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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>
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        <publisher>Sayahna Foundation</publisher>
        <pubPlace>Trivandrum, India</pubPlace>
        <date when="2021">October 18, 2021</date>
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          <addrLine>Trivandrum 695014</addrLine>
          <addrLine>India</addrLine>
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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
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          <figDesc>Two Women in the Forest, a painting by <ref target="hhttps://en.wikipedia.org/wiki/Vincent_van_Gogh">Vincent van
Gogh</ref>  (1853–1890). </figDesc>
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      <div prev="9.10" next="9.12" type="chapter" n="9.11" xml:id="chp.9.11">
        <head type="chaphead">The Love of Long Ago</head>
        <div type="lsection">
          <p style="noindent">The old-fashioned chateau was built on a wooded knoll in
the midst of tall trees with dark-green foliage; the park extended to a great
distance, in one direction to the edge of the forest, in another to the distant country.
A few yards from the front of the house was a huge stone basin with marble ladies
taking a bath; other, basins were seen at intervals down to the foot of the slope, and
a stream of water fell in cascades from one basin to another.
</p>
          <p style="indent">From the manor house, which preserved the grace of a
superannuated coquette, down to the grottos incrusted with shell-work, where
slumbered the loves of a bygone age, everything in this antique demesne had
retained the physiognomy of former days. Everything seemed to speak still of
ancient customs, of the manners of long ago, of former gallantries, and of the
elegant trivialities so dear to our grandmothers.
</p>
          <p style="indent">In a parlor in the style of Louis XV, whose walls were covered
with shepherds paying court to shepherdesses, beautiful ladies in hoop-skirts, and
gallant gentlemen in wigs, a very old woman, who seemed dead as soon as she
ceased to move, was almost lying down in a large easy-chair, at each side of which
hung a thin, mummy-like hand.
</p>
          <p style="indent">Her dim eyes were gazing dreamily toward the distant horizon
as if they sought to follow through the park the visions of her youth. Through the
open window every now and then came a breath of air laden with the odor of grass
and the perfume of flowers. It made her white locks flutter around her wrinkled
forehead and old memories float through her brain.
</p>
          <p style="indent">Beside her, on a tapestried stool, a young girl, with long fair
hair hanging in braids down her back, was embroidering an altar-cloth. There was a
pensive expression in her eyes, and it was easy to see that she was dreaming, while
her agile fingers flew over her work.
</p>
          <p style="indent">But the old lady turned round her head, and said:
</p>
          <p style="indent">“Berthe, read me something out of the newspapers, that I may
still know sometimes what is going on in the world.”
</p>
          <p style="indent">The young girl took up a newspaper, and cast a rapid glance
over it.
</p>
          <p style="indent">“There is a great deal about politics, grandmamma; shall I
pass that over?”
</p>
          <p style="indent">“Yes, yes, darling. Are there no love stories? Is gallantry,
then, dead in France, that they no longer talk about abductions or adventures as
they did formerly?”
</p>
          <p style="indent">The girl made a long search through the columns of the
newspaper.
</p>
          <p style="indent">“Here is one,” she said. “It is entitled ‘A Love Drama!’”
</p>
          <p style="indent">The old woman smiled through her wrinkles. “Read that for
me,” she said.
</p>
          <p style="indent">And Berthe commenced. It was a case of vitriol throwing. A
wife, in order to avenge herself on her husband’s mistress, had burned her face and
eyes. She had left the Court of Assizes acquitted, declared to be innocent, amid the
applause of the crowd.
</p>
          <p style="indent">The grandmother moved about excitedly in her chair, and
exclaimed:
</p>
          <p style="indent">“This is horrible–why, it is perfectly horrible!
</p>
          <p style="indent">See whether you can find anything else to read to me, darling.”
</p>
          <p style="indent">Berthe again made a search; and farther down among the
reports of criminal cases, she read:
</p>
          <p style="indent">“‘Gloomy Drama. A shop girl, no longer young, allowed
herself to be led astray by a young man. Then, to avenge herself on her lover, whose
heart proved fickle, she shot him with a revolver. The unhappy man is maimed for
life. The jury, all men of moral character, condoning the illicit love of the
murderess, honorably acquitted her.’”
</p>
          <p style="indent">This time the old grandmother appeared quite shocked, and,
in a trembling voice, she said:
</p>
          <p style="indent">“Why, you people are mad nowadays. You are mad! The good
God has given you love, the only enchantment in life. Man has added to this
gallantry the only distraction of our dull hours, and here you are mixing up with it
vitriol and revolvers, as if one were to put mud into a flagon of Spanish wine.”
</p>
          <p style="indent">Berthe did not seem to understand her grandmother’s
indignation.
</p>
          <p style="indent">“But, grandmamma, this woman avenged herself. Remember
she was married, and her husband deceived her.”
</p>
          <p style="indent">The grandmother gave a start.
</p>
          <p style="indent">“What ideas have they been filling your head with, you young
girls of today?”
</p>
          <p style="indent">Berthe replied:
</p>
          <p style="indent">“But marriage is sacred, grandmamma.”
</p>
          <p style="indent">The grandmother’s heart, which had its birth in the great age
of gallantry, gave a sudden leap.
</p>
          <p style="indent">“It is love that is sacred,” she said. “Listen, child, to an old
woman who has seen three generations, and who has had a long, long experience of
men and women. Marriage and love have nothing in common. We marry to found a
family, and we form families in order to constitute society. Society cannot dispense
with marriage. If society is a chain, each family is a link in that chain. In order to
weld those links, we always seek metals of the same order. When we marry, we must
bring together suitable conditions; we must combine fortunes, unite similar races
and aim at the common interest, which is riches and children. We marry only once
my child, because the world requires us to do so, but we may love twenty times in
one lifetime because nature has made us like this. Marriage, you see, is law, and
love is an instinct which impels us, sometimes along a straight, and sometimes along
a devious path. The world has made laws to combat our instincts–it was necessary
to make them; but our instincts are always stronger, and we ought not to resist
them too much, because they come from God; while the laws only come from men.
If we did not perfume life with love, as much love as possible, darling, as we put
sugar into drugs for children, nobody would care to take it just as it is.”
</p>
          <p style="indent">Berthe opened her eyes wide in astonishment. She murmured:
</p>
          <p style="indent">“Oh! grandmamma, we can only love once.”
</p>
          <p style="indent">The grandmother raised her trembling hands toward Heaven,
as if again to invoke the defunct god of gallantries. She exclaimed indignantly:
</p>
          <p style="indent">“You have become a race of serfs, a race of common people.
Since the Revolution, it is impossible any longer to recognize society. You have
attached big words to every action, and wearisome duties to every corner of
existence; you believe in equality and eternal passion. People have written poetry
telling you that people have died of love. In my time poetry was written to teach
men to love every woman. And we! when we liked a gentleman, my child, we sent
him a page. And when a fresh caprice came into our hearts, we were not slow in
getting rid of the last Lover–unless we kept both of them.”
</p>
          <p style="indent">The old woman smiled a keen smile, and a gleam of roguery
twinkled in her gray eye, the intellectual, skeptical roguery of those people who did
not believe that they were made of the same clay as the rest, and who lived as
masters for whom common beliefs were not intended.
</p>
          <p style="indent">The young girl, turning very pale, faltered out:
</p>
          <p style="indent">“So, then, women have no honor?”
</p>
          <p style="indent">The grandmother ceased to smile. If she had kept in her soul
some of Voltaire’s irony, she had also a little of Jean Jacques’s glowing philosophy:
“No honor! because we loved, and dared to say so, and even boasted of it? But, my
child, if one of us, among the greatest ladies in France, had lived without a lover,
she would have had the entire court laughing at her. Those who wished to live
differently had only to enter a convent. And you imagine, perhaps, that your
husbands will love but you alone, all their lives. As if, indeed, this could be the case.
I tell you that marriage is a thing necessary in order that society should exist, but it
is not in the nature of our race, do you understand? There is only one good thing in
life, and that is love. And how you misunderstand it! how you spoil it! You treat it
as something solemn like a sacrament, or something to be bought, like a dress.”
</p>
          <p style="indent">The young girl caught the old woman’s trembling hands in her
own.
</p>
          <p style="indent">“Hold your tongue, I beg of you, grandmamma!”
</p>
          <p style="indent">And, on her knees, with tears in her eyes, she prayed to
Heaven to bestow on her a great passion, one sole, eternal passion in accordance
with the dream of modern poets, while the grandmother, kissing her on the
forehead, quite imbued still with that charming, healthy reason with which gallant
philosophers tinctured the thought of the eighteenth century, murmured:
</p>
          <p style="indent">“Take care, my poor darling! If you believe in such folly as
that, you will be very unhappy.”
</p>
        </div>
        <!--end of "section 11.0/.16"-->
      </div>
      <!--end of "chapter 9.11/0"-->
      <!--END OF CHAPTER 9.11/0-->
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    <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. 9; 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>  Two Women in the
Forest, a painting by <ref target="hhttps://en.wikipedia.org/wiki/Vincent_van_Gogh">Vincent van
Gogh</ref>  (1853–1890). 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
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        <p style="hang"><hi rend="bold">Web site:</hi>  Maintained by
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