La Mere Bauche From Tales of All Countries — Context and Discussion

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Trollope, Anthony, 1815-1882 Project Gutenberg 2002 Not confirmed
Short stories; Mate selection -- Fiction; France -- Fiction Readers of public-domain and historical texts
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Words 16,087
Reading time 70 min
Text sections 2

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Anthony Trollope's story uses the secluded Pyrenean valley of Vernet and its baths as a setting where economic pressures and familial control shape a love triangle, revealed through precise dialogue and recurring imagery of confinement.
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to the world, for there was a Fils Bauche who lived with his mother; but no one seemed to remember more of him than that he had once existed. At Vernet he had never been known. La Mère Bauche was a native of the village, but her married life had been passed away from it, and she had returned in her early widowhood to become proprietress and manager, or, as one may say, the heart and soul of the Hôtel Bauche at Vernet.

This hotel was a large and somewhat rough establishment, intended for the accommodation of invalids who came to Vernet for their health. It was built immediately over one of the thermal springs, so that the water flowed from the bowels of the earth directly into the baths. There was accommodation for seventy people, and during the summer and autumn months the place was always full. Not a few also were to be found there during the winter and spring, for the charges of Madame Bauche were low, and the accommodation reasonably good.

And in this respect, as indeed in all others, Madame Bauche had the reputation of being an honest woman. She had a certain price, from which no earthly consideration would induce her to depart; and there were certain returns for this price in the shape of déjeuners and dinners, baths and beds, which she never failed to give in accordance with the dictates of a strict conscience. These were traits in the character of an hotel-keeper which cannot be praised too highly, and which had met their due reward in the custom of the public. But nevertheless there were those who thought that there was occasionally ground for complaint in the conduct even of Madame Bauche.

In the first place she was deficient in that pleasant smiling softness which should belong to any keeper of a house of public entertainment. In her general mode of life she was stern and silent with her guests, autocratic, authoritative and sometimes contradictory in her house, and altogether irrational and unconciliatory when any change even for a day was proposed to her, or when any shadow of a complaint reached her ears.

Indeed of complaint, as made against the establishment, she was altogether intolerant. To such she had but one answer. He or she who complained might leave the place at a moment’s notice if it so pleased them. There were always others ready to take their places. The power of making this answer came to her from the lowness of her prices; and it was a power which was very dear to her.

The baths were taken at different hours according to medical advice, but the usual time was from five to seven in the morning. The déjeuner or early meal was at nine o’clock, the dinner was at four. After that, no eating or drinking was allowed in the Hôtel Bauche. There was a café in the village, at which ladies and gentlemen could get a cup of coffee or a glass of eau sucré; but no such accommodation was to be had in the establishment. Not by any possible bribery or persuasion could any meal be procured at any other than the authorised hours. A visitor who should enter the salle à manger more than ten minutes after the last bell would be looked at very sourly by Madame Bauche, who on all occasions sat at the top of her own table. Should any one appear as much as half an hour late, he would receive only his share of what had not been handed round. But after the last dish had been so handed, it was utterly useless for any one to enter the room at all.

Her appearance at the period of our tale was perhaps not altogether in her favour. She was about sixty years of age and was very stout and short in the neck. She wore her own gray hair, which at dinner was always tidy enough; but during the whole day previous to that hour she might be seen with it escaping from under her cap in extreme disorder. Her eyebrows were large and bushy, but those alone would not have given to her face that look of indomitable sternness which it possessed. Her eyebrows were serious in their effect, but not so serious as the pair of green spectacles which she always wore under them. It was thought by those who had analysed the subject that the great secret of Madame Bauche’s power lay in her green spectacles.

The story opens with a detailed geographical description of the Eastern Pyrenees, contrasting the lesser-known valley of Vernet with more frequented tourist spots like Luchon. Trollope establishes the baths as a place of recovery for the weary, but the narrative quickly narrows to the domestic sphere of La Mère Bauche's establishment. The setting is not merely backdrop; the valley's isolation and the looming presence of Mount Canigou mirror the characters' constrained circumstances. The opening paragraphs move from broad landscape to a specific slate roof, signaling a story where place and power are tightly interwoven.

The Architecture of Confinement

The physical layout of the Bauche establishment—the slate roof, the cave, the house—functions as a map of social control. La Mère Bauche's authority is spatial: she can expel Marie from the house, and the cave becomes a clandestine meeting place for the lovers. The cave scene, where Adolphe breaks off the relationship, is framed by the wall Marie leans against, emphasizing her lack of escape. Trollope repeatedly uses the word "house" as a synecdoche for maternal power and economic dependency. The movement between interior and exterior spaces—from the house to the cave and back—charts the shifting balance of power, with the cave offering only temporary refuge from the mother's rule.

Dialogue as a Weapon of Indirection

Trollope crafts dialogue that reveals character through evasion and repetition. Adolphe's speech is marked by hedging: "I am afraid we two have been very foolish," "Upon my honour I think it is the best thing you can do." His words circle around the central issue—his unwillingness to defy his mother—without stating it directly. Marie, by contrast, uses direct questions and pleas: "Can we never be married?" and "Do not let them teach you so." The asymmetry in their speech patterns underscores the imbalance of power. Adolphe's repeated use of "you see" and "upon my honour" attempts to frame his betrayal as reasonable, while Marie's repetitions—"you do love me, you do love me"—cling to a promise that is already slipping away.

The Weight of Promises and Economic Reality

The story hinges on the tension between sworn vows and material necessity. Marie recalls "those old vows which had been so frequent, so eager, so solemnly pledged," but Adolphe counters with the practical obstacle: "I can do nothing without money from her." The narrative does not resolve this conflict; the excerpts break off before any decision is reached. What is clear is that love is measured against the threat of expulsion and the promise of inheritance. Trollope presents the mother's opposition not as villainy but as a structural force—she controls the purse strings and the roof. The capitaine, old Campan, is offered as a solution that would keep Marie in the house, but at the cost of her autonomy. The story thus examines how economic dependency shapes romantic choices, without moralizing.

Recurring Images of Entrapment and Release

Throughout the excerpts, images of confinement recur: Marie leans against a wall, the cave is described as a place of hiding, and the house is a space that can be closed to her. The baths themselves, though a place of healing, are also a trap—invalids come to recover but remain within a closed social system. The mountain Canigou stands "high and solitary," suggesting an alternative of freedom that remains inaccessible. Trollope's prose moves between the expansive valley description and the cramped interior of the cave, mirroring the characters' limited options. The story's structure, alternating between setting and dialogue, reinforces the sense that the characters are caught between the grandeur of the landscape and the narrowness of their circumstances.

Readers should attend to how Trollope uses the physical environment—the valley, the cave, the house—as an active element in the drama, not mere decoration. The story's power lies in its restraint: it presents a situation without easy resolution, leaving the reader to weigh the claims of love, duty, and survival. The incomplete excerpts suggest a narrative that resists sentimentality, focusing instead on the quiet cruelties of everyday life.

I have often thought, shelving Trollope's little Pyrenean tragedy, how its lovers are trapped less by walls than by the warmth they mistake for freedom. Years later, picking up Piccadilly Jim — Text and Context, I felt that same quiet ache—people circling each other inside family fictions, every cage gilded with good intentions. Both books whisper the same sad truth. We never notice how gently we are locked in.

David Wilson
3 weeks ago

Benjamin Carter
3 weeks ago

Victoria Hall
1 week ago

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4.5 out of 5 (3 User reviews )

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    Mary Watts - 1 month ago
    La Mere Bauche From Tales Of All Countries is a delightful short story by Anthony Trollope, offering a humorous and insightful look at French provincial life. Trollope's keen observations and witty prose shine, making this a quick, enjoyable read that leaves a lasting impression.

  • ...
    Bradley Dunn - 2 weeks ago
    This story is a pleasant deviation from Trollope's English settings. The characterization is strong, and the plot is engaging, though slightly predictable. It's a good introduction to his shorter works.

  • ...
    Jeffrey Walters - 1 week ago
    The story is charming but somewhat slight, with a predictable ending. Trollope's style may seem old-fashioned, and the humor doesn't always translate to modern readers. Still, it's a passable example of his storytelling.


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