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 face; her two thumbs were bent into the palms of her hands; a kind of white dust besprinkled her lashes, and her eyes were beginning to disappear in the viscous pallor that looks like a thin web, as if spiders had spun it over. The sheet sunk in from her breast to her knees, and then rose at the tips of her toes, and it seemed to Charles that infinite masses, an enormous load, were weighing upon her.

"The church clock struck two. They could hear the loud murmur of the river flowing in the darkness at the foot of the terrace. Monsieur Bournisien from time to time blew his nose noisily and Homais' pen was scratching over the paper."

In these two detached pictures—the one from a so-called "romantic," the other from a so-called "realistic," book—one readily observes the likeness in the subjects, which are of a ghastly repulsiveness; the same minuteness of observation—e.g., the lion's hind legs "slightly drawn up," the woman's thumbs "bent into the palms of her hands"; the same careful notation of effect on the several senses; the same rhetorical heightening—e.g., the "stalactites at the end of his tail," the web in the woman's eyes, "as if spiders had spun it over"; and finally, that celebrated detachment, that air as of a medical examiner, recording the results of an autopsy. What can we know of such an author? All, or nearly all, that he knew of himself, provided we will searchingly ask ourselves what sort of mind is steadily attracted to the painting of such pictures, to the representation of such incidents, and what sort of mind expresses a lifetime of brooding on