17: en ville: out. Majorin tells this lie to «save his face» after Perrichon's withdrawn invitation to dinner (see acte III, scène V.)
18: c'est-à-dire que: I say that.
19: je te retrouve: now you are yourself again! Lit., «I find you again (as I have always known you).»
20: l'envoi… part: till the wedding cards are out. French people mail notices of weddings, deaths, and even births to all their friends. Such notices are called billets de faire-part, or «cards of notification.»
ACTE III, SCÈNE VIII
1: mes actions baissent: a stock-exchange metaphor.
2: ça me… peine: I hate to do it. Peine is never physical pain.
3: Nous y voilà: Now we're in for it, or Now it's coming!
4: on a beau dire: acte II, scène V, note 10.
5: brûle le pavé: a stock phrase for «driving furiously,» striking sparks from the paving-stones: is dashing round the city.
6: Aussi: see acte II, scène IV, note 6.
7: Musée de Versailles: there is, in the famous palace of Versailles (a town some fifteen miles southwest of Paris), a celebrated gallery ofhistorical paintings and portraits.—L'exposition: the annual Paris Salon, or exhibition of paintings.
8: Adieu: Farewell; very different from au revoir.
9: Allons donc: see List of Exclamations.
ACTE III, SCÈNE IX
1: Qu'est-ce que c'est que ça: this redundant expression implies surprise: What on earth have we here?—ça: again contemptuous. Perrichondoes not know the man, and is unfavorably impressed by a name which is, as a matter of fact, more frequently found among the peasantry than in the upper classes in France, and which is more closely connected with the gospels than with the army.
2: plus que vive: which could hardly be called complimentary. Lit., «more than sharp.»
3: un peu cruelle: because she gets people into trouble; exacting.
4: Loin de moi cette pensée: a very dignified phrase: Perish the thought!
5: ce n'est pas malheureux: and a good thing, too! Cf. acte I, scène VIII, note 2.
6: Mathieu: for the inference from the name, see acte III, scène IX.
7: moustaches: Napoleon III set the fashion, compulsory in the army, of wearing no other hair on the face than a mustache and a small chin tuft called impériale. Of course, an army man might wear none at all, but such a thing was unusual.
8: la Malmaison: a village and pretty park, close to and southwest of Paris.
9: des meubles: this implies that the Major has made it up with Anita, and is about to set up housekeeping.—J'ai bien l'honneur (de vous saluer): a courteous formula of leave-taking: I beg to bid you.
ACTE III, SCÈNE X
1: raide en affaires: mighty peremptory. Lit., «stiff, unbending in your dealings.»
2: à la cheminée: before electric bells came into general use, there was in most parlors a bell-rope hanging on each side of the fireplace, one ringing upstairs, the other ringing in the kitchen.
3: un zouave: the zouaves were originally a troop of natives from the French colony of Algeria, who speedily got a name for fearlessness. The modern zouaves are Frenchmen, but still enjoy the same reputation as dare-devils and fire-eaters. Hence Perrichon's exclamation, semi-humorous because he does not yet fully realize his perilous position.
4: un notaire gradé: a lawyer with a commission in the National Guard. A notaire is, by profession, the very opposite of a military man. In the National Guard (for which see acte I, scène I, note 7, 14.) many acivilian would have a «rank,» or grade.
5: vous comprenez: that I may be killed and must leave all my papers in order.
ACTE III, SCÈNE XI
1: c'est qu'il a… beau père: Isn't father-in-law plucky, though! C'est que introduces a reason for something that must be supplied. Here:«(All this is) because he,» «the fact is that.»—de son côté = and on the other hand.
2: au fait: after all; lit., «coming down to facts.»
3: à point nommé: always = in the nick of time, never «at the appointed place.»
ACTE III, SCÈNE XII
1: il suffit… d'heure: supply: for a great misfortune.
2: porte du garde: i.e. at the park gate where the keeper's lodge stands, there being other entrances to the park.
3: Veuillez agréer: the first words of the most usual conclusion to a letter in French: Veuilles agréer mes salutations empressées. Tr., Yours, etc.
4: Il écrit: on the envelope. Such phrases as «Immediate,» «Important,» etc., are frequently written on the outside of envelopes in Europe.
ACTE III, SCÈNE XIII
1: comme le bronze: the usual simile with calme in such contexts. Use an equivalent: «Bold as brass.»
2: le terrain: the stock phrase for any place where a duel is fought. Tr., on the field of honor. This lets the secret out, at which Daniel uttersan exclamation of pain, since the ladies were not to be told.
3: faire prévenir: send word to. Lit., «get somebody to notify.»
ACTE QUATRIÈME
SCÈNE PREMIÈRE
1: practicable: the term «practicable» is technical in English stage parlance for any part of the scenery that is real enough to be used, A «practicable» door or window can be opened and shut, etc. Here the wing of the house can be entered.
2: si vous voulez: for the rest of this sentence see Daniel's last speech in the next scene.
ACTE IV, SCÈNE II
1: avec quoi: the same play on words is possible in both languages: And what with? Contrast Mme Perrichon's question, acte III, scène XIII.
2: On leur… témoins: Witnesses get into trouble with the law.
3: Encore un (ingrat): Perrichon of course is the first.
ACTE VI, SCÈNE III
1: Ce sont… renvoient: They are actually turning him out of the house.
ACTE VI, SCÈNE IV
1: très actif: a hustler.
2: mettait: for aurait mis. See acte II, scène III.—Mettre la main dessus: a familiar expression for «pounce down upon.»
3: Qui ça: Thank whom? Qui is accusative. Ça merely adds emphasis to the question. See acte IV, scène X.
4: c'est que: see acte III, scène XII. Here: «(I hardly think so) because…» Tr., I'm afraid…
ACTE VI, SCÈNE V
1: après: what of it?
2: plus les frais: when as here the mathematical plus is used, the final «s» is always sounded.
3: Je me plais à l'espérer: I should hope so, sir! Lit., «I fondly hope so.»
4: ils: the police of course.—M. Perrichon suddenly realizes that the police are not likely to be on hand two hours later than the appointedtime. Hence his immediate change of attitude.
5: Qu'avez-vous donc: this idiom, meaning of course «What is the matter?» must be so translated as to lead up to Perrichon's reply: What is it?—It is… it is… it is a noble thing, to my mind, toacknowledge, etc.
6: N'envenimez pas: Don't make matters worse!
7: de bonne grâce: of your own free will; lit., «with a goodgrace.»—échappées à votre improvisation: which fell from your unguardedpen; lit., «which escaped you while you were writing extempore,» withoutcareful consideration.
8: maintenant c'est la France: the ancient Duchy of Savoy had just (in 1860) been ceded to Napoleon III by the King of Italy, Victor Emmanuel, in acknowledgment of help received. Perrichon responds with a cheer in the words of his bombastic farewell of the first act: any thing for a diversion. Jean makes a jokes to which there is some depth: it seems less far away if it is within the borders of your own country. Alaska seems nearer now than it did when belonging to Russia.
9: je me recommande à vous: I trust you will bear me in mind.
10: je te donne ton compte: I discharge you. His compte, i.e. «account,»«wages,» will be settled before he goes.
ACTE IV, SCÈNE VI
1: à la fin: our anyhow.
2: c'est… envahissez: it is intrusion, positive invasion!—On ne me domine pas! No, sir! You don't lord it over me, sir!
ACTE IV, SCÈNE VIII
1: l'heure de la philosophie: i.e. the time to show that superiority to fortune's caprices which is given by philosophy, or the study of wisdom.
2: passion malheureuse: the regular phrase for an «unrequited attachment.»
3: j'ai vécu plus que vous: I have seen more of life than you have.—unmonde plus avancé: a more wide-awake crowd.
4: gens d'esprit: clever people, the opposite of imbéciles.
5: Vous voyez bien: supply: «that you do yourself what you blame me for doing.»
6: votre obligé: your debtor; lit., «he is under an obligation to you.»
7: un aimable philosophe: doubtless of the author's private acquaintance, as no such epigram is on record elsewhere.
8: Aussi: see acte II, scène IV, note 6.
9: il lui pousse des plumes de paon, etc.: a crop of peacock's feathers sprouts from his coat-tails.
10: gardez-moi le secret: don't give me away.
11: du haut… protège: a humorous parody of Napoleon I's famous address to his troops in Egypt: Du haut de ces pyramides quarante sièclesvous contemplent!
ACTE IV, SCÈNE IX
1: Attrape: Stung! Lit., «Take that!» addressed to himself. Attrape! is used as an exclamation accompanying a cuff, a kick, etc. Daniel means that this speech is «a slap for him.»
2: Je vous en prie: Please don't.
ACTE VI, SCÈNE X
1: J'ai gardé la voiture de monsieur. Observe Majorin's meanness to the end, and his lame excuse for driving about at Daniel's expense.
2: comme ça: i.e. unable to «bear the burden» of gratitude.
3: le numéro, etc.: a Paris cabman delivers to his fare a paper (carte) on which are printed the number of the cab and a tariff of prices. He is engaged either à la course, i.e. at one fare (generally thirty cents) between any two points within the city limits, or à l'heure, i.e. by the hour at a rate of generally forty cents for the first hour, and so much for each additional quarter of an hour.
4: vous n'y pensez pas: that's out of the question!—Et = «And (what about)…»
5: commandant… commandé: a slip of the tongue showing that Perrichon has the Major «on the brain.» Cf. acte III, scène VII. Try to devise some equivalent pleasantry in English.
EXERCISES FOR COMPOSITION
I
ACT I, SCENE I
1. There are many railroad stations in Paris. 2. They are like[1] the railroad stations in America. 3. There are time-tables, ticket-windows, seats, and bookstalls. 4. An official stands[2] at the waiting-room door and asks to see the passengers' tickets. 5. Another[3] official is near the ticket-window to assist[4] the passengers who are purchasing[5] their tickets before the departure of the express trains. 6. The officials of the great companies are very polite when people[6] are polite to[7] them.
[1: ressembler à.] [2: se tenir.] [3: un autre.] [4: aider.] [5: prendre.] [6: on, followed by the singular.] [7: envers.]
II
ACT I, SCENE I
1. Majorin thinks[1] himself one of those hard-working, clever clerks who are always at their desks. 2. But he asks for a day off when he pleases[2], and says that he is summoned for guard duty, which[3] is not true[4]. 3. He speaks like[5] a boor of his friend Perrichon, and yet[6] he is going to ask him to lend him some money[7]. 4. Clerks in offices in France often[8] look down upon[9] tradesmen[10], even[11] when the tradesmen have incomes of several[12] thousand francs.
[1: croire.] [2: vouloir.] [3: ce qui.] [4: vrai.] [5: comme.] [6: pourtant.] [7: argent, m.] [8: souvent.] [9: mépriser.] [10: commerçant.] [11: même.] [12: plusieurs.]
III
ACT I, SCENE II
1. A family[1] arrives at the station in a cab. 2. They[2] call aporter, who comes with a truck for the baggage. 3. Then[3] a heap[4] of overcoats, umbrellas, and handbags are taken out[5] of the cab, and the father goes to the ticket-window to buy the tickets. 4. They are generally[6] ahead of time, but they have hurried[7] and are hot. 5. Perhaps[8] they have not had time to[9] finish their lunch, and the French do not like to miss their half-cup[10] of coffee after their meals[11]. 6. When the tickets have been purchased, the baggage can be checked.
[1: famille, f.] [2: Use on here and wherever possible instead of the passive voice.] [3: alors.] [4: tas, m.] [5: tirer.] [6: généralement.] [7: se presser.] [8: peut-être, and put subject-pronoun immediately after the verb.] [9: le temps de.] [10: demi-tasse, f.] [11: repas, m.]
IV
ACT I, SCENES III AND IV
1. If a trunk is small, the porter can carry it on his shoulder[1] and follow his «boss» to the ticket-office and baggage-room. 2. Then the trunk is sure[2] not to get lost[3] and the passenger not to make amistake. 3. If he is going to Marseilles, his trunk will not go to Nice, which[4] is the main thing when you travel with baggage. 4. If you do nottake a good deal of trouble you must[5] thank your lucky stars if your trunks go[6] with you. 5. But then, you must[7] always take trouble or you will do nothing well[8]. 6. There are twenty wards in Paris, and each one[9] has its town-hall where balls are given[10] occasionally[11].
[1: épaule, f.] [2: sûr de.] [3: se perdre.] [4: ce qui.] [5: vous devrez.] [6: partir.] [7: il faut.] [8: rien de bon.] [9: chacun.] [10: Use the reflexive form.] [11: de temps à autre.]
V
ACT I, SCENE V
1. Those who hurry and run are soon[1] in a perspiration. 2. When the ticket-office is not open, passengers sit down and wait. 3. All right! I will see to the tickets first and the baggage afterwards. 4. Why! There's my old friend Majorin! 5. These friends are very kind to come and see us off[2]. 6. There she is at last! 7. Come, don't hurry so[3]. 8. See, there are some seats over there: if you will kindly[4] wipe one of them, I will sit down.
[1: bientôt.] [2: Tr. «not to let us leave without bidding us good-by.»] [3: tant.] [4: vouloir bien.]
VI
ACT I, SCENE VI
1. It takes money to change houses. 2. You are thrifty and I shall be very glad[l] to advance you your quarter's salary. 3. You have several shares in a steamboat company, but do not give me the certificates as security. 4. I am no usurer and will only charge you two per cent per annum; that will not kill you. 5. «You will get your dividend next month and can repay me then what you owe me.» 6. «Nonsense! That is too generous[2].» 7. «No. I am not grasping and I trust you.» 8. «Very well, then, shall repay you soon[3] the money I owe you. Thank you. Good-by!» 9. This little business having been settled, he goes to take his place among[4] the passengers who are lined up at the ticket-window.
[1: heureux.] [2: généreux.] [3: bientôt.] [4: parmi.]
VII
ACT I, SCENE VII
1. «When you are[1] in Lyons, shall I write to you at the Post Office?» 2. «Of course! But I shall be back soon.» 3. «If you think you will be back within a week, you might as well not go away at all.» 4. «That will do! I am going to-night. Let me know about[2] my mother's health.» 5. There is a man who is running off with my valise. 6. What a business it is[3] to travel! 7. «Where is my panama?» «I don't know!» «Oh, here it is!» 8. I was sorry to hear that you had not made it up with your old friend. 9. I find it is expensive to patch up quarrels.
[1: Use the future.] [2: Tr. «Give me news of.»] [3: Omit «it is» and insert que.]
VIII
ACT I, SCENE VIII
1. In France, when you check your baggage, they give you a paper[1] slip. 2. A bell rings[2] when the train is about to[3] start. 3. Thrifty people[4] put down[5] their traveling expenses in a note-book. 4. Those who forget where they have put their things[6] often scold others[7]. 5. «What is the proper tip for a porter?» «We might give him four cents, but let us make it ten cents.» 6. «I must have left my valise in the waiting-room. I will go after[8] it. 7. At last I have found it.» «It is time you had!» 8. When the bell rings, passengers run up, are stopped by the man at the waiting-room door who wants to see their tickets, and pass in.
[1: papier, m.] [2: sonner.] [3: aller.] [4: gens, pl.] [5: Tr.«write».] [6: affaire, f.] [7: les autres.] [8: aller chercher.]
IX
ACT I, SCENE IX
1. Two young men[1] have just taken their tickets. 2. One bumps into the other and exclaims[2], «Hello, Daniel!» «Hello, Armand!» exclaims the other, «you should[3] look out!» «You were not paying attention yourself!» 3. But they do not scold one another long. 4. They discover[4] that they are about to[5] travel together. 5. They are in attendance upon a charming young lady whom they both of them love andwish to marry. 6. As they cannot both marry her, they decide then and there[6], on the step of the railroad car, to go on merrily with their trip and in friendly competition to try to win her affection each one for himself.
[1: gens.] [2: s'écrier.] [3: Il faut.] [4: découvrir.] [5: aller.] [6: séance tenante.]
X
Act II, SCENE I
1. The French like to take coffee after lunch and dinner. 2. There are several inns at Montanvert in Switzerland. 3. From this window you can see a snow-covered mountain. 4. Will you have an omelet, ladies? 5. Standing by the open fireplace were several travelers, and among[1] them a young nobleman who had just[2] come in followed by two guides. 6. A war to the death is sometimes a loyal struggle. 7. It is greedy to eat too many chocolate wafers. 8. Why can't you sit still? 9. The spring of a railroad-car window-shade often gets out of order[3]. 10. The travels of leisured people may last a long time.
[1: parmi.] [2: venir de.] [3: Use reflexive form.]
XI
ACT II, SCENE III
1. A traveler in Switzerland went up[1] to Montanvert on horseback. 2. He rode a shying horse which reared when he touched it with his spurs. 3. The rider took[2] a bad tumble and came near losing his life. 4. Fortunately[3] a young man who was there leapt forward and saved the poor traveler. 5. With water, vinegar, and smelling-salts he was soon brought round[4]. 6. When he had drunk some sugar and water, he was able to add his thanks to those of his sobbing[5] wife and daughter. 7. He shook his savior's hand vigorously, and ordered the horse to be led down to Chamouny. 8. The whole family drove back aftere resting[7] a short time. 9. The lesson[8] of this story is that poor riders should not wear spurs.
[1: monter.] [2: faire.] [3: Heureusement.] [4: Use reflexive form.] [5: Tr. «who were sobbing.»] [6: après and infinitive.] [7: Tr. «having rested themselves.»] [8: morale, f.]
XII
ACT II, SCENE IV
1. «You have some[l] chance of success; I have none, so I am going away.» «Nonsense!» 2. «I am in dead earnest. It can't be helped! You have all the luck. I give way to you.» 3. «Do you really think that you have lost Henrietta?' 4. «I withdraw because I think so[2]: I am not making you any sacrifice at all.» 5. «Then may I ask a favor of you?» «Why, certainly.» 6. «Go to her father and tell him that I wish to marry his daughter. I shall owe[3] you such[4] gratitude!» 7. «My! but that is a queer request to make! Anyhow, don't worry! Being a nice little rival, I will do as you say[5]. 8. Your rival wishes you better[6] luck than he has[7] had himself[8].»
[1: quelque.] [2: le.] [3: avoir.] [4: Tr. «so much.»] [5: Tr. «what you ask.»] [6: Tr. «more.'] [7: Insert ne (without pas).] [8: lui-même.]
XIII
ACT II, SCENE V
1. The Mer de Glace is full[1] of holes, crevasses, and dangerous places. 2. «You may say what you please, I had not lost my presence of mind.» «You don't say?» 3. Do not take an aversion to anybody[2]. 4. Here, take this book and write something pretty in it. 5. I have just put on my overshoes to go for a walk[3] on the ice. 6. As I was rolling down, I spied a little tree, which I caught hold of. 7. I was fished up by an innkeeper whom I gave two hundred francs to: a fair price. 8. Gratitude is due[4] to those who have done you a service. 9. «Say, will you join us?» «Thank you. Our guide is outside. I hope to see you again later[5].10. It will be very nice to drink a cap of tea together[6] next winter.»
[1: plein.] [2: personne.] [3: me promener.] [4: se doit.] [5: plus tard.] [6: ensemble.]
XIV
ACT II, SCENES VI AND VII
1. When you go[1] to Switzerland, don't forget your overshoes and alpenstocks. 2. Never mind me! Go alone. I will stay here. 3. He who takes the shortest[2] road does not always get there first. 4. When you have finished writing, always[3] take care not to shut[4] the book while the ink is wet. 5. We will carry out the contest as we have pledged ourselves to do[5]. 6. «I mean to beg leave to go with you.» «That's right! Off we go!» 7. I have changed my mind for weighty reasons. 8. Success[6] belongs to those who believe they will succeed. 9. The road you are following is not the highway[7], but I think you will succeed none the less for that. 10. When Daniel has finished speaking, he goes back.
[1: Use future.] [2: le plus court (put after the noun).] [3: toujours.] [4: fermer.] [5: le (lit., «it»).] [6: Sucçès, m.] [7: Tr. «everybody's road.»]
XV
ACT II, SCENE VIII
1. While Armand is waiting for the ladies, the voice[1] of the major is[2] heard off the stage. 2. He enters, sits down, and catching sight of the visitors' book, reads what Mr. Perrichon has written in it. 3. After which[3] he makes acquaintance with Armand and tells him his story. 4. He has imprudently issued a promissory note, and a warrant is out for his arrest. 5. But he very much wants to be put in prison, and, having the law on his side, earnestly begs Armand to set the law in motion on his return to Paris. 6. The major is in love, which is ridiculous at his time of life. 7. He wants to be locked up; he has not yet tried this form of cure. 8. Armand promises to do him this service, since he insists upon it.
[1: voix, f.] [2: Tr. «makes itself.»] [3: quoi.]
XVI
ACT II, SCENE IX
1. A gentleman always asks leave to place himself at a lady's orders. 2. Do stand erect, boy! That's right! 3. When you hear that we have gone to Switzerland, start too[l], and follow us step by step. 4. What a charming man is[2] your cousin! 5. The greatest respect is due to young ladies. 6. Hello! You here! We were talking about you, weren't we? 7. We may[3] not ascribe to other people intentions of which they are guiltless. 8. «I understand you very well, although[4] I am deaf.» 9. «That's why you do not always answer when spoken to, isn't it?» 10. We shall meet again somewhere, shan't we?
[1: aussi.] [2: Omit and insert que.] [3: devoir.] [4: quoique followed by the subjunctive.]
XVII
ACT II, SCENE X
1. The sight of these bottomless pits makes you shudder. 2. How many is there room for in a French railroad carriage? 3. If it pours, I shall put on my waterproof. 4. What[1] would life be without its tender emotions? 5. Miss Perrichon had several offers of marriage. 6. I cannot ride on the coach-box when it rains hard. 7. There was a landslide here this morning. 8. You have got the inside track, haven't you? 9. An offer of marriage often excites the mother as much as the daughter.10. But for you I should never have had the pleasure of saving myfellow-man. 11. Will you take a seat in my carriage? 12. When the sun is bright[2] it is better to be on the box than inside.
[1: que.] [2: beau, tr. «By a bright sun.»]
XVIII
ACT III, SCENES I AND II
1. When the master and mistress come home, the cook gets dinner ready. 2. The man[1] puts up the curtains, sweeps the rooms, dusts thefurniture, the tables, armchairs, and sofas. 3. «There's the bell! It isthey!» «Nonsense, it is not yet twelve.» «Yes[2], it is they. I know master's ring.» 4. What a lot of bandboxes and valises they have! 5. When we get home again after a trip, we find on the table all the letters, visiting-cards, and newspapers that have come for us while we were away. 6. People do not return stouter when they have not had a pleasant trip. 7. «May I relieve you of your parcels?»—«Why, certainly!» 8. We owe him a call: he came every day to inquire when we should be back, and is to call again to-day.
[1: domestique; m.] [2: Si.]
XIX
ACT III, SCENE III
1. We may well feel proud when we have risked our lives to save that of our fellow-man. 2. I bear you no malice, only[1] you change your mind too often. 3. The mark of true courage is modesty and silence, 4. A gentleman never takes advantage of the services he may[2] have done a friend. 5. «Do make up your mind!»—«Must I give Henrietta's young man an answer?» 6. «Why, unless you have anything against him, there is no reason why you should not do so.» 7. «All right then, I will speak to him. But do not always harp on the same thing; it gets to be tiresome.» 8. «We cannot give our daughter to that brute.»—«I should think not indeed!» 9. I like this young fellow; I do not like that one.
[1: seulement.] [2: pouvoir.]
XX
ACT III, SCENES IV AND V
1. In America, when young ladies are old enough to marry they are absolutely free to choose. 2. A repeating-watch strikes when you press[1] a little spring[2]. 3. Boiled beef and stewed veal are French dishes[3]. 4. I wish to state the fact that I have paid the duty on the watches I brought from Geneva. 5. Without wishing to thwart you, my dear, allow me to say that I must investigate; then we shall know and shall be able to select for her. 6. Majorin has just come in; he has heard that his friends have returned, and has asked for a day off. 7. Travelers sometimes have awful scenes with customs officers. 8. Those who do not pay the custom-house duties are often caught and the goods[4] are seized. 9. It is two o'clock[5] by[6] my watch.
[1: pousser.] [2: ressort, m.] [3: plat, m.] [4: objet, m.] [5: heures.] [6: à.]
XXI
ACT III, SCENE VII
1. A slip often has deplorable consequences. 2. We have bought two copies of the same[1] paper. 3. What is the meaning of this official paper? 4. A high officer of the custom-house is one of my witnesses. 5. I shall be grateful to you for withdrawing that charge. 6. I believe you are intimate with the janitor. 7. You have saved my life at the imminent risk of your own. 8. The heroes[2] of this scene escaped from the congratulations of the crowd which had run out to meet them. 9. «He was condemned[3] to imprisonment for a week for losing his temper.»—«Of course! and serves him right!» 10. Revolutionists often find themselves in the prisoners' dock. 11. Most[4] prominent business men are fathers of families.
[1: même.] [2: héros, m.] [3: condamner.] [4: La plupart, followed by genitive of definite article.]
XXII
ACT III, SCENE VIII
1. I hate to make that unpleasant announcement, but it has got to be done. 2. Have you touched up the article[1] you wrote for my paper? 3. It takes[2] many sittings for a good picture. 4. Heroic scenes in history have been recorded on canvas by illustrious painters. 5. Newfoundland dogs often save travelers' lives. 6. «You have saved me from jail, I owe you my honor; so how could I have a grudge against you?»—«That's right! you are yourself again.» 7. Mr. Perrichon will not mind sitting for his picture. 8. We will put a little advertisement in the catalogue. 9. There are many magnificent canvases in this year's exhibition. 10. «I am going away.»—«Why so?»—«To stay would be painful to me.»—«There now! When I am so fond of you!»—«We are never to meet again.»—«No! You shall stay!»—«Well, I will[3].»
[1: Supply «which.»] [2: Il faut.] [3: Supply «stay.»]
XXIII
ACT III, SCENE IX
1. When we took a trip abroad two years ago we met a very dear fellow-countrywoman of ours, a perfect lady. 2. To succeed you must be persistent. 3. Do not leave your things[1] lying about on the furniture. 4. «What can that be?»—«A mistake in spelling.»—«Not at all!» 5. You have shown your mettle: you cannot back down. 6. Did that carriage splash mud on your gown? 7. Two weeks ago I had an appointment with you to go to the upholsterer's. 8. The major comes very politely to ask a question of Mr. Perrichon, who does not allow himself to be intimidated[2]. 9. People come to the point when they wish to cut matters short. 10. «I merely ask whether you take back the offensive entry you made in the visitors' book.»—«I do[3].»—«That's a good thing!»
[1: affaire, f.] [2: Use infinitive active.] [3: Supply «take back.»]
XXIV
ACT III, SCENES X AND XI
1. Lawyers are generally[1] more polite than majors. 2. When Mr. Perrichon has found the solution he is looking for, he shows lots of pluck. 3. The major is a tough customer. 4. When strikes the hour for the duel[2], the combatants[3] will not flinch. 5. It is my business to pick holes in your spelling. 6. If a patrol turns up in the nick of time, the duel will be prevented[4]. 7. When two men are going to fight a[5] duel, they put their papers in order. 8. John, why did you let that man in?"—«What was I to do? I took him for a traveling acquaintance[6] of yours.» 9. A business man with a commission in the militia is not a real soldier. I0. «Here is a visiting card.»—«Gee!» —«What is the matter?»—«We're in a pretty mess! the question is how to get out of it.»
[1: d'ordinaire.] [2: duel, m.] [3: combattant, m.] [4: empêcher.] [5: en.] [6: See Act III, Sc. VI.]
XXV
ACT III, SCENES XII AND XIII
1. Mr. Perrichon is to[1] fight a[2] duel with a retired major in thesecond regiment of Zouaves. 2. He is a civilian, a business man, a family man, and his wife won't have[3] him go on the field. 3. So she thinks it her duty to notify the police. 4. It behooves her conjugal affection[4] to prevent[5] a couple of madmen from crossing swords. 5. Although[6] her husband says he is as cool as can be[7], she sends an urgent note to the chief of police. 6. Breakfast is ready: let's sit down! 7. When a man is afraid, he has a very long face. 8. He did not want to tell you that he had an errand to do; he let it out accidentally. 9. Have you received any concert tickets from your music teacher? It is his benefit, and if you are not engaged all day, you had better[8] go.
[1: devoir.] [2: See Ex. XXIV, note 5.] [3: Tr. «does not wish that» followed by subjunctive.] [4: affection conjugale.] [5: See Ex. XXIV, note 4.] [6: Quoique and subjunctive.] [7: Tr.«as bronze.»] [8: Tr.«you will do well to.» Supply «there» with «go.»]
XXVI
ACT IV, SCENES I AND II
1. We are going to fight with the swords I have here under my cloak. 2. I will not be one of your seconds; I should get into trouble with the law. 3. When a sword breaks, the combatant is in a fix, and the whole thing is spoilt. 4. «You sent me a note last night, here I am. What is it?» 5. «I am going on the field with a major.»—«You! nonsense!»—«What do you mean by[1] nonsense!» 6. When is this duel to come off?»—«We meet to-day at two o'clock and you must be my second.»—«Excuse me, I cannot. It is as much as my place is worth.» 7. Those[2] whom we have obliged may be asked to help us in the crises of our lives. 8. When you have paid him back all you owe him, you and he[3] will be quits.
[1: See Act III, Sc. III.] [2: Turn into the active.] [3: Insert another «you.»]
XXVII
ACT IV, SCENES III AND IV
1. Although[1] her father is going to fight a duel and to risk his life, Henrietta sings, waters her flowers, makes a nosegay of dahlias, and finally[2] turns him out of the house. 2. The reason is[3] that she has notified not only[4] the chief of police, but also[5] her best friend, Mr. Armand, who will prevent[6] the duel from coming off. 3. So she tells her father to make haste and to try to be back by dinner-time. 4. It is agreeable to be rid of a hustling rival. 5. When a man has nicely laid his little plans, he hates to see them interfered with[7]. 6. It is a quarter to one; the pay-window must[8] be open and you can get your dividend. 7. This is a good opportunity; give your decision.
[1: See Ex. XXV, note 6.] [2: enfin.] [3: C'est que.] [4: non seulement.] [5: mais encore.] [6: See Ex. XXIV, note 4.] [7: déranger, leave in infinitive active.] [8: devoir.]
XXVIII
ACT IV, SCENE V
1. Why do you not motion him to leave the room? 2. I have discharged my man; he is packing up. 3. The words you wrote are spread out in full, right in the middle of a page in the visitors' book. 4. You are too plucky to climb down. 5. They have had nothing to do with this incident. 6. I have always looked my adversaries in the eye. 7. When you have offended anybody, it is magnanimous to acknowledge yourself in the wrong. 8. I am very sorry to have left[1] those ill-natured lines where they may be read by everybody. 9. Go and[2] erase them of your own accord, instead of making matters worse. 10. Exit major, saying that he bids them good day. 11. May I make bold[3] to ask you to bear me in mind if ever you want a man-servant?
[1: laisser.] [2: Tr.«to.»] [3: Tr. «Shall I dare.»]
XXIX
ACT IV, SCENES VI AND VII
1. If you write a few words to the chief of police, the matter[1] will be dropped. 2. There is nothing to be delighted[2] about when one has had to[3] apologize. 3. A reward of two hundred francs is not enough for saving a man's life. 4. Henrietta is as kindly disposed towards you as her mother. 5. A gentleman[4] does not thrust himself into other people's lives. 6. «It cannot be denied; I irritate him.»—«Well, I declare!» 7. Well-bred young ladies in France share their parents' feelings. 8. I will not go so far as to say that I am positive of his utter dislike; I have not yet had a talk with him. 9. I cannot stay here any longer[6]; what is the use? I had better bid you good-by. 10. I was much[7] hurt when he reproached me with[8] intruding.
[1: affaire, f.] [2: enchanté.] [3: devoir.] [4: galant homme.] [5: les autres.] [6: plus.] [7: vivement.] [8: de.]
XXX
ACT IV, SCENE VIII
1. Make sure you have got hold of your victim before you give him a chance to cool off. 2. Give me time[1] to collect my thoughts and I will let you know my answer. 3. People wear soft shoes when they go into a powder-magazine. 4. There was a grand final display to those fireworks. 5. Mark my words: Gratitude is a crushing burden for fools, and even[2] for many clever folk. 6. I am not developing a paradox; I am only giving you a piece of sound advice. 7. You would be making a mistake to take any other course. 8. I have made blunder after blunder; but do not give me away. 9. I took a tumble, not on purpose at all, which[3] humbled my pride. 10. His first exploit was a masterpiece.
[1: Tr.«the time.»] [2: même.] [3: ce qui.]
XXXI
ACT IV, SCENES IX AND X
1. Listening[1] is the best way[2] to hear. 2. «You will not shake hands with me now, will you?»—«Well, I declare! Why not?» 3. Bring me my money later; there is no hurry about it. 4. I am going back to Switzerland accompanied by Henrietta and her mother. 5. Eaves-dropping[1] is a bad habit. 6. We love the places where we have been happy. 7. Shall you be at home to-night? I may come and drink a cup of tea with you, may I not? 8. Henrietta cannot guess why her father wishes to revisit the Mer de Glace when they have just come back from the place. 9. Those who speak lower are better liked. 10. Mr. Perrichon means to say commandé; but he is thinking of[3] the major and makes a mistake in[4] the ending[5].
[1: Use the infinitive.] [2: moyen, m.] [3: penser à.] [4: se tromper de (omitting article).] [5: finale, f.]
QUESTIONS FOR CONVERSATION
NOTE.—The answers, whether spoken or written, should contain as many as possible of the words and idioms of the question. A simple «yes» or «no» should never be accepted, and the subject should always be repeated in full, not referred to by a pronoun.
I
ACT I, SCENE I
1. Où se passe le premier acte du Voyage de M. Perrichon? 2. Que voit-on dans une gare française? 3. Où prend-on ses billets? 4. Qui voit-on sur la scène au lever du rideau[1]? 5. Quelle est la profession de Majorin? 6. Que vient-il faire à la gare? 7. Pourquoi parle-t-il de M. Perrichon avec amertume? 8. Pourquoi vient-il voir M. Perrichon? 9. A qui s'adresse-t-il pour savoir l'heure de départ du train? 10. Comment l'employé lui répond-il?
[1: Literally, «at the raising of the curtain.»]
II
ACT I, SCENE II
1. De qui M. Perrichon est-il accompagné? 2. Pourquoi veut-il que sa famille ne le quitte pas? 3. Pourquoi est-il inquiet? 4. Que croit-il avoir laissé dans le fiacre? 5. Où retrouve-t-il son chapeau? 6. Pourquoi Mme Perrichon est-elle de mauvaise humeur[1]? 7. Pourquoi n'ont-ils pas fait ce voyage il y a deux ans? 8. Qu' est-ce que M. Perrichon donne à sa fille? 9. Pourquoi M. Perrichon donne-t-il un carnet a sa fille? 10. Combien de colis[2] M. Perrichon a-t-il?
[1: Cross.] [2: Pieces of baggage.]
III
ACT I, SCENES III AND IV
1. Qui entre en scène? 2. Mlle Perrichon connaît-elle Daniel? 3. Où l'a-t-elle rencontré? 4. Que demande Daniel à Mme Perrichon? 5. Quelle réponse obtient-il? 6. Pourquoi Daniel fait-il ces questions? 7. Pourquoi sort-il? 8. Que pense Mme Perrichon de Daniel? 9. Qu'est-ce qu'Armand porte à la main? 10. Quelles questions fait-il à Mme Perrichon?
IV
ACT I, SCENE V
1. Mme Perrichon est-elle fatiguée? 2. Comment Majorin n'est-il pas à son bureau? 3. La réponse de Majorin est-elle sincère? 4. De quoi s'occupe M. Perrichon? 5. Que lui a-t-on dit aux bagages? 6. Pourquoi M. Perrichon s'essuie-t-il le front? 7. Pourquoi Mme Perrichon reste-t-elle debout? 8. Que pense-t-elle de ce voyage? 9. Quelle raison M. Perrichon donne-t-il de la mauvaise humeur de sa femme? 10. A quelle condition consent-elle à aller s'asseoir?
V
ACT I, SCENE VI
1. Pourquoi Majorin dit-il qu'il est venu? 2. Que veut-il que M. Perrichon lui avance? 3. Pourquoi désire-t-il que M. Perrichon lui avance cette somme? 4. Quand Majorin doit-il toucher son dividende? 5. Quelle garantie offre-t-il à M. Perrichon? 6. Pourquoi M. Perrichon hésite-t-il à avancer l'argent? 7. Que fera Majorin si M. Perrichon ne le lui avance pas? 8. Quelle recommandation M. Perrichon fait-il à Majorin en le lui avançant? 9. Que dit Majorin de Mme Perrichon? 10. Quelle impolitesse Majorin commet-il en s'en allant?
VI
ACT I, SCENE. VII
1. Avec qui le commandant entre-t-il? 2. Pourquoi Joseph croit-il inutile que le commandant parte? 3. Quelle recommandation le commandant fait-il à Joseph? 4. Qu'est-ce que Joseph prévoit? 5. Quand le commandant veut-il des nouvelles? 6. Où veut-il que Joseph lui écrive? 7. Qu'est-ce que Joseph souhaite au commandant? 8. Quand croit-il que le commandant sera revenu? 9. Que fait le commandant après le départ de Joseph? 10. Où entre-t-il?
VII
ACT I, SCENE VIII
1. De quoi Mme Perrichon et sa fille sont-elles lasses? 2. Pourquoi M. Perrichon dit-il que c'est fini? 3. Combien donne-t-il au facteur? 4. Avant d'entrer, que fait-il faire à sa fille? 5. Quelle dépense inscrit-elle? 6. Que lui fait-il ajouter? 7. Quelle impression lui dicte-t-il? 8. Que croit-il avoir perdu encore? 9. Qu'est-ce que l'on entend en ce moment? 10. Où M. Perrichon trouve-t-il les billets qu'il croit perdus?
VIII
ACT I, SCENE IX
1. Par qui Daniel est-il heurté? 2. Que vient-il de faire? 3. Où vont ces deux jeunes gens? 4. Pourquoi partent-ils? 5. Qui se disposent-ils à suivre? 6. Pourquoi suivent-ils cette jeune personne? 7. Que propose Daniel? 8. Comment Armand reçoit-il cette proposition? 9. Quelle sorte de livre M. Perrichon désire-t-il? 10. Quel livre achète-t-il?
IX
ACT II, SCENE I
1. Décrivez le décor[1] du second acte. 2. Que voit-on par les fenêtres de l'auberge? 3. Que font Armand et Daniel? 4. Où vont-ils après déjeuner? 5. Où en sont[2] les opérations? 6. Quel a été le premier soin des deux jeunes gens? 7. Combien de fois Mlle Perrichon a-t-elle regardé Armand? 8. Quelle est la profession de Daniel? 9. Quelle est la profession d'Armand? 10. Pourquoi Armand se lève-t-il?
[1: Stage scenery, setting.] [2: «How are… getting on?»]
X
ACT II, SCENE II
1. Pourquoi Daniel dit-il qu'Armand ne sait pas vivre? 2. M. Perrichon fume-t-il? 3. Que fait Armand pendant que Daniel s'étend? 4. Quelle demande l'aubergiste fait-il à Daniel? 5. Quelle raison Daniel donne-t-il de son refus? 6. Quelle est la pensée du 'Voyageur enrhumé? 7. Qui a la belle écriture? 8. Qu'est-ce que M. Malaquais? 9. Qu'est-ce qu'un rentier? 10. Que sont les Français chez eux? et en voyage?
XI
ACT II, SCENE III
1. Pourquoi Armand demande-t-il du sel et du vinaigre? 2. Quelle raison Mme Perrichon donne-t-elle de la culbute de son mari? 3. Quelle raison M. Perrichon en donne-t-il? 4. Que serait-il arrivé sans Armand? 5. Armand qu'a-t-il fait? 6. Pourquoi Mme Perrichon veut-elle pleurer? 7. M. Perrichon sait-il faire des phrases? 8. Quelles phrases fait-il ici? 9. Que pense Daniel de tout ceci? 10. Pourquoi M. Perrichon fait-il reconduire le cheval?
XII
ACT II, SCENE IV
1. Que dit Daniel de cette aventure? 2. Que décide-t-il de faire? 3. Est-ce un sacrifice qu'il fait à Armand? 4. Pourquoi n'est-ce pas un sacrifice? 5. Quel service Armand voulait-il demander à Daniel? 6. Pourquoi ne peut-il pas parler à M. Perrichon lui-même? 7. Que pense Daniel de cette proposition? 8. Que finit-il par faire? 9. Que dit-il à Armand de faire? 10. Comment compte-t-il s'y prendre[1]?
[1: To set about it.]
XIII
ACT II, SCENE V
1. Comment se porte M. Perrichon à présent? 2. Que compte-t-il faire dans un quart d'heure? 3. Quelles sont les qualités d'Armand? 4. Que pense M. Perrichon de l'action d'Armand? 5. Le service rendu était-il bien grand? 6. Pourquoi sa famille l'exagère-t-elle? 7. Comment M. Berrichon roulait-il après avoir glissé? 8. A qui pareil accident est-il déjà arrivé? 9. Quelle récompense le guide a-t-il reçue? 10. Quels sont les sentiments de M. Perrichon envers Armand?
XIV
ACT II, SCENES VI AND VII
1. Daniel a-t-il fait la demande d'Armand? 2. Pourquoi ne l'a-t-il pas faite? 3. Pourquoi continue-t-il la lutte? 4. Comment va-t-il s'y prendre[1]? 5. Où va M. Perrichon? 6. Armand l'accompagne-t-il? 7. Pourquoi Armand ne l'accompagne-t-il pas? 8. Que demande M. Perrichon à l'aubergiste? 9. Pourquoi demande-t-il le livre des voyageurs? 10. Quelle pensée a-t-il trouvée?
[1: See XII above, note.]
XV
ACT II, SCENE VIII
1. Qui l'aubergiste introduit-il? 2. Qui le commandant cherche-t-il? 3. Que commande-t-il à l'aubergiste? 4. Pourquoi Armand poursuit-il le commandant? 5. Le commandant a-t-il quitté Paris pour échapper aux poursuites? 6. Le commandant que prie-t-il Armand de faire? 7. Pourquoi lui demande-t-il cela? 8. Pourquoi tient-il à être enfermé? 9. Avant quelle heure ne sort-il jamais? 10. De quoi le commandant se déclare-t-il très heureux?
XVI
ACT II, SCENE IX
1. Armand aime-t-il la Suisse? 2. Pourquoi y va-t-il? 3. Mme Perrichon aimerait-elle habiter la Suisse? 4. Quelle est l'infirmité de M. Pingley? 5. Quelle comédie Armand a-t-il jouée? 6. Pour qui Armand doit-il la vérité à Mme Perrichon? 7. Quelle est cette vérité? 8. Pourquoi suit-il pas à pas la famille Perrichon? 9. Comment aime-t-il Henriette? 10. Par quoi leur conversation est-elle interrompue?
XVII
ACT II, SCENE X
1. Par qui Daniel est-il soutenu quand li entre? 2. Qu'est-il arrivé? 3. Quel récit M. Perrichon imite-t-il? 4. Comment Daniel se trouve-t-il en réalité? 5. Comment remercie-t-il M. Perrichon? 6. Armand sait-il le plaisir qu'on éprouve à sauver son semblable? 7. M, Perrichon que désire-t-il faire avant de quitter ces lieux? 8. Quelle faute d'orthographe M. Perrichon a-t-il faîte? 9. Quel temps fait-il quand la famille Perrichon repart en voiture? 10. Qui montera sur le siège?
XVIII
ACT III, SCENES I AND II
1. Décrivez le salon de M. Perrichon. 2. Qu'y a-t-il au milieu du salon? 3. Quelle heure est-il? 4. Qu'est-ce que Jean a fait pour le retour de ses maîtres? 5. Qui est venu ce matin sans laisser de carte? 6. Que portent M. Perrichon et sa famille? 7. Pourquoi ne sont-ils pas revenus huit jours plus tôt? 8. Comment Jean trouve-t-il M. Perrichon? 9. Que voit-on à la figure de M. Perrichon? 10. Qu'est-ce que M. Perrichon annonce à Jean?
XIX
ACT III, SCENE III
1. Qu'espère Mme. Perrichon, maintenant qu'ils sont de retour[1]? 2. Lequel des deux jeunes gens M. Perrichon préfère-t-il? 3. Quelles raisons donne-t-il de sa préférence? 4. Pourquoi n'aime-t-il pas Armand? 5. M. Perrichon croit-il avoir de la vanité? 6. Pourquoi aurait-il le droit d'en avoir? 7. Quel est le signe caractéristique du vrai courage? 8. Qui Henriette préfère-t-elle? 9. Quel moyen y a-t-il de le savoir? 10. Quelle recommandation Mme. Perrichon fait-elle à son mari?
[1: Home again.]
XX
ACT III, SCENE IV
1. Pourquoi M. et Mme Perrichon ont-ils à parler à Henriette? 2. Qu'ont-ils résolu de faire? 3. Que pense M. Perrichon de Daniel? 4. M. Perrichon influence-t-il Henriette? 5. Henriette se déclare-t-elle immédiatement? 6. Qui finit-elle par choisir? 7. Quelle raison donne-t-elle de son choix? 8. Qu'en pense M. Perrichon? 9. Comment se tire-t-il d'affaire[1]? 10. Quel reproche Mme Perrichon lui fait-elle?
[1: Get out of the difficulty.]
XXI
ACT III, SCENE V
1. Comment Majorin explique-t-il sa visite? 2. Pourquoi M. Perrichon ne le retient-il pas à dîner? 3. Pourquoi Majorin est-il venu? 4. Pourquoi ne rapporte-t-il pas à M. Perrichon l'argent qu'il lui doit? 5. Quel souvenir M. Perrichon lui a-t-il rapporté? 6. Pour qui encore M. Perrichon a-t-il rapporté deux autres montres? 7. Où les avait-il mises avant d'arriver à la douane? 8. Pourquoi les avait-il fourrées dans sa cravate? 9. Qu'est-il arrivé? 10. Que fait Majorin?
XXII
ACT III, SCENES VI AND VII
1. Que fait Mme Perrichon quand Jean annonce Armand? 2. Comment M. Perrichon présente-t-il Armand à Majorin? 3. Comment présente-t-il Daniel à Majorin? 4. Où Henriette trouve-t-elle le nom de son père? 5. Que suppose M. Perrichon d'abord[1]? 6. Quelle histoire le journal raconte-t-il? 7. Combien Daniel a-t-il payé cet article? 8. Que pense M. Perrichon de la presse? 9. Qui a remis un papier timbré a Jean? 10. Qu'est-ce qu'un papier timbré?
[1: At first.]
XXIII
ACT III, SCENE VIII
1. Que pense M. Perrichon du petit sapin auquel il allait se cramponner? 2. Que pense-t-il d'Armand en ce moment? 3. De quoi Daniel se souvient-il seulement? 4. Qu'annonce-t-il à M. Perrichon? 5. Pourquoi veut-il partir? 6. Comment empêchera-t-il[1] l'image de M. Perrichon de le quitter? 7. A qui s'est-il adressé? 8. A quoi tient-il surtout? 9. Où sera-t-il lui-même dans le tableau? 10. Quelle inscription mettra-t-on dans le livret?
[1: To prevent.]
XXIV
ACT III, SCENE IX
1. Depuis combien de temps le commandant cherche-t-il Perrichon? 2. Pourquoi le cherche-t-il? 3. Pourquoi a-t-il corrigé la faute d'orthographe de M. Perrichon? 4. A-t-il la prétention de donner une leçon à M. Perrichon? 5. Que vient-il faire alors? 6. M. Perrichon se laisse-t-il intimider? 7. Pourquoi n'a-t-il pas peur? 8. M. Perrichon retire-t-il ce qu'il a écrit? 9. Que lui propose alors le commandant? 10. Quelle raison le commandant donne-t-il de son départ?
XXV
ACT III, SCENES X AND XI
1. Pourquoi Perrichon ne croit-il pas que le commandant soit un vrai militaire? 2. Pourquoi Jean a-t-il laissé entrer le commandant? 3. Que lit-on sur la carte du commandant? 4. Pour qui M. Perrichon a-t-il pris le commandant? 5. Pourquoi M. Perrichon pousse-t-il un cri? 6. Quel moyen a-t-il trouvé? 7. Quelle opinion Daniel conçoit-il de son futur beau-père? 8. Quel moyen Daniel trouve-t-il d'empêcher le duel? 9. A qui va-t-il envoyer une lettre? 10. Quel résultat de sa lettre prévoit-il?
XXVI
ACT III, SCENES XII AND XIII
1. Qu'est-ce que M. Perrichon a fait pendant ce temps? 2. Pourquoi met-il «midi moins un quart»? 3. Comment décrit-il l'un des combattants? 4. Que met-il sur l'enveloppe? 5. Comme quoi est-il calme? 6. Pourquoi n'accompagnera-t-il pas sa femme au concert? 7. Que pense Mme Perrichon de son air sérieux? 8. Qu'est-ce qui a échappé à M. Perrichon? 9. Que pense M. Perrichon du duel en général? 10. Pourquoi Jean est-il joyeux?
XXVII
ACT IV, SCENES I AND II
1. Qu'est-ce qu'un «pavillon praticable»? 2. Que porte M. Perrichon sous son manteau? 3. Pourquoi a-t-il deux paires d'épées? 4. Pourquoi ne veut-il pas arriver avant midi? 5. Quelle raison a-t-il d'attendre Majorin? 6. Que demande-t-il à Majorin? 7. Quelle réponse Majorin lui fait-il d'abord? 8. Et finalement? 9. Que lui demande-t-il seulement? 10. Pourquoi M. Perrichon ne veut-il pas faire ses adieux à sa femme?
XXVIII
ACT IV, SCENE III
1. Comment Henriette entre-t-elle? 2. Pourquoi n'est-elle pas inquiète? 3. Que fait-elle pendant que son père lui parle? 4. Comment Mme Perrichon entre-t-elle? 5. Pourquoi a-t-elle des fleurs à la maîn? 6. Quelle recommandation fait-elle à son mari? 7. Qu'en pense Majorin? 8. Que rappelle Daniel à M. Perrichon? 9. Quel conseil Henriette lui donne-t-elle? 10. Qu'en pense Majorin?
XXIX
ACT IV, SCENE IV
1. Pourquoi le duel n'aura-t-il pas lieu? 2. Que pense Daniel de son rival? 3. M. Perrichon est-il content? 4. Pourquoi n'est-il pas satisfait? 5. Comment remercie-t-il Armand? 6. Que va faire Majorin? 7. Qu'est-ce que Daniel lui offre? 8. Pourquoi Mme Perrichon dit-elle à Armand de rester? 9. Pourquoi Armand hésite-t-il? 10. Qu'est-ce qui le détermine à faire sa demande?
XXX
ACT IV, SCENE V
1. Quels sont les sentiments de M. Perrichon envers l'armée? 2. Comment le commandant est-il sorti de prison? 3. De quoi le commandant n'a-t-il jamais douté? 4. Jean que pense-t-il de son maître? 5. Pourquoi M. Perrichon change-t-il soudain d'attitude? 6. Fait-il des excuses au commandant? 7. Que devra-t-il faire demain? 8. Où est situé le Montanvert? 9. A quoi le commandant rend-il hommage? 10. Pourquoi M. Perrichon renvoie-t-il Jean?
XXXI
ACT IV, SCENE VI
1. Qui M. Perrichon blâme-t-il de ce qui vient d'arriver? 2. Où Armand est-il allé hier? 3. Qu'a-t-il obtenu? 4. M. Perrichon que devra-t-il faire? 5. M. Perrichon est-il content? 6. Pourquoi pas? 7. Pourquoi le duel à deux heures n'est-il pas la même-chose qu'à midi? 8. Si M. Perrichon tombe dans un trou, que prie-t-il Armand de faire? 9. Combien donne-t-on au guide qui vous sauve? 10. Quelles gens M. Perrichon n'aime-t-il pas?
XXXII
ACT IV, SCENE VII
1. Armand qu'a-t-il acquis en causant avec M. Perrichon? 2. Que lui a reproché M. Perrichon? 3. Armand qu'a-t-il cru que M. Perrichon allait faire? 4. Que reste-t-il à faire à Armand? 5. Pourquoi se veut-il pas rester? 6. Que lui répond Henriette? 7. Qu'a dit Mme Perrichon? 8. Mme Perrichon qu'a-t-elle de plus cher au monde? 9. Quel espoir Armand exprime-t-il? 10. Que font les demoiselles bien élevées en France?
XXXIII
ACT IV, SCENE VIII
1. Dans combien de temps Daniel et Armand connaîtront-ils la réponse de M. Perrichon? 2. Quel défaut Armand a-t-il? 3. Quel paradoxe Daniel développe-t-il? 4. Dans quelle catégorie ne faut-il pas ranger M. Perrichon? 5. Combien de choses l'action d'Armand rappelle-t-elle à M. Perrichon? 6. Lesquelles? 7. Quelles précautions Daniel prend-il quand il rend service? 8. Quelle définition de l'ingratitude donne-t-il? 9. En raison de quoi les hommes s'attachent-ils à nous? 10. Si Mme Perrichon est pour Armand, qu'est-ce qui est pour Daniel?
XXXIV
ACT IV, SCENES IX and X
1. M. Perrichon que donne-t-il à Daniel? 2. Que donne-t-il à Armand? 3. Pourquoi ne cherche-t-il pas à s'acquitter envers lui? 4. Comment Daniel prend-il sa défaite? 5. Pourquoi Majorin a-t-il gardé la voiture de Daniel? 6. Combien de temps l'a-t-il gardée? 7. Quelle invitation M. Perrichon fait-il à Armand pour demain? 8. Pourquoi ne peut-il prendre d'engagements pour demain? 9. Quelle excuse donne-t-il de son départ? 10. Pourquoi dit-il «commandant» au lieu de «commandé»?