Summary

Portrait of Kate Chopin Kate Chopin Bayou Folk — Love on the Bon-Dieu (1894)

But she only muttered disjointedly that the cotton was all turning to ashes in the fields, and the blades of the corn were in flames.
If he was choked with love and grief to see her so, he was moved by anger as well; rage against himself, against Père Antoine, against the people upon the plantation and in the village, who had so abandoned a helpless creature to misery and maybe death. Because she had been silent – had not lifted her voice in complaint – they believed she suffered no more than she could bear.
But surely the people could not be utterly without heart.
Source: Wikisource

Portrait of Kate Chopin Kate Chopin Bayou Folk — Love on the Bon-Dieu (1894)

Old wretch to be sure, Azenor. But what can you expect from a woman who never crosses the threshold of God’s house – who even tried to hinder the child doing so as well? But I went to her. I said: ‘See here, Madame Zidore,’ – you know it’s my way to handle such people without gloves, - ‘you may damn your soul if you choose,’ I told her, ‘that is a priviledge which we all have; but none of us has a right to imperil the salvation of another. I want to see Lalie at mass hereafter on Sundays, or you will hear from me;’ and I shook my stick under her nose.
Source: Wikisource

Portrait of Kate Chopin Kate Chopin Bayou Folk — Love on the Bon-Dieu (1894)

Such a poor, shabby little thing as she was, too!
“I’m goin’ to wait yere nex’ Sunday fo’ you, Lalie,” he said, when the fence was between them. And he thought he had said something very daring.
But the next Sunday she did not come. She was neither at the appointed place of meeting in the lane, nor was she at mass. Her absence – so unexpected – affected Azenor like a calamity. Late in the afternoon, when he could stand the trouble and bewilderment of it no longer, he went and leaned over Père Antoine’s fence.
Source: Wikisource

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