Short stories of the tragedy and comedy of life with a critical preface . nd pointing to the door with a superb gesture,said: You are a dirty scoundrel, sir. Get out of my i house immediately, and never let me see you again! ?|» *|5 ?|5 •(» »|V •!? ij* The comedy was over. Grateful for such fidelityand real affection, Monsieur de Loubancourt marriedWanda Pulska, whose name appeared on the civilregister — a detail of no importance to a man who UNDER THE YOKE 227 was in love — as Frida Krubstein; she came fromSaxony, and had been a servant at an inn. Then hedisinherited his son, as far as he cou
Short stories of the tragedy and comedy of life with a critical preface . nd pointing to the door with a superb gesture,said: You are a dirty scoundrel, sir. Get out of my i house immediately, and never let me see you again! ?|» *|5 ?|5 •(» »|V •!? ij* The comedy was over. Grateful for such fidelityand real affection, Monsieur de Loubancourt marriedWanda Pulska, whose name appeared on the civilregister — a detail of no importance to a man who UNDER THE YOKE 227 was in love — as Frida Krubstein; she came fromSaxony, and had been a servant at an inn. Then hedisinherited his son, as far as he could.* And now that she is a respectable and respectedwidow, Madame de Loubancourt is received every-where by society in those places of winter resortwhere peoples antecedents are rarely gone into,and where women of noble name, who are prettyand can waltz — like the Germans can — are alwayswell received. ?According to French law, nobody can altogether disinherit achild, and no son or daughter can be cut off with the proverbiashilling. A FASHIONABLE WOMAN. T CAN easily be proved that Austria isfar richer in talented men, in everydomain, than North Germany, butwhile men are systematically drilledthere for the vocation which theychoose, just as Prussian soldiers are,with us they lack the necessary train-\ ing, especially technical training, and con-sequently very few of them get beyondjL K ^^^^ dilettantism. Leo Wolfram was one^^•^—^ of these intellectual dilettantes, and the morepleasure one took in his materials and charac-ters, which were usually taken boldly from reallife, and woven into a certain political, and whatis still more, a plastic plot, the more one was obligedto regret that Wolfram had never learned to composeor to mold his characters or to write — in one word,that he had never become a literary artist. But howgreatly he had in himself the materials for a masterof narration, his Dissolving Views, and still morehis Goldkind,* prove.
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Keywords: ., bookauthormaupassa, bookcentury1900, bookdecade1900, bookyear1903
