Là-Bas · Chapter
XVI explained
Durtal reflects on his contradictory feelings toward Hyacinthe Chantelouve, analyzing her three distinct personas and comparing her to Gilles de Rais, whom he also sees as a figure of contradictions.
What happens
Durtal reflects on his contradictory feelings toward Hyacinthe Chantelouve, analyzing her three distinct personas and comparing her to Gilles de Rais, whom he also sees as a figure of contradictions. Des Hermies visits, and they discuss the state of literature, the public, and the artist's isolation. Durtal continues his research on Gilles de Rais's trial, focusing on the events leading to his arrest and the dual ecclesiastical and civil tribunals.
Themes in this chapter
Obsession and Desire
Durtal's obsessive analysis of Hyacinthe's character and his conflicted desires regarding her.
Art and the Artist
Durtal and Des Hermies discuss the artist's isolation from the public and the degradation of literature.
History and Truth
Durtal grapples with historical ambiguities in the trial of Gilles de Rais, questioning motives and missing documents.
Characters to notice
- Durtal
Reflects on his relationship with Hyacinthe, compares her to Gilles de Rais, and discusses literature with Des Hermies.
- Mme Chantelouve
Durtal analyzes her three distinct beings: reserved woman, carnal harlot, and pitiless Satanist.
- Gilles de Rais
Durtal compares him to Chantelouve, noting his three personas: brave soldier, artistic criminal, and repentant mystic.
- Des Hermies
Visits Durtal, informs him of Carhaix's illness, and discusses the literary world.
- Carhaix
Mentioned as ill with bronchitis by Des Hermies.
- Hyacinthe Chantelouve
Durtal recalls her visit and her refusal to speak openly about Canon Docre.
- Canon Docre
Durtal hopes to learn more about him from Hyacinthe.
- Robin Guillaumet
Acts as notary in the arrest of Gilles de Rais and searches the fortress.
Key passages
“When I think,” said Durtal to himself the next morning, “that in bed, at the moment when the most pertinacious will succumbs, I held firm and refused to yield to the instances of Hyacinthe wishing to establish a footing here, and that after the carnal decline, at that instant when annihilated man recovers—alas!—his reason, I supplicated her, myself, to continue her visits, why, I simply cannot understand myself.”
Durtal is bewildered by his own inconsistency: he resisted Hyacinthe's attempts to stay overnight, but after sex, he begged her to keep visiting.
Highlights Durtal's internal conflict and self-contradiction regarding his relationship with Hyacinthe.
“There are in her three distinct beings. “First the woman seated or standing up, whom I knew in her drawing-room, reserved, almost haughty, who becomes a good companion in private, affectionate and even tender. “Then the woman in bed, completely changed in voice and bearing, a harlot spitting mud, losing all shame. “Third and last, the pitiless vixen, the thorough Satanist, whom I perceived yesterday.”
Durtal identifies three personas in Hyacinthe: the reserved socialite, the shameless lover, and the cruel Satanist.
Reveals Durtal's analytical view of Hyacinthe's multifaceted personality.
“Art and prayer are the only decent ejaculations of the soul.”
Durtal believes that art and prayer are the only worthy expressions of the human spirit.
Captures Durtal's elitist view of art as a sacred, private act.
“The dilettante has no personal temperament, since he objects to nothing and likes everything. “Whoever has no personal temperament has no talent.””
Durtal argues that a dilettante lacks a distinct artistic voice and therefore cannot be truly talented.
Reflects Durtal's disdain for critical eclecticism and his belief in strong artistic individuality.
