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With Perrine's aid she got her handkerchief out of her pocket. Talouel strode up and down the porch. After the handkerchief had been twisted around the wounded hand he came over to poor Rosalie and stood towering above her. "Empty your pockets," he ordered. She looked at him, not understanding. "I say, take everything out of your pockets," he said again.
Early in the morning Gabriel repaired to the farmhouse, as he had been bidden. "If I tell my secret to Perrine's father, I risk disturbing in him that confidence in the future safety of his child for which I am his present and only warrant." Something like this thought was in Gabriel's mind, as he took the hand of Pere Bonan, and waited anxiously to hear what was required of him on that day.
He even eats his meals all alone." They took up the basket and went on again. Soon they saw a general view of the works. But to Perrine's eyes there seemed only a confusion of buildings, some old, some new, just a great gray mass with big, tall chimneys everywhere. Then they came to the first houses of the village, with apple trees and pear trees growing in the gardens.
And Madame did sleep, in Perrine's huge box-bedstead, with a sweet, calm, childlike slumber, whilst her nurse sat watching her with eyes full of tears of pity and distress; the poor young thing's buoyant hopefulness and absence of all fear seemed to the old woman especially sad, and like a sort of want of comprehension of the full peril in which she stood.
Could he be? Could God strike me such a terrible blow? They try to believe it, but I will not. No, I will not! It can't be! Oh, what should I do if my boy was dead!" Perrine's eyes were no longer fixed on the blind man's face; she had turned her face from him as though he could see her own. "I talk to you frankly, little girl," continued the old man, "because I need your help.
There is a brief hint of the Marseillaise woven into the finely varied tapestry of martial music, and when the lover comes trudging home, his joy, his sudden knowledge of Perrine's faithlessness, and his overwhelming grief are all built over a long organ-point of three clangorous bride-bells. The leit-motif idea is used with suggestive clearness throughout the work.
"Two women who work in your factory." "I must speak to them." Leaning on Perrine's shoulder, he told her to guide him. Preceded by Fabry, who made way for them, they went into the yard where the firemen were turning the hose on the house as the flames burst forth in a crackling sound. In a far-off corner several women stood round the two mothers who were crying. Fabry brushed aside the group.
Whatever the poor girl might think of it, he felt, at that moment, that he had not courage to face her father, and hear him talk happily and pleasantly, as his custom was, of Perrine's approaching marriage. Left to himself, Gabriel wandered hither and thither over the open heath, neither knowing nor caring in what direction he turned his steps.
This time M. Vulfran clasped Perrine's hand in a sign for them to leave the place. She opened the door and they went down, while a murmur of voices accompanied them. When they reached the street M. Vulfran spoke: "You wanted me to know what that room was the first night when you slept there?" "I wanted you to know what kind of a place all the women who work for you have to sleep in.
As soon as he understood that she had given up all hope of getting him into the Market, he got up and followed her docilely, agitating his long ears with satisfaction. "Now," said La Rouquerie, after she had put thirty francs into poor Perrine's hand, "you must take him to my place, for I'm beginning to know him and he's quite capable of refusing to come with me. I don't live far from here."
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