Steps toward the Dramatic Climax: He signs a Hazelton picture, which is immediately accepted and acclaimed. The two artists decide to keep the secret, as the best way out of what has become an awkward situation. Hazelton decides to go on with his “darker” method. Some months later the two men make another bargain—De Vilmarte buys a painting of Hazelton. The traffic continues, whenever De Vilmarte needs a picture or Hazelton needs money. (Notice the motivation for the needs.) Hazelton, having transferred his affection to his second manner, feels a mad sense of rivalry. On the occasion of the next exhibition De Vilmarte wins the second medal. Hazelton has only one picture on the line. Raoul is sorry; Hazelton says the thing must stop. But now De Vilmarte’s mother urges a private exhibition. Hazelton bargains once more, but with the statement that one of the four must die—he, his wife, De Vilmarte, or De Vilmarte’s mother.—“There is death in our little drama.” De Vilmarte falls in love; his agony increases. Hazelton paints an unusually fine picture. Raoul signs it but declares that it is the end; he has defiled himself too long.
Dramatic Climax: The supposed artist receives the Legion of Honor. Mme. de Vilmarte comments on the resemblance between her son’s “work” and Hazelton’s, “as though you were two halves of a whole, a day and night.” Hazelton gives up his thought of exposing De Vilmarte.
Steps toward the Climax of Action: The struggle continues; Hazelton, at intervals, threatens De Vilmarte; the latter plans to kill Hazelton, then himself. But he decides to wait until his mother dies. Affairs have reached this state when war breaks out, and France claims both artists. Hazelton writes to Raoul that he must not fear for his mother, if he comes to harm. Both are engaged for some time in fighting.
Climax of Action: Wounded, they meet in a hospital. Hazelton learns that De Vilmarte’s right hand is injured; he dies in an ironic burst of laughter that Raoul’s luck holds to the end.
The details of plot are presented chronologically, from the omniscient author’s point of view. Do you see any value in the author’s exercising omniscience over the mind of first one character then the other? Would the story gain if she had invaded only Raoul’s mind? Hazelton’s?
Characters. In Hazelton, the dominant character, Mrs. Vorse presents an interesting study of dual personality. She gains the reader’s sympathy for him chiefly by showing that his better nature, as revealed in his “first manner,” lacked appreciation from the artistic world. He was, in a measure, forced to rely upon his “second” or “darker” manner. In this respect the narrative offers a novel divergence from other stories of the type. At the same time, the contrasting features in the man’s physical appearance, in his craftsmanship, and in his behavior toward De Vilmarte testify to the indubitable presence of light and shade in his intrinsic make-up.
De Vilmarte is only a foil, but sufficiently vitalized to share, proportionately, the reader’s interest.
Setting. Nowhere except in France could the development of events be so easily compassed. From the salon of the beginning to the hospital at the close, the setting is an integral part of the story.
THE WHITE BATTALION
Starting Point. “It was in those intolerable days of 1917 when Russia had fallen away and America seemed perilously unready; when German intrigue helped by treachery behind the allied lines in France, England and Italy was winning the war for Germany; intolerable to those of soldier blood whose years put them beyond the dead line of enlistment requirements and who could do nothing more than work and earn and give over here.