57 pages • 1 hour read
Irene NemirovskyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The Angellier women, whose son and husband, Gaston, is a German prisoner of war, despair at the sight of a German regiment entering Bussy. The mother and daughter-in-law go about the house hiding the valuables that they do not want the Germans to find. In their house, the clocks are set 60 minutes behind the new German regime’s time zone.
Lucile Angellier, the daughter-in-law, is the beautiful daughter of a wealthy landowner who made poor financial decisions that diminished her dowry. As a result, her husband resents her, and she has a thorny relationship with her mother-in-law, who considers Lucile too dreamy and finds her presence painful. Madame Angellier resents the fact that Lucile is relatively unperturbed for a woman whose husband is a prisoner of war. She is convinced that Lucile never loved Gaston.
The French citizens of the village look at the occupying German army with a mixture of curiosity and aversion. The Germans feign congeniality but plaster the town with posters about activities that are forbidden on pain of death; these include breaking curfew, listening to French radio, or helping Jewish people or Englishmen. Shopkeepers delight in swindling the Germans—for example, by selling them moldy prunes at double the price. The young women are scornful of the Germans as occupiers but cannot help noticing their attractiveness as young men.
The Angellier women are going to vespers when Lieutenant Bruno von Falk, the German officer who is staying with them, arrives. Lucile looks at his delicate hands and imagines them handling a gun and killing Frenchmen. She thinks about him while she is kneeling beside her mother-in-law. Although she does not love her husband, Gaston, she says a rosary for him and prays that he can return to the comforts of the life he likes. These include a mistress in Dijon with whom he has a child. While Lucile forgave Gaston this infidelity, he remains bitter about her dowry being less than was promised.
Outside of the church, the Germans exercise their horses, and there is the rumor that they will be there for at least three months.
Lucile has been alone in the house with her mother-in-law for a year since Gaston’s departure and is extremely lethargic. She cannot imagine Bruno having human feelings like her own and imagines him bragging to his family about the fall of France. Bruno asks for access to the piano and library, and the elder Madame Angellier acquiesces, saying that he is master in this house. Lucile listens to his piano-playing and the silence that follows with sadness.
Although Madeleine Sabarie has been married to Benoît and has a baby with him, she makes the bed that Jean-Marie slept in, as though he is still there. She still thinks about him but tells herself she will eventually get used to her husband. A very young German officer named Kurt Bonnet arrives and insists that he has been billeted on the farm. She realizes that his gentlemanly presence will pain her Benoît, who is averse to everything that arouses Madeleine’s curiosity about the upper classes. Bonnet makes it obvious that he likes Madeleine, whom he considers beautiful in the picturesque manner that most interests him.
The villagers refer to the Germans by the derogatory name “Boche” (222), even if they cannot help being obsessed with their manly physicality, especially on horseback (222). While the older women pray that some curse will strike the Germans, the younger women “just looked at them” (224).
The Viscountess de Montmort, the local aristocrat, involves middle- and working-class women in various good causes. She gathers school girls to write to soldiers. When the local women complain about lacking basic food and provisions, the viscountess tells them they are vulgar to think of food at this time and ought to be more high-minded. Still, every house in the village is involved in cooking with produce from the black market, behind closed doors.
Benoît, who observes Madeleine with Bonnet and in the ladylike pursuit of arranging flowers, considers that her status as a foster child in her family means that she has always had affinity for strangers, especially the gentlemanly kind. He fears that she looks down on him. Later, when he makes a sexual advance, she rejects him, saying the baby has worn her out. She advises him that he should hide his shotgun in case the Germans discover it. However, he insists on keeping it as a defense weapon. He threatens to harm Bonnet if he keeps eyeing Madeleine. Madeleine lies in the dark next to Benoît and knows that she has loved Jean-Marie from the moment she met him.
Lucile is in the garden with her book and some embroidery when Bruno turns up with an Alsatian called Bubi. He asks Lucile for permission to give the dog some strawberries. As they talk, she learns that Bruno is 24 and married and that like her, he, too, grew up near the woods. She finds that she likes him and that she envies her mother-in-law, who “can love and hate openly” and simply despises the German for being in Gaston’s place (241).
Later, Madame Angellier confronts Lucile and charges her with never having loved Gaston at all, given her ability to be polite to the German. She says that she must have married him for his money. Lucile then explains about Gaston’s mistress, but Madame Angellier knows that she is a woman who loves him. Just then, the viscountess comes to make conversation about the sad fate of France with the Angellier women, but this is really a the pretext of getting grain for her chickens. In exchange, Madame Angellier asks for a bag of coal.
Benoît Sabarie comes to see Lucile, carrying a pike fish that he has stolen from the Montmorts’ lake. He explains to Lucile his distress at Bonnet’s chasing after Madeleine and wants her to ask Bruno to discipline him and find him somewhere else to live. Lucile claims that she never speaks to Bruno, but Benoît knows that Lucile was laughing with Bruno in the garden. When Bruno comes in, Benoît shares his predicament. Bruno replies that he will not interfere as it would not be doing Benoît any favors.
When the cook serves Bruno coffee, he begs Lucile to join him, saying that he does not want to think that she hates him and affirming that there is talk of sending his regiment to Africa the day after tomorrow. They go outside together, and feel connected, so that Lucile returns to the house “light-hearted and happy” (257).
Lucile goes to visit the local dressmaker, who is sleeping with a German soldier. When Lucile inquires how she can consort with a German, the dressmaker replies that he is a nice, well-groomed man and she is a woman and that this is enough in the current circumstances. Lucile asks whether the dressmaker thinks about how the Germans have killed Frenchmen and of whether she will be punished when the latter come home. The dressmaker insists that she is in love with her German and that he will send for her after the war.
Meaning “sweet” or “sweetly” in Italian, Dolce, the title of the second movement of Némirovsky unfinished five-part symphony, is a term used in musical scores instructing the player to play slowly and tenderly. Marking a change in mood from the dramatic, volatile Storm in June, Dolce follows this musical instruction in the first half of the novel as the residents of Bussy settle into life under the German regiment’s occupation of their village, after the initial shock of having enemy officers in their house and their streets filled with menacing posters warning them that they face death if they break the rules. Still, in order to survive, Bussy’s residents enter into a state of Collaboration with the Enemy, giving up their derogatory names for Germans and trading with them so that they can make some money.
As well-groomed young men who break up the monotony of wartime life, the German officers represent sweetness to the young women of Bussy. Their uniform is a “peculiar almond-green” (241), like that of a marzipan candy, although their shiny black boots are reminders that these sweet young men are soldiers. Even so, some young women regard them as potential suitors, especially those who fall into the category of Woman as Outsider: Madeleine, the foster daughter who feels more affinity with strangers than her own people, and Lucile, the daughter-in-law who has disappointed the Angellier household with a dowry smaller than they expected. Unflustered by the German occupation of the town, the dressmaker, a woman on the margins of the patriarchal society with four illegitimate children, is matter-of-fact about the sexual advantages of the situation.
For Madeleine, who appears at Jean-Marie’s bedside in Storm in June, the German officer Kurt Bonnet resembles the Parisian soldier in his urbane refinement. He is, thus, a figure of continuity from that truncated love story, and Madeleine intuits that Bonnet will inspire a similar kind of jealousy in her husband as Jean-Marie. A variation on this theme develops in Lucile’s relationship with Bruno, who is far more attractive to her than her absent prisoner-of-war husband, Gaston, who, feeling cheated himself by her smaller than expected dowry, cheats on Lucile with a mistress. Lucile’s mother-in-law, a pale, dour woman who shuts the drapes of the farmhouse on the outside world, also seeks to shut up Lucile until her husband returns. Bruno, by contrast, leads her out into the garden, where the sweetness of their laughter and talk about music are the very opposite not only of the chill monotony of life inside the farmhouse but also the brutality of war.
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