To Monsieur P.S.B.Gavault.

Jean-Jacques Rousseau wrote these words at the beginning of his Nouvelle Heloise: "I have seen the morals of my time and I publish these letters." May I not say to you, in imitation of that great writer, "I have studied the march of my epoch and I publish this work"?

The object of this particular study--startling in its truth so long as society makes philanthropy a principle instead of regarding it as an accident--is to bring to sight the leading characters of a class too long unheeded by the pens of writers who seek novelty as their chief object.Perhaps this forgetfulness is only prudence in these days when the people are heirs of all the sycophants of royalty.We make criminals poetic, we commiserate the hangman, we have all but deified the proletary.Sects have risen, and cried by every pen, "Arise, working-men!" just as formerly they cried, "Arise!" to the "tiers etat." None of these Erostrates, however, have dared to face the country solitudes and study the unceasing conspiracy of those whom we term weak against those others who fancy themselves strong,--that of the peasant against the proprietor.It is necessary to enlighten not only the legislator of to-day but him of to-morrow.In the midst of the present democratic ferment, into which so many of our writers blindly rush, it becomes an urgent duty to exhibit the peasant who renders Law inapplicable, and who has made the ownership of land to be a thing that is, and that is not.

You are now to behold that indefatigable mole, that rodent which undermines and disintegrates the soil, parcels it out and divides an acre into a hundred fragments,--ever spurred on to his banquet by the lower middle classes who make him at once their auxiliary and their prey.This essentially unsocial element, created by the Revolution, will some day absorb the middle classes, just as the middle classes have destroyed the nobility.Lifted above the law by its own insignificance, this Robespierre, with one head and twenty million arms, is at work perpetually; crouching in country districts, intrenched in municipal councils, under arms in the national guard of every canton in France,--one result of the year 1830, which failed to remember that Napoleon preferred the chances of defeat to the danger of arming the masses.

If during the last eight years I have again and again given up the writing of this book (the most important of those I have undertaken to write), and as often returned to it, it was, as you and other friends can well imagine, because my courage shrank from the many difficulties, the many essential details of a drama so doubly dreadful and so cruelly bloody.Among the reasons which render me now almost, it may be thought, foolhardy, I count the desire to finish a work long designed to be to you a proof of my deep and lasting gratitude for a friendship that has ever been among my greatest consolations in misfortune.

De Balzac.

SONS OF THE SOIL

THE CHATEAU

Les Aigues, August 6, 1823.

To Monsieur Nathan, My dear Nathan,--You, who provide the public with such delightful dreams through the magic of your imagination, are now to follow me while I make you dream a dream of truth.You shall then tell me whether the present century is likely to bequeath such dreams to the Nathans and the Blondets of the year 1923; you shall estimate the distance at which we now are from the days when the Florines of the eighteenth century found, on awaking, a chateau like Les Aigues in the terms of their bargain.

My dear fellow, if you receive this letter in the morning, let your mind travel, as you lie in bed, fifty leagues or thereabouts from Paris, along the great mail road which leads to the confines of Burgundy, and behold two small lodges built of red brick, joined, or separated, by a rail painted green.It was there that the diligence deposited your friend and correspondent.

On either side of this double pavilion grows a quick-set hedge, from which the brambles straggle like stray locks of hair.Here and there a tree shoots boldly up; flowers bloom on the slopes of the wayside ditch, bathing their feet in its green and sluggish water.The hedge at both ends meets and joins two strips of woodland, and the double meadow thus inclosed is doubtless the result of a clearing.

These dusty and deserted lodges give entrance to a magnificent avenue of centennial elms, whose umbrageous heads lean toward each other and form a long and most majestic arbor.The grass grows in this avenue, and only a few wheel-tracks can be seen along its double width of way.

The great age of the trees, the breadth of the avenue, the venerable construction of the lodges, the brown tints of their stone courses, all bespeak an approach to some half-regal residence.

Before reaching this enclosure from the height of an eminence such as we Frenchmen rather conceitedly call a mountain, at the foot of which lies the village of Conches (the last post-house), I had seen the long valley of Aigues, at the farther end of which the mail road turns to follow a straight line into the little sub-prefecture of La Ville-aux-

Fayes, over which, as you know, the nephew of our friend des Lupeaulx lords it.Tall forests lying on the horizon, along vast slopes which skirt a river, command this rich valley, which is framed in the far distance by the mountains of a lesser Switzerland, called the Morvan.

These forests belong to Les Aigues, and to the Marquis de Ronquerolles and the Comte de Soulanges, whose castles and parks and villages, seen in the distance from these heights, give the scene a strong resemblance to the imaginary landscapes of Velvet Breughel.

If these details do not remind you of all the castles in the air you have desired to possess in France you are not worthy to receive the present narrative of an astounded Parisian.At last I have seen a landscape where art is blended with nature in such a way that neither of them spoils the other; the art is natural, and the nature artistic.

I have found the oasis that you and I have dreamed of when reading novels,--nature luxuriant and adorned, rolling lines that are not confused, something wild withal, unkempt, mysterious, not common.Jump that green railing and come on!

When I tried to look up the avenue, which the sun never penetrates except when it rises or when it sets, striping the road like a zebra with its oblique rays, my view was obstructed by an outline of rising ground; after that is passed, the long avenue is obstructed by a copse, within which the roads meet at a cross-ways, in the centre of which stands a stone obelisk, for all the world like an eternal exclamation mark.From the crevices between the foundation stones of this erection, which is topped by a spiked ball (what an idea!), hang flowering plants, blue or yellow according to the season.Les Aigues must certainly have been built by a woman, or for a woman; no man would have had such dainty ideas; the architect no doubt had his cue.

Passing through the little wood placed there as sentinel, I came upon a charming declivity, at the foot of which foamed and gurgled a little brook, which I crossed on a culvert of mossy stones, superb in color, the prettiest of all the mosaics which time manufactures.The avenue continues by the brookside up a gentle rise.In the distance, the first tableau is now seen,--a mill and its dam, a causeway and trees, linen laid out to dry, the thatched cottage of the miller, his fishing-nets, and the tank where the fish are kept,--not to speak of the miller's boy, who was already watching me.No matter where you are in the country, however solitary you may think yourself, you are certain to be the focus of the two eyes of a country bumpkin; a laborer rests on his hoe, a vine-dresser straightens his bent back, a little goat-girl, or shepherdess, or milkmaid climbs a willow to stare at you.

Presently the avenue merges into an alley of acacias, which leads to an iron railing made in the days when iron-workers fashioned those slender filagrees which are not unlike the copies set us by a writing-

master.On either side of the railing is a ha-ha, the edges of which bristle with angry spikes,--regular porcupines in metal.The railing is closed at both ends by two porter's-lodges, like those of the palace at Versailles, and the gateway is surmounted by colossal vases.

The gold of the arabesques is ruddy, for rust has added its tints, but this entrance, called "the gate of the Avenue," which plainly shows the hand of the Great Dauphin (to whom, indeed, Les Aigues owes it), seems to me none the less beautiful for that.At the end of each ha-ha the walls of the park, built of rough-hewn stone, begin.These stones, set in a mortar made of reddish earth, display their variegated colors, the warm yellows of the silex, the white of the lime carbonates, the russet browns of the sandstone, in many a fantastic shape.As you first enter it, the park is gloomy, the walls are hidden by creeping plants and by trees that for fifty years have heard no sound of axe.One might think it a virgin forest, made primeval again through some phenomenon granted exclusively to forests.The trunks of the trees are swathed with lichen which hangs from one to another.

Mistletoe, with its viscid leaves, droops from every fork of the branches where moisture settles.I have found gigantic ivies, wild arabesques which flourish only at fifty leagues from Paris, here where land does not cost enough to make one sparing of it.The landscape on such free lines covers a great deal of ground.Nothing is smoothed off; rakes are unknown, ruts and ditches are full of water, frogs are tranquilly delivered of their tadpoles, the woodland flowers bloom, and the heather is as beautiful as that I have seen on your mantle-

shelf in January in the elegant beau-pot sent by Florine.This mystery is intoxicating, it inspires vague desires.The forest odors, beloved of souls that are epicures of poesy, who delight in the tiny mosses, the noxious fungi, the moist mould, the willows, the balsams, the wild thyme, the green waters of a pond, the golden star of the yellow water-lily,--the breath of all such vigorous propagations came to my nostrils and filled me with a single thought; was it their soul? I seemed to see a rose-tinted gown floating along the winding alley.

The path ended abruptly in another copse, where birches and poplars and all the quivering trees palpitated,--an intelligent family with graceful branches and elegant bearing, the trees of a love as free! It was from this point, my dear fellow, that I saw a pond covered with the white water-lily and other plants with broad flat leaves and narrow slender ones, on which lay a boat painted white and black, as light as a nut-shell and dainty as the wherry of a Seine boatman.

Beyond rose the chateau, built in 1560, of fine red brick, with stone courses and copings, and window-frames in which the sashes were of small leaded panes (O Versailles!).The stone is hewn in diamond points, but hollowed, as in the Ducal Palace at Venice on the facade toward the Bridge of Sighs.There are no regular lines about the castle except in the centre building, from which projects a stately portico with double flights of curving steps, and round balusters slender at their base and broadening at the middle.The main building is surrounded by clock-towers and sundry modern turrets, with galleries and vases more or less Greek.No harmony there, my dear Nathan! These heterogeneous erections are wrapped, so to speak, by various evergreen trees whose branches shed their brown needles upon the roofs, nourishing the lichen and giving tone to the cracks and crevices where the eye delights to wander.Here you see the Italian pine, the stone pine, with its red bark and its majestic parasol; here a cedar two hundred years old, weeping willows, a Norway spruce, and a beech which overtops them all; and there, in front of the main tower, some very singular shrubs,--a yew trimmed in a way that recalls some long-decayed garden of old France, and magnolias with hortensias at their feet.In short, the place is the Invalides of the heroes of horticulture, once the fashion and now forgotten, like all other heroes.

A chimney, with curious copings, which was sending forth great volumes of smoke, assured me that this delightful scene was not an opera setting.A kitchen reveals human beings.Now imagine ME, Blondet, who shiver as if in the polar regions at Saint-Cloud, in the midst of this glowing Burgundian climate.The sun sends down its warmest rays, the king-fisher watches on the shores of the pond, the cricket chirps, the grain-pods burst, the poppy drops its morphia in glutinous tears, and all are clearly defined on the dark-blue ether.Above the ruddy soil of the terraces flames that joyous natural punch which intoxicates the insects and the flowers and dazzles our eyes and browns our faces.The grape is beading, its tendrils fall in a veil of threads whose delicacy puts to shame the lace-makers.Beside the house blue larkspur, nasturtium, and sweet-peas are blooming.From a distance orange-trees and tuberoses scent the air.After the poetic exhalations of the woods (a gradual preparation) came the delectable pastilles of this botanic seraglio.

Standing on the portico, like the queen of flowers, behold a woman robed in white, with hair unpowdered, holding a parasol lined with white silk, but herself whiter than the silk, whiter than the lilies at her feet, whiter than the starry jasmine that climbed the balustrade,--a woman, a Frenchwoman born in Russia, who said as I approached her, "I had almost given you up." She had seen me as I left the copse.With what perfection do all women, even the most guileless, understand the arrangement of a scenic effect? The movements of the servants, who were preparing to serve breakfast, showed me that the meal had been delayed until after the arrival of the diligence.She had not ventured to come to meet me.