East of Paris: Sketches in the Gâtinais, Bourbonnais, and Champagne — Reading Companion

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Betham-Edwards, Matilda, 1836-1919 Project Gutenberg 2005 Not confirmed
France -- Description and travel Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 43,028
Reading time 188 min
Text sections 6

Before opening East of Paris: Sketches in the Gâtinais, Bourbonnais, and Champagne — Reading Companion, the edition data offers a quick orientation: 43,028 words, 3 hr 8 min estimated reading time, and 6 detected text sections.

The text analysis averages about 23.0 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 -- Description and travel,” connecting these edition facts with the source record’s subject description.

Matilda Betham-Edwards zigzags through eastern France's lesser-known regions, blending travelogue with local history and personal encounters, from Romanesque churches to military maneuvers in Arcis-sur-Aube.
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Editorial Edition Score 4.7/5

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  • Title & short description10 pts
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  • Text length15 pts
  • Chapters / structure15 pts
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ots, Moret-sur-Loing bearing the palm. Over the ancient town, bird-like broods a majestic church, as out-spread wings its wide expanse of roof, while below by translucent depths and foliage richly varied, stretch quarters old and new, the canal intersecting the river at right angles. Lovely as is the river on which all who choose may spend long summer days, the canal to my thinking is lovelier still. Straight as an arrow it saunters between avenues of poplar, the lights and shadows of wood and water, the sunburnt, stalwart barge folk, their huge gondoliers affording endless pictures. Hard as is undoubtedly the life of the rope tower, rude as may appear this amphibious existence, there are cheerful sides to the picture. Many of these floating habitations possess a fireside nook cosy as that of a Parisian concierge, I was never tired of strolling along the canal and watching the barge folk. One day a friend and myself found a large barge laden with coal at the head of the canal, the huge dark framework and its sombre burden lighted up with touches of grace and colour. At the farther end of the vessel was hung a cage of canaries, at the other end was a stand of pot-flowers, geraniums and petunias in full bloom and all the more brilliant by virtue of contrast. A neighbour of the bargeman, a bright, intelligent woman, brown as a gipsy but well-spoken and of tidy appearance, invited us to enter. Imagine the neatest, prettiest little room in the world, parlour, bedchamber and kitchen in one, every object so placed as to make the most of available space. On a small side-table--and of course under such circumstances each article must be sizable--stood a sewing machine, in the corner was a bedstead with exquisitely clean bedding, in another a tiny cooking stove. Vases of flowers, framed pictures and ornamental quicksilver balls had been found place for, this bargewoman’s home aptly illustrating Shakespeare’s adage--“Order gives all things view.” The brisk, weather-beaten mistress now came up, no little gratified by our interest and our praises.

“You ladies would perhaps like to make a little journey with me?” she asked, “nothing easier, we start to-morrow morning at six o’clock for Nevers, you could take the train back.”

Never perhaps in our lives had myself and my companion received an invitation so out of the way, so bewilderingly tempting! And we felt too, with a pang, that never again in all probability should we receive such another. But on this especial day we were not staying at Moret, only running over for the afternoon from our headquarters at Bourron. Acceptance was thus hemmed round with small impediments. And by way of consolation, next morning the glorious weather broke. A downpour recalling our own lakeland would anyhow have kept us ashore.

“Another time then!” had said the kind hostess of the barge at parting. She seemed as sorry as ourselves that the little project she had mooted so cordially could not be carried out.

The Loing canal joins the Seine at Saint Mammes, a few kilomètres lower down, continuing its course of thirty kilomètres to Bleneau in the Nièvre. Canal life in Eastern France is a characteristic feature, the whole region being intersected by a network of waterways, those _chemins qui marchent_, or walking roads as Michelet picturesquely calls them. And strolling on the banks of the canal here you may be startled by an astonishing sight, you see folks walking, or apparently walking, on water. Standing bolt upright on a tiny raft, carefully maintaining their balance, country people are towed from one side to the other.

These suburban and riverside quarters are full of charm. The soft reds and browns of the houses, the old-world architecture and romantic sites, tempt an artist at every turn. And all in love with a Venetian existence may here find it nearer home.

A few villas let furnished during the summer months have little lawns winding down to the water’s edge and a boat moored alongside. Thus their happy inmates can spend hot, lazy days on the river.

Turning our backs on the canal, by way of ivy-mantled walls, ancient mills and tumbledown houses, we reach the Porte du Pont or Gate of the Bridge. With other towns of the period, Moret was fortified. The girdle of walls is broken and dilapidated, whilst firm as when erected in the fourteenth century still stand the city gates.

The author opens by proposing to "zig-zag" through regions of eastern France not covered in her earlier works, immediately signaling a personal, meandering approach. She contrasts the "quiet beauties and homely graces" of the Loing valley with the grandeur of the Pyrenees, revealing a preference for intimate landscapes over spectacular marvels. This sets the tone for a travel narrative that values the unassuming and the overlooked.

The catalog subject "France -- Description and travel" accurately captures the book's genre, but the excerpts show Betham-Edwards doing more than describing scenery. She weaves in historical figures—Danton in Arcis-sur-Aube—and recounts her own struggles to find lodging during military maneuvers, turning a practical difficulty into a vivid social vignette. The book is as much about encounters with people and local customs as about geography.

A Personal Geography of Eastern France

Betham-Edwards does not offer a systematic tour but a series of sketches linked by her own itinerary. The table of contents lists twenty-one chapters, each focused on a single town or village: Melun, Moret-sur-Loing, Bourron, Larchant, and others. This structure mirrors the "zig-zag" promised in the introduction, allowing digressions and personal impressions to shape the narrative.

The author frequently compares places to others she has known, creating a web of references. For instance, Larchant's tower reminds her of a ruin in Tlemcen on the Sahara's border, while the forest near Recloses appears as a "sombre purplish green ocean." These comparisons reveal a traveler drawing on a wide mental map, not merely cataloging sights.

Her voice is conversational and self-aware. She admits to having "exhausted France as a wonder-horn" yet finds new pleasures in modest settings. This honesty about her own experience adds credibility and invites the reader to share in her discoveries.

Encounters with the Unexpected

The excerpt from Arcis-sur-Aube provides the most detailed narrative. Arriving late and tired, Betham-Edwards finds the town overrun by military headquarters for the year's maneuvers. Every hotel is full, and even letters of introduction are useless. She describes the chaos vividly: "mine host was spitting game in the kitchen," soldiers and servants jostle in the inn-yard, and the landlady gives her "the cold shoulder."

Her solution comes from an unlikely source: two young assistants in a grocer's shop. The elder lad takes an interest in her predicament and sends a little girl to guide her to a potential lodging. This episode illustrates the author's resourcefulness and her faith in the kindness of strangers, particularly French youths whom she finds more worldly than their English counterparts.

The scene also reveals social dynamics: a lone foreign woman arriving during maneuvers is viewed with suspicion, "a spy, pickpocket or something worse." Betham-Edwards navigates this with humor and persistence, turning a near-crisis into a memorable story.

Architecture and Atmosphere in Brief Glimpses

Though the excerpts are limited, they show Betham-Edwards attending to architectural details. In the chapter on an unnamed location, she describes a "little Romanesque interior" seen in September twilight, with Sisters of St. Vincent de Paul rehearsing canticles. The church of St. Maurice, dating from the twelfth century and partly restored in the sixteenth, is singled out: "its pretty spire crowns the Isle d’Yonne."

These observations are brief but precise. She notes the "harmony of proportions" made visible by subdued light, and insists the church "must not on any account be missed." Such moments suggest that the book balances scenic description with historical and architectural commentary, though the excerpts do not reveal how extensively.

The author's eye for atmosphere is also evident in her description of the Hôtel de la Poste in Arcis-sur-Aube, which she imagines unchanged since Danton's time. This blend of physical description and historical imagination characterizes her approach throughout.

Readers should approach East of Paris as a series of discrete vignettes rather than a continuous narrative. Betham-Edwards's strength lies in her ability to turn practical obstacles—a missed train, a full hotel—into engaging stories. The book rewards those interested in the texture of 19th-century French provincial life, seen through the eyes of a seasoned traveler who values the unpretentious. Pay attention to the author's asides and comparisons; they reveal as much about her perspective as about the places themselves.

Sometimes I think Betham-Edwards must have written East of Paris exactly as she traveled—pausing, looking, then jotting down whatever struck her, from a Romanesque doorway to the dust of maneuvers. That unhurried noticing stays with me, and I find myself carrying it into other corners of France. Something similar lingers in Normandy: The Scenery & Romance of Its Ancient Towns, Part 3 — A Reader’s Guide, though I’ve only leafed through it once.

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