White Lies — Themes and Context
Edition facts
For White Lies — Themes and Context, the stored edition analysis reports 124,881 words, 9 hr 3 min estimated reading time, and 14 detected text sections.
The text analysis averages about 14.5 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “France -- History -- Wars of the Vendée, 1793-1832 -- Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
Towards the close of the last century the Baron de Beaurepaire lived in the chateau of that name in Brittany. His family was of prodigious antiquity; seven successive barons had already flourished on this spot when a younger son of the house accompanied his neighbor the Duke of Normandy in his descent on England, and was rewarded by a grant of English land, on which he dug a mote and built a chateau, and called it Beaurepaire (the worthy Saxons turned this into Borreper without delay). Since that day more than twenty gentlemen of the same lineage had held in turn the original chateau and lands, and handed them down to their present lord.
Thus rooted in his native Brittany, Henri Lionel Marie St. Quentin de Beaurepaire was as fortunate as any man can be pronounced before he dies. He had health, rank, a good income, a fair domain, a goodly house, a loving wife, and two lovely young daughters, all veneration and affection. Two months every year he visited the Faubourg St. Germain and the Court. At both every gentleman and every lacquey knew his name, and his face: his return to Brittany after this short absence was celebrated by a rustic fete.
Above all, Monsieur de Beaurepaire possessed that treasure of treasures, content. He hunted no heart-burns. Ambition did not tempt him; why should he listen to long speeches, and court the unworthy, and descend to intrigue, for so precarious and equivocal a prize as a place in the Government, when he could be De Beaurepaire without trouble or loss of self-respect? Social ambition could get little hold of him; let parvenus give balls half in doors, half out, and light two thousand lamps, and waste their substance battling and manoeuvring for fashionable distinction; he had nothing to gain by such foolery, nothing to lose by modest living; he was the twenty-ninth Baron of Beaurepaire. So wise, so proud, so little vain, so strong in health and wealth and honor, one would have said nothing less than an earthquake could shake this gentleman and his house. Yet both were shaken, though rooted by centuries to the soil; and by no vulgar earthquake.
For years France had bowed in silence beneath two galling burdens--a selfish and corrupt monarchy, and a multitudinous, privileged, lazy, and oppressive aristocracy, by whom the peasant was handled like a Russian serf. [Said peasant is now the principal proprietor of the soil.]
The lower orders rose upon their oppressors, and soon showed themselves far blacker specimens of the same breed. Law, religion, humanity, and common sense, hid their faces; innocent blood flowed in a stream, and terror reigned. To Monsieur de Beaurepaire these republicans--murderers of women, children, and kings--seemed the most horrible monsters nature had ever produced; he put on black, and retired from society; he felled timber, and raised large sums of money upon his estate. And one day he mounted his charger, and disappeared from the chateau.
Three months after this, a cavalier, dusty and pale, rode into the courtyard of Beaurepaire, and asked to see the baroness. She came to him; he hung his head and held her out a letter.
It contained a few sad words from Monsieur de Laroche-jaquelin. The baron had just fallen in La Vendee, fighting for the Crown.
From that hour till her death the baroness wore black.
The mourner would have been arrested, and perhaps beheaded, but for a friend, the last in the world on whom the family reckoned for any solid aid. Dr. Aubertin had lived in the chateau twenty years. He was a man of science, and did not care a button for money; so he had retired from the practice of medicine, and pursued his researches at ease under the baron’s roof. They all loved him, and laughed at his occasional reveries, in the days of prosperity; and now, in one great crisis, the protege became the protector, to their astonishment and his own. But it was an age of ups and downs. This amiable theorist was one of the oldest verbal republicans in Europe. And why not? In theory a republic is the perfect form of government: it is merely in practice that it is impossible; it is only upon going off paper into reality, and trying actually to self-govern limited nations, after heating them white hot with the fire of politics and the bellows of bombast--that the thing resolves itself into bloodshed silvered with moonshine.
The opening chapter of White Lies establishes the Baron de Beaurepaire as a man of 'prodigious antiquity' and 'content,' rooted in Brittany for centuries. Yet the narrator immediately foreshadows that 'both were shaken' by the revolutionary earthquake. The catalog subjects list the Wars of the Vendée and marriage, but the excerpts devote far more space to the latter: the Baron's domestic happiness, his daughters, and the intricate courtship between Josephine and Camille. The political backdrop is invoked in broad strokes—'selfish and corrupt monarchy,' 'oppressive aristocracy'—but the text dwells on personal maneuvering, secret staircases, and the psychology of love under constraint.
Antiquity and Its Discontents
The Baron's lineage is traced with mock-heroic precision: seven barons before the Norman Conquest, a younger son who 'dug a mote and built a chateau' in England. The narrator uses this deep history to underscore the family's complacency—'he was the twenty-ninth Baron of Beaurepaire'—and to contrast it with the coming upheaval. Yet the excerpts show that the real drama is not the peasant uprising but the Baron's own household: his wife, his daughters, and their suitors. The catalog subject 'France -- History -- Wars of the Vendée, 1793-1832' is present only as a distant thunder; the text's energy is in the chateau's interiors and the characters' emotional calculations.
The Art of Indirect Persuasion
Josephine's method of securing Camille's company is described as 'woman’s way, round about.' She invites him to Frejus, then feigns indifference when he asks to see her alone. The narrator compares her to 'half tame deer' that crane their necks for sugar but bolt at a touch. This simile captures the novel's interest in psychological games: Josephine 'thrilled with pleasure at the obnoxious idea' of marriage while pretending outrage. Camille counters with 'sober, grave, and full of common-sense' arguments, but the narrative sides with the irrational—'calm reason was jostled off the field.' The marriage plot, not the war, drives the prose.
Secrecy and the Staircase
A 'secret stair' appears as a practical device for eavesdropping: Rose slips up it to observe Camille unpacking. The detail is small but telling—the Beaurepaire house is built for concealment. The narrator lingers on Camille's 'soldier-like neatness' and the 'agreeable march' he hums, hinting at military discipline that never reaches the battlefield in the excerpts. Instead, the stairs facilitate romantic surveillance. The catalog subject 'Marriage -- Fiction' is thus enacted through architecture: hidden passages allow characters to watch, wait, and manipulate. The Vendée war remains a rumor; the real conflict is domestic espionage.
Readers approaching White Lies through its catalog subjects may expect a historical novel about the Wars of the Vendée. The excerpts suggest a different emphasis: a romance of manners set against a backdrop of revolution, where the most dangerous lies are told not to enemies but to lovers. Pay attention to the narrator's ironic asides and the characters' strategic silences—the 'white lies' of the title operate on a personal scale, even as the old order crumbles outside the chateau walls.
There’s a moment in White Lies — Themes and Context where the Beaurepaire family’s quiet certainties crumble, and I found myself thinking of another book — Simon the Jester — Themes and Context — where a similar gentle unraveling happens, not through revolution, but through the slow weight of a man’s own wry self-awareness. Both feel like candlelit rooms, warm and fading.
There are no reviews for this eBook.
Record your reading impressions
A brief reflection can help important ideas stay with you longer.