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way, were republished in a small volume, some time before "Marie Claire," and attracted no general attention whatever. Meanwhile the more important work proceeded, slowly; and was at length finished. Its composition stretched over a period of six years. Marguerite Audoux never hurried nor fatigued herself, and though she re-wrote many passages several times, she did not carry this revision to the meticulous excess which is the ruin of so many ardent literary beginners in France. The trite phrase, "written with blood and tears," does not in the least apply here. A native wisdom has invariably saved Marguerite Audoux from the dangerous extreme. In his preface to the original French edition, M. Octave Mirbeau appositely points out that Philippe and her other friends abstained from giving purely literary advice to the authoress as her book grew and was read aloud. With the insight of artists they perceived that hers was a talent which must be strictly let alone. But Parisian rumour has alleged, not merely that she was advised, but that she was actually helped in the writing by her admirers. The rumour is worse than false--it is silly. Every paragraph of the work bears the unmistakable and inimitable work of one individuality. And among the friends of Marguerite Audoux, even the most gifted, there is none who could possibly have composed any of the passages which have been singled out as being beyond the accomplishment of a working sempstress. The whole work and every part of the work is the unassisted and untutored production of its author. This statement cannot be too clearly and positively made. Doubtless the spelling was drastically corrected by the proof-readers; but to have one's spelling drastically corrected is an experience which occurs to nearly all women writers, and to a few male writers. The book completed, the question of its proper flotation arose. I use the word "flotation" with intent. Although Marguerite Audoux had originally no thought of publishing, her friends were firmly bent not simply on publishing, but on publishing with the maximum of eclat. A great name was necessary to the success of the enterprise, a name which, while keeping the sympathy of the artists, would impose itself on the crowd. Francis Jourdain knew Octave Mirbeau. And Octave Mirbeau, by virtue of his feverish artistic and moral enthusiasms, of his notorious generosity, and of his enormous vogue, was obviously the he
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