.
</p>
          <p style="indent">They sat facing me, on the opposite side of the table; and I at
once noticed that the father had a very singular, nervous twitching.
</p>
          <p style="indent">Every time he wanted to reach an object, his hand described a
sort of zigzag before it succeeded in reaching what it was in search of, and after a
little while this movement annoyed me so that I turned aside my head in order not
to see it.
</p>
          <p style="indent">I noticed, too, that the young girl, during meals, wore a glove
on her left hand.
</p>
          <p style="indent">After dinner I went for a stroll in the park of the bathing
establishment. This led toward the little Auvergnese station of Chatel- Guyon,
hidden in a gorge at the foot of the high mountain, from which flowed so many
boiling springs, arising from the deep bed of extinct volcanoes. Over yonder, above
our heads, the domes of extinct craters lifted their ragged peaks above the rest in
the long mountain chain. For Chatel-Guyon is situated at the entrance to the land
of mountain domes.
</p>
          <p style="indent">Beyond it stretches out the region of peaks, and, farther on
again the region of precipitous summits.
</p>
          <p style="indent">The “Puy de Dome” is the highest of the domes, the Peak of
Sancy is the loftiest of the peaks, and Cantal is the most precipitous of these
mountain heights.
</p>
          <p style="indent">It was a very warm evening, and I was walking up and down a
shady path, listening to the opening, strains of the Casino band, which was playing
on an elevation overlooking the park.
</p>
          <p style="indent">And I saw the father and the daughter advancing slowly in my
direction. I bowed as one bows to one’s hotel companions at a watering place; and
the man, coming to a sudden halt, said to me:
</p>
          <p style="indent">“Could you not, monsieur, tell us of a nice walk to take, short,
pretty, and not steep; and pardon my troubling you?”
</p>
          <p style="indent">I offered to show them the way toward the valley through
which the little river flowed, a deep valley forming a gorge between two tall, craggy,
wooded slopes.
</p>
          <p style="indent">They gladly accepted my offer.
</p>
          <p style="indent">And we talked, naturally, about the virtue of the waters.
</p>
          <p style="indent">“Oh,” he said, “my daughter has a strange malady, the seat of
which is unknown. She suffers from incomprehensible nervous attacks. At one time
the doctors think she has an attack of heart disease, at another time they imagine it
is some affection of the liver, and at another they declare it to be a disease of the
spine. To-day this protean malady, that assumes a thousand forms and a thousand
modes of attack, is attributed to the stomach, which is the great caldron and
regulator of the body. This is why we have come here. For my part, I am rather
inclined to think it is the nerves. In any case it is very sad.”
</p>
          <p style="indent">Immediately the remembrance of the violent spasmodic
movement of his hand came back to my mind, and I asked him:
</p>
          <p style="indent">“But is this not the result of heredity? Are not your own
nerves somewhat affected?”
</p>
          <p style="indent">He replied calmly:
</p>
          <p style="indent">“Mine? Oh, no-my nerves have always been very steady.”
</p>
          <p style="indent">Then, suddenly, after a pause, he went on:
</p>
          <p style="indent">“Ah! You were alluding to the jerking movement of my hand
every time I try to reach for anything? This arises from a terrible experience which
I had. Just imagine, this daughter of mine was actually buried alive!”
</p>
          <p style="indent">I could only utter, “Ah!” so great were my astonishment and
emotion.
</p>
          <p style="indent">He continued:
</p>
          <p style="indent">“Here is the story. It is simple. Juliette had been subject for
some time to serious attacks of the heart. We believed that she had disease of that
organ, and were prepared for the worst.
</p>
          <p style="indent">“One day she was carried into the house cold, lifeless, dead.
She had fallen down unconscious in the garden. The doctor certified that life was
extinct. I watched by her side for a day and two nights. I laid her with my own
hands in the coffin, which I accompanied to the cemetery, where she was deposited
in the family vault. It is situated in the very heart of Lorraine.
</p>
          <p style="indent">“I wished to have her interred with her jewels, bracelets,
necklaces, rings, all presents which she had received from me, and wearing her first
ball dress.
</p>
          <p style="indent">“You may easily imagine my state of mind when I re-entered
our home. She was the only one I had, for my wife had been dead for many years. I
found my way to my own apartment in a half-distracted condition, utterly
exhausted, and sank into my easy-chair, without the capacity to think or the
strength to move. I was nothing better now than a suffering, vibrating machine, a
human being who had, as it were, been flayed alive; my soul was like an open wound.
</p>
          <p style="indent">“My old valet, Prosper, who had assisted me in placing
Juliette in her coffin, and aided me in preparing her for her last sleep, entered the
room noiselessly, and asked:
</p>
          <p style="indent">“‘Does monsieur want anything?’
</p>
          <p style="indent">“I merely shook my head in reply.
</p>
          <p style="indent">“‘Monsieur is wrong,’ he urged. ‘He will injure his health.
Would monsieur like me to put him to bed?’
</p>
          <p style="indent">“I answered: ‘No, let me alone!’
</p>
          <p style="indent">“And he left the room.
</p>
          <p style="indent">“I know not how many hours slipped away. Oh, what a night,
what a night! It was cold. My fire had died out in the huge grate; and the wind, the
winter wind, an icy wind, a winter hurricane, blew with a regular, sinister noise
against the windows.
</p>
          <p style="indent">“How many hours slipped away? There I was without
sleeping, powerless, crushed, my eyes wide open, my legs stretched out, my body
limp, inanimate, and my mind torpid with despair. Suddenly the great doorbell, the
great bell of the vestibule, rang out.
</p>
          <p style="indent">“I started so that my chair cracked under me. The solemn,
ponderous sound vibrated through the empty country house as through a vault. I
turned round to see what the hour was by the clock. It was just two in the morning.
Who could be coming at such an hour?
</p>
          <p style="indent">“And, abruptly, the bell again rang twice. The servants,
without doubt, were afraid to get up. I took a wax candle and descended the stairs.
I was on the point of asking: ‘Who is there?’
</p>
          <p style="indent">“Then I felt ashamed of my weakness, and I slowly drew back
the heavy bolts. My heart was throbbing wildly. I was frightened. I opened the
door brusquely, and in the darkness I distinguished a white figure, standing erect,
something that resembled an apparition.
</p>
          <p style="indent">“I recoiled petrified with horror, faltering:
</p>
          <p style="indent">“‘Who-who-who are you?’
</p>
          <p style="indent">“A voice replied:
</p>
          <p style="indent">“‘It is I, father.’
</p>
          <p style="indent">“It was my daughter.
</p>
          <p style="indent">“I really thought I must be mad, and I retreated backward
before this advancing spectre. I kept moving away, making a sign with my hand,’ as
if to drive the phantom away, that gesture which you have noticed–that gesture
which has remained with me ever since.
</p>
          <p style="indent">“‘Do not be afraid, papa,’ said the apparition. ‘I was not
dead. Somebody tried to steal my rings and cut one of my fingers; the blood began
to flow, and that restored me to life.’
</p>
          <p style="indent">“And, in fact, I could see that her hand was covered with
blood.
</p>
          <p style="indent">“I fell on my knees, choking with sobs and with a rattling in
my throat.
</p>
          <p style="indent">“Then, when I had somewhat collected my thoughts, though I
was still so bewildered that I scarcely realized the awesome happiness that had
befallen me, I made her go up to my room and sit dawn in my easy-chair; then I
rang excitedly for Prosper to get him to rekindle the fire and to bring some wine,
and to summon assistance.
</p>
          <p style="indent">“The man entered, stared at my daughter, opened his mouth
with a gasp of alarm and stupefaction, and then fell back dead.
</p>
          <p style="indent">“It was he who had opened the vault, who had mutilated and
then abandoned my daughter; for he could not efface the traces of the theft. He had
not even taken the trouble to put back the coffin into its place, feeling sure, besides,
that he would not be suspected by me, as I trusted him absolutely.
</p>
          <p style="indent">“You see, monsieur, that we are very unfortunate people.”
</p>
          <p style="indent">He was silent.
</p>
          <p style="indent">The night had fallen, casting its shadows over the desolate,
mournful vale, and a sort of mysterious fear possessed me at finding myself by the
side of those strange beings, of this young girl who had come back from the tomb,
and this father with his uncanny spasm.
</p>
          <p style="indent">I found it impossible to make any comment on this dreadful
story. I only murmured:
</p>
          <p style="indent">“What a horrible thing!”
</p>
          <p style="indent">Then, after a minute’s silence, I added:
</p>
          <p style="indent">“Let us go indoors. I think it is growing cool.”
</p>
          <p style="indent">And we made our way back to the hotel.
</p>
        </div>
        <!--end of "section 14.0/.14"-->
      </div>
      <!--end of "chapter 8.14/0"-->
      <!--END OF CHAPTER 8.14/0-->
    </body>
    <back>
      <div xml:id="colo">
        <head type="colophon">Colophon</head>
        <p style="hang"><hi rend="bold">Title:</hi>  The Complete
Stories.</p>
        <p style="hang"><hi rend="bold">Author(s):</hi>  Guy de
Maupassant.</p>
        <p style="hang"><hi rend="bold">First publication details:</hi>
 Project Gutenberg; London, United Kingdom; Vol. 8; 2004 Jan 1. </p>
        <p style="hang"><hi rend="bold">Deafult language:</hi>  en,
English.</p>
        <p style="hang"><hi rend="bold">Keywords:</hi>  Short Stories, Guy
de Maupassant, The Complete Stories, Open Access Publishing, English, Sayahna
Foundation, Free Software, TEI XML, PDF, HTML5, TeX.</p>
        <p style="hang"><hi rend="bold">Digital Publisher:</hi>  Sayahna
Foundation; JWRA 34, Jagthy; Trivandrum 695014; India.</p>
        <p style="hang"><hi rend="bold">Date:</hi>  October 18, 2021.</p>
        <p style="hang"><hi rend="bold">Credits:</hi>  The text of the
original item is in the public domain. The text encoding and editorial notes were
created and/or prepared by the Sayahna Foundation and are licensed under a <ref target="https://creativecommons.org/licenses/by-sa/4.0/">Creative
Commons Attribution By ShareAlike 4.0 International License</ref>  <hi rend="sc">(cc by-sa 4.0)</hi>. Any reuse of the material should credit the
Sayahna Foundation and must be shared under the same terms.</p>
        <p style="hang"><hi rend="bold">Cover:</hi>  Café-Concert, a painting
by <ref target="hhttps://en.wikipedia.org/wiki/Georges_Seurat">Georges
Seurat</ref>  (1859–1891). The image is taken from <ref target="https://commons.wikimedia.org">Wikimedia Commons</ref>
 and is gratefully acknowledged.</p>
        <p style="hang"><hi rend="bold">Production history:</hi>  <hi rend="bold">Translated by::</hi>  Albert M. C. McMaster, A. E.
Henderson, Mme. Quesada, et al.; <hi rend="bold">Encoded and
typeset by:</hi>  C. V. Radhakrishnan.</p>
        <p style="hang" xml:id="less" n="1"><hi rend="bold">Production
notes:</hi>  The entire document processing has been done in a computer
running <hi rend="sc">gnu/linux</hi> operating system and TeX and friends.
The <hi rend="sc">pdf</hi> has been generated using XeLaTeX from TeXLive
distribution 2021 using <ref target="https://ithal.io">Ithal</ref>, an online
framework for text formatting. The <ref target="https://tei-c.org"><hi rend="sc">tei</hi></ref>  <hi rend="sc">(p5)</hi> encoded <hi rend="sc">xml</hi> has been generated from the same LaTeX sources using <ref target="https://luatex.org">LuaLaTeX</ref>. <hi rend="sc">html</hi>
version has been generated from the <hi rend="sc">xml</hi> using <hi rend="sc">xslt</hi> stylesheet (en-tei-html.xsl) developed by <ref target="http://cvr.cc">CV Radhakrkishnan</ref> in combination with the free
home edition of <ref target="https://saxonica.com">Saxon processor for <hi rend="sc">xslt</hi> </ref> v. 10.5.</p>
        <p style="hang"><hi rend="bold">Fonts:</hi>  The basefont used in
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        <p style="hang"><hi rend="bold">Web site:</hi>  Maintained by
<ref target="https://rajeeshknambiar.wordpress.com">KV
Rajeesh</ref>.</p>
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