The Gods are Athirst — Background and Themes

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France, Anatole, 1844-1924, Jackson, Emilie, 1873-1963 [Translator] Project Gutenberg 2007 Not confirmed
France -- History -- Revolution, 1789-1799 -- Fiction; War stories; French fiction -- Translations into English Readers of public-domain and historical texts
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Edition facts

Words 79,663
Reading time 347 min
Text sections 8

The catalog record for The Gods are Athirst — Background and Themes provides practical reading context through 79,663 words, 5 hr 47 min estimated reading time, and 8 detected text sections.

The text analysis averages about 22.4 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “France -- History -- Revolution, 1789-1799 -- Fiction,” connecting these edition facts with the source record’s subject description.

Anatole France's novel follows painter Évariste Gamelin through the French Revolution, using shifting scenes—from a repurposed church to a puppet-seller's stall—to mirror political upheaval and personal entanglement.
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Editorial Edition Score 4.7/5

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ve between victory and death. Hence both their fervour and their serenity.

Quitting the Barnabites, Évariste Gamelin set off in the direction of the Place Dauphine, now renamed the Place de Thionville in honour of a city that had shown itself impregnable.

Situated in the busiest quarter of Paris, the _Place_ had long lost the fine stateliness it had worn a hundred years ago; the mansions forming its three sides, built in the days of Henri IV in one uniform style, of red brick with white stone dressings, to lodge splendour-loving magistrates, had had their imposing roofs of slate removed to make way for two or three wretched storeys of lath and plaster or had even been demolished altogether and replaced by shabby whitewashed houses, and now displayed only a series of irregular, poverty-stricken, squalid fronts, pierced with countless narrow, unevenly spaced windows enlivened with flowers in pots, birdcages, and rags hanging out to dry. These were occupied by a swarm of artisans, jewellers, metal-workers, clockmakers, opticians, printers, laundresses, sempstresses, milliners, and a few grey-beard lawyers who had not been swept away in the storm of revolution along with the King's courts.

It was morning and springtime. Golden sunbeams, intoxicating as new wine, played on the walls and flashed gaily in at garret casements. Every sash of every window was thrown open, showing the housewives' frowsy heads peeping out. The Clerk of the Revolutionary Tribunal, who had just left his house on his way to Court, distributed amicable taps on the cheeks of the children playing under the trees. From the Pont-Neuf came the crier's voice denouncing the treason of the infamous Dumouriez.

Évariste Gamelin lived in a house on the side towards the Quai de l'Horloge, a house that dated from Henri IV and would still have preserved a not unhandsome appearance but for a mean tiled attic that had been added on to heighten the building under the last but one of the _tyrants_. To adapt the lodging of some erstwhile dignitary of the _Parlement_ to the exigencies of the bourgeois and artisan households that formed its present denizens, endless partitions and false floors had been run up. This was why the _citoyen_ Remacle, concierge and jobbing tailor, perched in a sort of 'tween-decks, as low ceilinged as it was confined in area. Here he could be seen through the glass door sitting cross-legged on his work-bench, his bowed back within an inch of the floor above, stitching away at a National Guard's uniform, while the _citoyenne_ Remacle, whose cooking stove boasted no chimney but the well of the staircase, poisoned the other tenants with the fumes of her stew-pots and frying-pans, and their little girl Joséphine, her face smudged with treacle and looking as pretty as an angel, played on the threshold with Mouton, the joiner's dog. The _citoyenne_, whose heart was as capacious as her ample bosom and broad back, was reputed to bestow her favours on her neighbour the _citoyen_ Dupont senior, who was one of the twelve constituting the Committee of Surveillance. At any rate her husband had his strong suspicions, and from morning to night the house resounded with the racket of the alternate squabbles and reconciliations of the pair. The upper floors were occupied by the _citoyen_ Chaperon, gold and silver-smith, who had his shop on the Quai de l'Horloge, by a health officer, an attorney, a goldbeater, and several employés at the Palais de Justice.

Évariste Gamelin climbed the old-fashioned staircase as far as the fourth and last storey, where he had his studio together with a bedroom for his mother. At this point ended the wooden stairs laid with tiles that took the place of the grand stairway of the more important floors. A ladder clamped to the wall led to a cock-loft, from which at that moment emerged a stout man with a handsome, florid, rosy-cheeked face, climbing painfully down with an enormous package clasped in his arms, yet humming gaily to himself: _J'ai perdu mon serviteur_.

Breaking off his song, he wished a polite good-day to Gamelin, who returned him a fraternal greeting and helped him down with his parcel, for which the old man thanked him.

"There," said he, shouldering his burden again, "you have a batch of dancing-dolls which I am going to deliver straight away to a toy-merchant in the Rue de la Loi. There is a whole tribe of them inside; I am their creator; they have received of me a perishable body, exempt from joys and sufferings. I have not given them the gift of thought, for I am a benevolent God."

The novel opens inside the former church of the Barnabites, now a meeting hall for the Section du Pont-Neuf. The space has been stripped of religious emblems and refitted with busts of Brutus and Jean-Jacques, a Table of the Rights of Man, and a pulpit serving as a speaker's tribune. This physical transformation of a sacred site into a political arena sets the stage for the story's central tension: the collision of revolutionary ideals with human fallibility.

Évariste Gamelin, a painter and pupil of David, signs a petition to expel twenty-two members from the Convention. The scene establishes his fervent commitment and the atmosphere of suspicion that pervades the Section. The joiner Dupont senior, a magistrate, voices distrust of those who hesitate to sign, revealing how virtue is measured by public acts of loyalty.

A Church Turned Assembly Hall

The narrative repeatedly returns to the Barnabite church, now a site of civic ritual. The description of the façade—Classical orders, inverted brackets, flaming urns blackened by weather—emphasizes decay and repurposing. Inside, the nave that once heard monastic chants now hosts red-capped patriots. The altar is bare, topped with the Table of the Rights of Man; the pulpit is draped in national colors. This spatial reconfiguration mirrors the revolution's attempt to overwrite old hierarchies with new symbols.

Gamelin's signing of the petition is a public act of belonging. The joiner's comment that the Section is "lukewarm" and "lacking in virtue" underscores the pressure to conform. The setting itself becomes a character: the church's architecture frames debates about loyalty, citizenship, and terror.

Puppets and Suspicions

A contrasting scene unfolds with Brotteaux, an old man who makes and sells dancing-dolls. He carries his marionettes—Harlequins, Scaramouches, Colinettes—on a pole, but a fellow citizen, Caillou, refuses to buy them, fearing they might be parodies of revolutionary figures like Couthon and Saint-Just. Brotteaux protests that his dolls are innocent pastorals, but Caillou insists on caution: "we must always distrust a man of parts like you."

This episode reveals how suspicion extends even to harmless entertainments. Brotteaux's livelihood is threatened not by any actual offense but by the interpretation of his art. The scene echoes the earlier church setting: both spaces—sacred and commercial—are now sites of ideological scrutiny. Brotteaux's subsequent encounter with the starving monk Longuemare further highlights the precariousness of survival under the Revolution.

Movement Through the Streets

The narrative moves fluidly between interior and exterior spaces. Brotteaux crosses the Pont-Neuf, passes the Place de Thionville, and navigates narrow streets. These journeys are not mere transitions; they expose the city's social fabric. Street lamps, stone posts, and market halls become stages for chance encounters. Brotteaux's walk is interrupted by rain, which threatens his marionettes, and by the sight of the exhausted Père Longuemare sitting on a post.

The streets are also places of economic exchange: Brotteaux paints portraits under archways, acts as amanuensis for market women, and seeks buyers for his dolls. The city is a network of transactions, both commercial and political. The novel's structure relies on these perambulations to connect disparate characters and to show how revolutionary ideology permeates everyday life.

Objects as Evidence

Recurring objects carry symbolic weight. The bottle and glasses on the desk in the church, the ink-horn and folio of the petition, the flask of brandy Brotteaux carries alongside his Lucretius—these items anchor abstract ideals in material reality. The marionettes themselves are objects of suspicion; their painted faces and jointed limbs become evidence of potential subversion.

The novel's attention to objects extends to clothing: the red cap and carmagnole of the joiner, Brotteaux's plum-colored coat. These details signal political alignment or its absence. The stripped altar and the busts of Brutus and Le Peltier are deliberate replacements, each object chosen to project a new civic religion. The reader is invited to see how things—a puppet, a flask, a stone post—become charged with meaning in a time of upheaval.

The excerpts offer a cross-section of Revolutionary Paris through the eyes of two men: Gamelin, the zealous painter, and Brotteaux, the aging artisan. Their paths do not yet cross, but the novel's structure—alternating between assembly hall and street—suggests they inhabit the same city under the same pressures. Readers attentive to setting and objects will find a story told not only through plot but through the spaces characters occupy and the things they carry.

Years guarding shelves, I’ve noticed how certain pairings settle together quietly. France’s Gamelin loses himself to revolution’s shifting stage; young Sam, in Sam's Chance, and How He Improved It — Context and Discussion, grasps for footing amid city change—both boys haunted by hope’s rough cost. Their kinship is not of outcome, but of the turning.

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