# Conclusion of the Story of a Naiad and of a Dryad explained — The Vicomte de Bragelonne

> Chapter companion for The Vicomte de Bragelonne by Alexandre Dumas.

## What happens

Madame Henrietta continues her teasing narrative about a Naiad who witnessed the shepherds Tyrcis and Amyntas following three shepherdesses, further humiliating the king and Saint-Aignan. The king, annoyed, defends the story but leaves early, while La Vallière faints from the tension. Saint-Aignan then delivers a poetic portrait of Phyllis, Amaryllis, and Galatea, which draws attention to Montalais and Tonnay-Charente, but Madame remains noncommittal.

## Themes in this chapter

### Court Intrigue and Deception

Madame's Naiad story and Saint-Aignan's portraits are layered with veiled references and social manipulation, exposing hidden relationships and power dynamics.

### Love and Sacrifice

De Guiche's speech on love's sweetness and the pain of losing it, along with La Vallière's fainting, highlight the emotional stakes of romantic attachment.

## Character check-ins

### Louis XIV

The king is annoyed by Madame's story, defends it weakly, and leaves early, showing his discomfort.

### Henrietta of England

Madame triumphantly tells the Naiad's story, enjoying the king's and Saint-Aignan's discomfort.

### De Guiche

De Guiche expresses sympathy for the shepherds Tyrcis and Amyntas, speaking of love's sweetness and loss.

### Louise de La Vallière

La Vallière faints from the king's look and words, overwhelmed by the tension.

### Mademoiselle de Montalais

Montalais is the subject of Saint-Aignan's portrait of Phyllis, but she remains unmoved.

### Mademoiselle de Tonnay-Charente

Tonnay-Charente is the model for Amaryllis in Saint-Aignan's portrait, and she smiles at the description.

## Key lines

> I pity them with all my soul; for, in very truth, love is so sweet a fancy, that to lose it, fancy though it may be, is to lose more than life itself.

De Guiche says he deeply pities the shepherds because love is such a delightful illusion that losing it, even if it was just a fantasy, is worse than dying.

_De Guiche's romantic idealism contrasts with the court's cynical games._

> The king rose, without remarking this circumstance, of which no one, moreover, took any notice, and, contrary to his usual custom, for generally he remained late in Madame's apartments, he took his leave, and retired to his own side of the palace.

The king stood up, ignoring La Vallière's faint, and left early, which was unusual for him, showing his discomfort.

_The king's abrupt departure signals his emotional turmoil and the success of Madame's provocation._

## Links

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