Fulbert.
Tenez, voilà votre fiancé.
Heloise (se jetant sur son amant).
Mon mari!
Fulbert.
Son mari! Je suis perdu.
So ends the Third Act. The fourth is called, somewhat arbitrarily, “La Politique,” and is mainly concerned with the condemnation of Abelard by the Council of Soissons. True, the authority of the King is invoked against him; but the enemies by whom Abelard is pursued are theologians, and it is they who humiliated him by compelling him publicly to burn his treatise on the Trinity. But for the reappearance of Eloisa at this critical juncture, the Fourth Act would be somewhat tedious. There is no historical foundation for her intervention; but it is strictly in harmony with what we know of her character, and De Rémusat turns it to admirable account. Abelard asks why she seeks out one who is condemned, who is proscribed, who is silenced? She replies that she has come to be with him on the greatest day of his life. Nothing was wanting to his glory but martyrdom; and now he has obtained it. His work is finished; let him abjure the world that has treated him so ill.
Viens, allons-nous-en, quittons le siècle, fuyons ce pays, la France, le monde chrétien. Chez les infidèles nous trouverons plus de repos, nous serons plus ignorés, nous vivrons plus heureux. Cherchons la retraite la plus profonde, la plus lointaine, la plus perdue; cachons à tous notre vie et notre bonheur.
Next she invokes the seductive allurements of nature, and presents to him a picture of rural loveliness and felicity, recalling the famous invitation to sunny climes in The Lady of Lyons:—
Nous irons vers ces climats vantés où le ciel est si pur, l’air si doux, la fleur si embaumée.... Ensemble, nous verrons se lever l’aurore; ensemble, nous verrons le jour finir, et ta main dans ma main, mon cœur sur ton cœur, nous n’aurons qu’une vie pour deux âmes?