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C.D. Warner, et al., comp.  The Library of the World’s Best Literature.
An Anthology in Thirty Volumes.  1917.
By Anatole France (1844–1924)
From ‘Crainquebille, Putois, Riquet, and Other Profitable Tales’: Translation of Winifred Stephens Whale

QUARTER-DAY had come. With his sister and daughter, Monsieur Bergeret was leaving the dilapidated old house in the Rue de Seine to take up his abode in a modern flat in the Rue de Vaugirard. Such was the decision of Zoé and the Fates.  1
  During the long hours of the morning, Riquet wandered sadly through the devastated rooms. His most cherished habits were upset. Strange men, badly dressed, rude and foul-mouthed, disturbed his repose. They penetrated even to the kitchen where they stepped into his dish of biscuit and his bowl of fresh water. The chairs were carried off as fast as he curled himself up on them; the carpets were pulled roughly from under his weary limbs. There was no abiding-place for him, not even in his own home.  2
  To his credit, be it said, that at first he attempted resistance. When the cistern was carried off he barked furiously at the enemy. But no one responded to his appeal; no one encouraged him, there was no doubt about it his efforts were regarded with disapproval. Mademoiselle Zoé said to him sharply: “Be quiet!” And Mademoiselle Pauline added, “Riquet, you are silly!”  3
  Henceforth he would abstain from useless warnings. He would cease to strive alone for the public weal. In silence he deplored the devastation of the household. From room to room he sought in vain for a little quiet. When the furniture removers penetrated into a room where he had taken refuge, he prudently hid beneath an as yet unmolested table or chest of drawers. But this precaution proved worse than useless; for soon the piece of furniture tottered over him, rose, then fell with a crash threatening to crush him. Terrified, with his hair all turned up the wrong way, he fled to another refuge no safer than the first.  4
  But these inconveniences and even dangers were as nothing to the agony he was suffering at heart. His sentiments were the most deeply affected.  5
  The household furniture he regarded not as things inert, but as living benevolent creatures, beneficent spirits, whose departure foreshadowed cruel misfortunes. Dishes, sugar-basins, pots and pans, all the kitchen divinities; arm-chairs, carpets, cushions, all the fetishes of the hearth, its lares and its domestic gods had vanished. He could not believe that so great a disaster would ever be repaired. And sorrow filled his little heart to overflowing. Fortunately Riquet’s heart resembled human hearts in being easily distracted and quick to forget its misfortunes.  6
  During the long absence of the thirsty workmen, when old Angeliqué’s broom raised ancient dust from the floor, Riquet breathed an odor of mice and watched the flight of a spider; thus was his versatile mind diverted. But he soon relapsed into sadness.  7
  On the day of departure, when he beheld things growing hourly worse and worse, he grew desperate. It seemed to him above all things disastrous when he saw the linen being piled in dark cases. Pauline with eager haste was putting her frocks into a trunk. He turned away from her, as if she were doing something wrong. He shrank up against the wall and thought to himself: “Now the worst has come; this is the end of everything.” Then, whether it were that he believed things ceased to exist when he did not see them, or whether he was simply avoiding a painful sight, he took care not to look in Pauline’s direction. It chanced that as she was passing to and fro she noticed Riquet’s attitude. It was sad: but to her it seemed funny, and she began to laugh. Then, still laughing, she called out: “Come here! Riquet, come to me!” But he did not stir from his corner and would not even turn his head. He was not then in the mood to caress his young mistress, and, through some secret instinct, through a kind of presentiment, he was afraid of approaching the gaping trunk. Pauline called him several times. Then, as he did not respond, she went and took him up in her arms. “How unhappy we are!” she said to him; “what is wrong then?” Her tone was ironical. Riquet did not understand irony. He lay in Pauline’s arms, sad and inert, affecting to see nothing and to hear nothing. “Riquet, look at me!” She said it three times and three times in vain. Then, pretending to be in a rage: “Silly creature,” she cried, “in with you”; and she threw him into the trunk and shut the lid on him. At that moment, her aunt having called her, she went out of the room, leaving Riquet in the trunk.  8
  He was seized with wild alarm; for he was very far from supposing that he had been playfully thrown into the trunk for a mere joke. Esteeming his situation about as bad as it could be, he was desirous not to make it worse by any imprudence. So he remained motionless for a few moments, holding his breath. Then he deemed it expedient to explore his dark prison. With his paws he felt the skirts and the linen onto which he had been so cruelly precipitated, endeavoring to find some way out of this terrible place. He had been thus engaged for two or three minutes, when he was called by Monsieur Bergeret, who had been getting ready to go out.  9
  “Riquet! Riquet! Come for a walk on the quays, that is the land of glory. True they have disfigured it by erecting a railway station of hideous proportions and striking ugliness. Architecture is a lost art. They have pulled down a nice looking house at the corner of the Rue du Bac. They will doubtless put some unsightly building in its place. I trust that at least our architects may abstain from introducing onto the Quai d’Orsay that barbarous style of which they have given such a horrid example at the corner of the Rue Washington and the Champs Élysées!… Riquet! Riquet! Come for a walk on the quays. That is a glorious land. But architecture has deteriorated sadly since the days of Gabriel and of Louis…. Where is the dog?… Riquet! Riquet!”  10
  The sound of Monsieur Bergeret’s voice was a great consolation to Riquet. He replied by making a noise with his paws, scratching frantically against the wicker sides of the trunk.  11
  “Where is the dog?” her father asked Pauline as she was returning with a pile of linen in her arms. “He is in the trunk, Papa.”  12
  “What, in the trunk! Why is he there?” asked Monsieur Bergeret.  13
  “Because he was silly,” replied Pauline.  14
  Monsieur Bergeret liberated his friend. Riquet followed him into the hall, wagging his tail. Then a sudden thought occurred to him. He went back into the room, ran up to Pauline, and rubbed against her skirt. And not until he had wildly caressed her as evidence of his loyalty did he rejoin his master on the staircase. He would have felt himself deficient in wisdom and religious feeling had he failed to display these signs of affection to one who had been so powerful as to plunge him into a deep trunk.  15
  In the street, Monsieur Bergeret and his dog beheld the sad sight of their household furniture scattered over the pavement. The removers had gone off to the public-house round the corner, leaving the plate-glass mirror of Mademoiselle Zoé’s wardrobe to reflect the passing procession of girls, workmen, shopkeepers, and Beaux Arts students, of drays, carts, and cabs, and the chemist’s shop with its bottles and its serpents of Æsculapius. Leaning against a post was Monsieur Bergeret senior, smiling in his frame, mild, pale, and delicate looking, with his hair ruffled. With affectionate respect the son contemplated his parent whom he moved away from the post. He likewise lifted out of harm’s way Zoé’s little table, which looked ashamed at finding itself in the street.  16
  Meanwhile Riquet was patting his master’s legs with his paws, looking up at him with sorrowing beautiful eyes, which seemed to say:  17
  “Thou, who wert once so rich and so powerful, canst thou have become poor? Canst thou have lost thy power, O my Master? Thou permittest men clothed in vile rags to invade thy sitting-room, thy bed-room, thy dining-room, to throw themselves upon thy furniture and pull it out of doors, to drag down the staircase thy deep arm-chair, thy chair and mine, for in it we repose side by side in the evening and sometimes in the morning too. I heard it groan in the arms of those tatterdemalions; that chair which is a fetish and a benignant spirit. Thou didst offer no resistance to the invaders. But if thou dost no longer possess any of those genii who once filled thy dwelling, if thou hast lost all, even those little divinities, which thou didst put on in the morning when getting out of bed, those slippers which I used to bite in my play, if thou art indigent and poor, my Master, then what will become of me?”  18

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