Poznámky
"Documents": Marie uses Zola's naturalist vocabulary — treating family portraits as scientific specimens to study heredity and origins. ↩
L'Assommoir (1877): Zola's seventh Rougon-Macquart novel, depicting working-class life in Paris with brutal realism. Marie's response — moral outrage followed by resigned acceptance of her own powerlessness — is characteristic. ↩
Mademoiselle de Maupin (1835): novel by Théophile Gautier (1811–1872). The hero d'Albert falls in love with the androgynous Maupin, but when Rosette becomes his mistress, he cannot believe it is real. Marie uses this to describe her own dissociation from her feelings. ↩
Court breeches (culotte de cour): the formal dress worn at imperial court receptions under Napoleon III — knee breeches, silk stockings, frock coat; long obsolete by 1881 but lodged in Marie's imagination from when she first knew Cassagnac in the empire's final years. ↩
Héloïse (c. 1090–1164): medieval scholar and abbess, famous for her correspondence with Abelard. The quoted passage paraphrases her famous letter asserting that true love requires no conditions. Marie applies it to her own situation with Cassagnac. ↩