The Project Gutenberg Works of Anatole France

CHAP.		PAGE
I.		9
II.	Gallio	29
III.		107
IV.		147
V.	Through the Horn or the Ivory Gate	183
VI.		237

*** END OF THE PROJECT GUTENBERG EBOOK INDEX OF THE PROJECT GUTENBERG WORKS OF ANATOLE FRANCE ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

BOOK I	THE BEGINNINGS
I	LIFE OF SAINT MAEL
II	THE APOSTOLICAL VOCATION OF SAINT MAEL
III	THE TEMPTATION OF SAINT MAEL
IV	ST. MAEL’S NAVIGATION ON THE OCEAN OF ICE
V	THE BAPTISM OF THE PENGUINS
VI	AN ASSEMBLY IN PARADISE
VII	AN ASSEMBLY IN PARADISE (Continuation and End)
VIII	METAMORPHOSIS OF THE PENGUINS
BOOK II	THE ANCIENT TIMES
I	THE FIRST CLOTHES
II	THE FIRST CLOTHES (Continuation and End)
III	SETTING BOUNDS TO THE FIELDS AND THE ORIGIN OF PROPERTY
IV	THE FIRST ASSEMBLY OF THE ESTATES OF PENGUINIA
V	THE MARRIAGE OF KRAKEN AND ORBEROSIA
VI	THE DRAGON OF ALCA
VII	THE DRAGON OF ALCA (Continuation)
VIII	THE DRAGON OF ALCA (Continuation)
IX	THE DRAGON OF ALCA (Continuation)
X	THE DRAGON OF ALCA (Continuation)
XI	THE DRAGON OF ALCA (Continuation)
XII	THE DRAGON OF ALCA (Continuation)
XIII	THE DRAGON OF ALCA (Continuation and End)
BOOK III	THE MIDDLE AGES AND THE RENAISSANCE
I	BRIAN THE GOOD AND QUEEN GLAMORGAN
II	DRACO THE GREAT (Translation of the Relics of St Orberosia)
III	QUEEN CRUCHA
IV	LETTERS: JOHANNES TALPA
V	THE ARTS: THE PRIMITIVES OF PENGUIN PAINTING
VI	MARBODIUS
VII	SIGNS IN THE MOON
BOOK IV	MODERN TIMES: TRINCO
I	MOTHER ROUQUIN
II	TRINCO
III	THE JOURNEY OF DOCTOR OBNUBILE
BOOK V	MODERN TIMES: CHATILLON
I	THE REVEREND FATHERS AGARIC AND CORNEMUSE
II	PRINCE CRUCHO
III	THE CABAL
IV	VISCOUNTESS OLIVE
V	THE PRINCE DES BOSCENOS
VI	THE EMIRAL’S FALL
VII	CONCLUSION
BOOK VI	MODERN TIMES.
I	GENERAL GREATAUK, DUKE OF SKULL
II	PYROT
III	COUNT DE MAUBEC DE LA DENTDULYNX
IV	COLOMBAN
V	THE REVEREND FATHERS AGARIC AND CORNEMUSE
VI	THE SEVEN HUNDRED PYROTISTS
VII	BIDAULT-COQUILLE AND MANIFLORE, THE SOCIALISTS
VIII	THE COLOMBAN TRIAL
IX	FATHER DOUILLARD
X	MR. JUSTICE CHAUSSEPIED
XI	CONCLUSION
BOOK VII	MODERN TIMES
I	MADAME CLARENCE’S DRAWING-ROOM
II	THE CHARITY OF ST. ORBEROSIA
III	HIPPOLYTE CERES
IV	A POLITICIAN’S MARRIAGE
V	THE VISIRE CABINET
VI	THE SOFA OF THE FAVOURITE
VII	THE FIRST CONSEQUENCES
VIII	FURTHER CONSEQUENCES
IX	THE FINAL CONSEQUENCES
BOOK VIII	FUTURE TIMES

CHAP.		PAGE
	Preface	v
	Introduction	vii
	List of Illustrations	lxxvii
I.	Childhood	1
II.	Voices	29
III.	First Visit to Vaucouleurs. Flight to Neufchâteau. Journey to Toul. Second Visit to Vaucouleurs	61
IV.	Journey to Nancy. Itinerary from Vaucouleurs to Sainte-Catherine-de-Fierbois	91
V.	The Siege of Orléans from the 12th of October, 1428, to the 6th of March, 1429	106
VI.	The Maid at Chinon—Prophecies	145
VII.	The Maid at Poitiers	187
VIII.	The Maid at Poitiers (continued)	204
IX.	The Maid at Tours	217
X.	The Siege of Orléans from the 7th of March to the 28th of April, 1429	230
XI.	The Maid at Blois. Letter to the English. Departure for Orléans	243
XII.	The Maid at Orléans	258
XIII.	The Taking of Les Tourelles and the Deliverance of Orléans	296
XIV.	The Maid at Tours and Selles-en-Berry. Treatises of Jacques Gélu and Jean Gerson	318
XV.	Taking of Jargeau. The Meung Bridge. Beaugency	345
XVI.	The Battle of Patay. Opinions of Italian and German Clerks. The Gien Army	368
XVII.	The Auxerre Convention. Friar Richard. The Surrender of Troyes	403
XVIII.	The Surrender of Châlons and of Reims. The Coronation	435
XIX.	Rise of the Legend	461
	Footnotes

CHAP.		PAGE
	List of Illustrations	vii
I.	The Royal Army from Soissons to Compiègne. Poem and Prophecy	1
II.	The Maid's First Visit to Compiègne. The Three Popes. Saint-Denys. Truces	34
III.	The Attack on Paris	54
IV.	The Taking Of Saint-Pierre-le-Moustier. Friar Richard's Spiritual Daughters. The Siege of La Charité	78
V.	Letter to the Citizens of Reims. Letter to the Hussites. Departure from Sully	103
VI.	The Maid in the Trenches of Melun. Le Seigneur de l'Ours. The Child of Lagny	122
VII.	Soissons and Compiègne. Capture of the Maid	138
VIII.	The Maid at Beaulieu. The Shepherd of Gévaudan	156
IX.	The Maid at Beaurevoir. Catherine de la Rochelle at Paris. Execution of La Pierronne	170
X.	Beaurevoir. Arras. Rouen. The Trial for Lapse	188
XI.	The Trial for Lapse (continued)	227
XII.	The Trial for Lapse (continued)	264
XIII.	The Abjuration. The First Sentence	299
XIV.	The Trial for Relapse. Second Sentence. Death of the Maid	323
XV.	After the Death of the Maid. The End of the Shepherd. La Dame des Armoises	343
XVI.	After the Death of the Maid (continued). The Rouen Judges at the Council of Bâle and the Pragmatic Sanction. The Rehabilitation Trial. The Maid of Sarmaize. The Maid of Le Mans	378
	APPENDICES
I.	Letter from Doctor G. Dumas	401
II.	The Farrier of Salon	407
III.	Martin de Gallardon	413
IV.	Iconographical Note	420
	Footnotes

	INTRODUCTION
	"HONEY-BEE"
I	Which treats of the appearance of the country and serves as Introduction
II	In which we learn what the white rose meant to the Countess of Blanchelande
III	Wherein begins the love of George of Blanchelande and Honey-Bee of Claride
IV	Which treats of Education in general, and George of Blanchelande's in particular
V	Which tells how the Duchess took Honeybee and George to the Hermitage, and of their encounter with a hideous old woman
VI	Which tells of what can be seen from the Keep of Clarides
VII	In which is described how George and Honey-Bee went to the lake
VIII	Wherein we shall see what happened to George of Blanchelande because he approached the lake in which the nixies dwel
IX	Wherein we shall see how Honey-Bee was taken to the dwarfs
X	In which we are faithfully told how King Loc received Honey-Bee of Clarides
XI	In which the marvels of the kingdom of the dwarfs are accurately described as well as the dolls that were given to Honey-Bee
XII	In which the treasures of King Loc are described as well as the writer is able
XIII	In which King Loc declares himself
XIV	In which we are told how Honey-Bee saw her mother again, but could not embrace her
XV	In which we shall see how King Loc suffered
XVI	In which an account is given of the learned Nur who was the cause of such extraordinary joy to King Loc
XVII	Which tells of the wonderful adventure of George of Blanchelande
XVIII	In which King Loc undertakes a terrible journey
XIX	Which tells of the extraordinary encounter of Jean the master tailor, and of the blessed song the birds in the grove sang to the duchess
XX	Which treats of a little satin shoe
XXI	In which a perilous adventure is described
XXII	In which all ends well

FANNY	1
THE FANCY DRESS PARTY	10
THE SCHOOL	12
MARY	14
PAN-PIPES	16
ROGER’S STABLE	18
COURAGE	20
CATHERINE’S DAY	22
THE LITTLE SEA DOGS	24

CHAPTER I	Containing in a few lines the history of a French family from 1789 to the present day
CHAPTER II	Wherein useful information will be found concerning a library where strange things will shortly come to pass
CHAPTER III	Wherein the mystery begins
CHAPTER IV	Which in its forceful brevity projects us to the limits of the actual world
CHAPTER V	Wherein everything seems strange because everything is logical
CHAPTER VI	Wherein Père sariette discovers his missing treasures
CHAPTER VII	Of a somewhat lively interest, whereof the moral will, I hope, appeal greatly to my readers
CHAPTER VIII	Which speaks of love, a subject which always gives pleasure, for a tale without love is like beef without mustard: an insipid dish
CHAPTER IX	Wherein it is shown that, as an ancient Greek poet said, "nothing is sweeter than Aphrodite the Golden"
CHAPTER X	Which far surpasses in audacity the imaginative flights of Dante and Milton
CHAPTER XI	Recounts in what manner the angel, attired in the cast-off garments of a suicide, leaves the youthful Maurice without a heavenly guardian
CHAPTER XII	Wherein it is set forth how the angel Mirar, when bearing grace and consolation to those dwelling in the neighbourhood of the Champs Élysées in Paris, beheld a music-hall singer named Bouchotte and fell in love with her
CHAPTER XIII	Wherein we hear the beautiful archangel Zita unfold her lofty designs and are shown the wings of mirar, all moth-eaten, in a cupboard
CHAPTER XIV	Which reveals the cherub toiling for the welfare of humanity and concludes in an entirely novel manner with the miracle of the flute
CHAPTER XV	Wherein we see young Maurice bewailing the loss of his guardian angel, even in his mistress's arms, and wherein we hear the Abbé Patouille reject as vain and illusory all notions of a new rebellion of the angels
CHAPTER XVI	Wherein Mira the seeress, Zéphyrine, and the fatal Amédée are successively brought upon the scene, and wherein the notion of Euripides that those whom Zeus wishes to crush he first makes mad, is illustrated by the terrible example of Monsieur Sariette
CHAPTER XVII	Wherein we learn that Sophar, no less eager for gold than mammon, looked upon his heavenly home less favourably than upon France, a country blessed with a savings bank and loan departments, and wherein we see, yet once again, that whoso is possessed of this world's goods fears the evil effects of any change
CHAPTER XVIII	Wherein is begun the gardener's story, in the course of which we shall see the destiny of the world unfolded in a discourse as broad and magnificent in its views as Bossuet's discourse on the history of the universe is narrow and dismal
CHAPTER XIX	The gardener's story, continued
CHAPTER XX	The gardener's story, continued
CHAPTER XXI	The gardener's story, concluded
CHAPTER XXII	Wherein we are shown the interior of a bric-a-brac shop, and see how Père Guinardon's guilty happiness is marred by the jealousy of a love-lorn dame
CHAPTER XXIII	Wherein we are permitted to observe the admirable character of Bouchotte, who resists violence but yields to love. After that let no one call the author a misogynist
CHAPTER XXIV	Containing an account of the vicissitudes that befel the "Lucretius" of the Prior de Vendôme
CHAPTER XXV	Wherein Maurice finds his angel again
CHAPTER XXVI	The Conclave
CHAPTER XXVII	Wherein we shall see revealed a dark and secret mystery and learn how it comes about that empires are often hurled against empires, and ruin falls alike upon the victors and the vanquished; and the wise reader (if such there be-which I doubt) will meditate upon this important utterance: "a war is a matter of business"
CHAPTER XXVIII	Which treats of a painful domestic scene
CHAPTER XXIX	Wherein we see how the angel, having become a man, behaves like a man, coveting another's wife and betraying his friend. in this chapter the correctness of young d'Esparvieu's conduct will be made manifest
CHAPTER XXX	Which treats of an affair of honour, and which will afford the reader an opportunity of judging whether, as arcade affirms, the experience of our faults makes better men and women of us
CHAPTER XXXI	Wherein we are led to marvel at the readiness with which an honest man of timid and gentle nature can commit a horrible crime
CHAPTER XXXII	Which describes how Nectaire's flute was heard in the tavern of Clodomir
CHAPTER XXXIII	How a dreadful crime plunges Paris into a state of terror
CHAPTER XXXIV	Which contains an account of the arrest of Bouchotte and Maurice, of the disaster which befell the d'Esparvieu library, and of the departure of the angels
CHAPTER XXXV	And last, wherein the sublime dream of Satan is unfolded

I	Tells of the News that a White Rose brings to the Countess of the White Moor
II	How the Loves of Bee of the Clarides and George of the White Moor began
III	Which deals with Education in General, and that of George in Particular
IV	Tells how the Duchess took Bee and George to the Hermitage and of Their Meeting an Hideous Old Woman there
V	Is concerned with what you see from the Keep of the Clarides
VI	Tells how Bee and George went off to the Lake
VII	Shows the Penalty George of the White Moor paid for having gone near to the Lake where live the Sylphs
VIII	Shows how Bee was taken to the Land of the Dwarfs
IX	Tells faithfully the Welcome given by King Loc to Bee of the Clarides
X	In which the Wonders of the Kingdom of the Dwarfs are thoroughly described, as well as the Dolls which were given to Bee
XI	In which the Treasure of King Loc is described as well as possible
XII	In which King Loc proposes
XIII	Tells how Bee saw her Mother and could not kiss Her
XIV	In which the Great Grief that overtook King Loc is seen
XV	Relates the Words of the Learned Nur which gave an Extraordinary Pleasure to little King Loc
XVI	Tells the Marvellous Adventure of George of the White Moor
XVII	In which King Loc makes a Terrible Journey
XVIII	Tells the Marvellous Meeting that occurred to John, the Master Tailor, and of the Good Song sung by the Birds of the Grove to the Duchess
XIX	Tells of a little Satin Slipper
XX	In which a Dangerous Adventure is related
XXI	In which All ends well
	Looking backward
	The Sorrow of DemeterBy Sir G W Cox
	The King of the Golden Mountain By the Brothers Grimm
	Persephone By Jean Ingelow
	The Writer of the Story of Bee

	PAGE
The Procurator of Judæa	3
Amycus and Celestine	29
The Legend of Saints Oliveria and Liberetta	39
St. Euphrosine	55
Scholastica	75
Our Lady's Juggler	83
The Mass of Shadows	97
Leslie Wood	109
Gestas	129
The Manuscript of a Village Doctor	143
Memoirs of a Volunteer	161
Dawn	225
Madame de Luzy	243
The Boon of Death Bestowed	257
A Tale of the Month of Floréal in the Year II	265
The Little Leaden Soldier	277

The Project Gutenberg eBook of Index of the Project Gutenberg Works of Anatole France

INDEX OF THE PROJECT GUTENBERG WORKS OF ANATOLE FRANCE

Compiled by David Widger

CONTENTS

Click on the ## before many of the titles to view a linked table of contents for that volume.

Click on the title itself to open the original online file.

TABLES OF CONTENTS OF VOLUMES

PENGUIN ISLAND

by ANATOLE FRANCE

CONTENTS

THAIS

by Anatole France

Translated By Robert B. Douglas

CONTENTS

THE CRIME OF SYLVESTRE BONNARD

By Anatole France

CONTENTS

THE RED LILY

By Anatole France

CONTENTS

A MUMMER'S TALE

By Anatole France

A Translation By Charles E. Roche

CONTENTS

THE LIFE OF JOAN OF ARC

By Anatole France

A Translation By Winifred Stephens

IN TWO VOLS.

CONTENTS

Volume II

Index

BALTHASAR, AND OTHER WORKS

By Anatole France

Translated by Mrs. John Lane

CONTENTS

HONEY-BEE

By Anatole France

A Translation By Mrs. John Lane Illustrated By Florence Lundborg

CONTENTS

MARGUERITE

By Anatole France

Translated From The French By J. Lewis May With Twenty-Nine Original Woodcuts By Simeon

CONTENTS

THE MERRIE TALES OF JACQUES TOURNEBROCHE

By Anatole France

CONTENTS

CHILD LIFE IN TOWN AND COUNTRY

By Anatole France

CONTENTS

THE STORY OF THE DUCHESS OF CICOGNE AND OF MONSIEUR DE BOULINGRIN

From “The Seven Wives Of Bluebeard & Other Marvellous Tales”

By Anatole France

Translated by D. B. Stewart

CONTENTS

THE MIRACLE OF THE GREAT ST. NICOLAS

From “The Seven Wives Of Bluebeard & Other Marvellous Tales”

By Anatole France

Translated by D. B. Stewart

CONTENTS

THE SEVEN WIVES OF BLUEBEARD

By Anatole France

Translated by D.B. Stewart

CONTENTS

OUR CHILDREN

By Anatole France

Illustrations by Boutet de Monvel

CONTENTS

THE REVOLT OF THE ANGELS

By Anatole France

A Translation By Mrs. Wilfrid Jackson

THE WHITE STONE

By Anatole France

A Translation By Charles E. Roche

CONTENTS

BEE: THE PRINCESS OF THE DWARFS

By Anatole France

Done Into English By Peter Wright

CONTENTS

MOTHER OF PEARL

By Anatole France

INDEX OF THE PROJECT GUTENBERG

WORKS OF

ANATOLE FRANCE

Click on the ## before many of the titles to view a linked
table of contents for that volume.

A Translation By Mrs. John Lane
Illustrated By Florence Lundborg

Translated From The French By J. Lewis May
With Twenty-Nine Original Woodcuts By Simeon

THE STORY OF THE DUCHESS OF CICOGNE
AND OF MONSIEUR DE BOULINGRIN