The Story of a Cat — Reading Notes
Edition facts
This digital edition of The Story of a Cat — Reading Notes is described by source-level measurements including 17,108 words, 1 hr 15 min estimated reading time, and 3 detected text sections.
The text analysis averages about 18.0 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 “Cats -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
HOW MOTHER MICHEL MADE THE ACQUAINTANCE OF HER CAT.
There lived in Paris, under the reign of King Louis XV., a very rich old countess named Yolande de la Grenouillere. She was a worthy and charitable lady, who distributed alms not only to the poor of her own parish, Saint-Germain-l'Auxerrois, but to the unfortunate of other quarters. Her husband, Roch-Eustache-Jeremie, Count of Grenouillere, had fallen gloriously at the battle of Fontenoy, on the 11th of May, 1745. The noble widow had long mourned for him, and even now at times wept over his death. Left without children, and almost entirely alone in the world, she gave herself up to a strange fancy,--a fancy, it is true, which in no manner detracted from her real virtues and admirable qualities: she had a passion for animals. And an unhappy passion it was, since all those she had possessed had died in her arms.
The first, in date, in her affections had been a green parrot, which, having been so imprudent as to eat some parsley, fell a victim to frightful colics. An indigestion, caused by sweet biscuits, had taken from Madame de la Grenouillere a pug-dog of the most brilliant promise. A third favorite, an ape of a very interesting species, having broken his chain one night, went clambering over the trees in the garden, where, during a shower, he caught a cold in the head, which conducted him to the tomb.
Following these, the Countess had birds of divers kinds; but some of them had flown away, and the others had died of the pip. Cast down by such continuous disasters, Madame de la Grenouillere shed many tears. Seeing her inconsolable, the friends of the Countess proposed successively squirrels, learned canaries, white mice, cockatoos; but she would not listen to them; she even refused a superb spaniel who played dominoes, danced to music, ate salad, and translated Greek.
"No, no," she said, "I do not want any more animals; the air of my house is death to them."
She had ended by believing in fatality.
One day, as the Countess was leaving the church, she saw a crowd of boys hustling and elbowing each other, and giving vent to peals of joyous laughter. When, seated in her carriage, she was able to overlook the throng, she discovered that the cause of this tumult was a poor cat to whose tail the little wretches had tied a tin saucepan.
The unfortunate cat had evidently been running a long time, for he seemed overcome with fatigue. Seeing that he slackened his speed, his tormentors formed a circle around him, and began pelting him with stones. The luckless creature bowed his head, and, recognizing that he was surrounded by none but enemies, resigned himself to his hard fate with the heroism of a Roman senator. Several stones had already reached him, when Madame de la Grenouillere, seized with deep compassion, descended from her carriage, and, pushing the crowd aside, exclaimed: "I will give a louis to whoever will save that animal!"
These words produced a magical effect; they transformed the persecutors into liberators; the poor cat came near being suffocated by those who now disputed the honor of rescuing him safe and sound. Finally, a sort of young Hercules overthrew his rivals, brought off the cat, and presented it half dead to the Countess.
"Very well," she said; "here, my brave little man, is the reward I promised." She gave him a bright golden louis just out of the mint, and then added, "Relieve this poor animal of his inconvenient burden."
While the young Hercules obeyed, Madame de la Grenouillere regarded the creature she had rescued. It was a true type of the street-cat. His natural hideousness was increased by the accidents of a long and irregular career; his short hair was soiled with mud; one could scarcely distinguish beneath the various splashes his gray fur robe striped with black. He was so thin as to be nearly transparent, so shrunken that one could count his ribs, and so dispirited that a mouse might have beaten him. There was only one thing in his favor, and that was his physiognomy.
"Dear me, how homely he is!" said Madame de la Grenouillere, after finishing her examination.
At the moment she stepped into the carriage, the cat fixed his great sea-green eyes upon her and gave her a look, strange, indefinable, full at the same time of gratitude and reproach, and so expressive that the good lady was instantly fascinated. She read in this glance a discourse of great eloquence. The look seemed to wish to say,--
The excerpts open in mid-18th-century Paris under Louis XV, introducing the wealthy, charitable Countess Yolande de la Grenouillère, whose passion for animals has led to a series of comic deaths: a parrot from parsley, a pug from biscuits, an ape from a cold caught after breaking its chain. The countess's grief is treated with gentle mockery, and her friends' suggestions of squirrels, canaries, and white mice are all refused. The story quickly shifts to the cat, Mother Michel, and the steward Lustucru, who plots against her. The translator, Thomas Bailey Aldrich, notes in his preface that the tale was originally turned into English for two small readers at his fireside, later appearing in a juvenile magazine.
A Cat in a Household of Animals
The catalog subjects list cats, pets, and older women, but the excerpts show that the cat is only one of many animals in the countess's menagerie. The countess herself is an older woman, but her characterization is limited to her wealth, charity, and comical grief over dead pets. The cat, Mother Michel, is not directly described in the excerpts; instead, the narrative focuses on the humans around her. The steward Lustucru is the active schemer, and the cat is the object of his plots. The excerpts also introduce a fortune-teller, Madame Bradamor, and a street boy, Nicholas Faribole, suggesting a broader social world than the catalog implies.
Comic Villainy and Period Detail
Lustucru's villainy is rendered in comic, exaggerated terms. He searches for an accomplice, rejecting the household domestics as too devoted to Mother Michel. His walk on the quay is described with mock solemnity: 'the breeze of the morning failed to cool his blood, heated with evil passions.' The boy Faribole, who lives by selling May-bugs and fishing for logs, is a vivid street urchin. The setting is specific: the mansion of the Countess de la Grenouillère, the quay, the fortune-teller's street. The translation retains French names and titles, and the silhouettes by L. Hopkins are mentioned in the preface as the translator's plea for publishing the book.
What the Excerpts Leave Unclear
The excerpts do not reveal the cat's fate or the outcome of Lustucru's plots. The catalog subject 'older women' might refer to the countess, but her role in the excerpts is brief. The cat's perspective is absent; the story is told from a human viewpoint. The translation's date (1878) and the preface's mention of a juvenile magazine audience suggest a Victorian-era sensibility, but the excerpts show a tone closer to farce than sentiment. Readers should not expect a realistic animal story; instead, the humor lies in the human characters' absurdities.
The excerpts offer a glimpse of a comic tale set in a historically specific Paris, with a cast that includes a wealthy widow, a scheming steward, a fortune-teller, and a resourceful street boy. The cat, though titular, is more a catalyst than a character. Readers interested in 19th-century translations of French children's literature or in the evolution of animal stories may find this a curious artifact. The silhouettes, mentioned in the preface, are a distinctive feature of this edition.
Mother Michel’s quiet cleverness stayed with me long after the last page—not for any grand lesson, but for how softly she moved through a world that underestimated her. It reminded me of that same lingering warmth I felt with Two Prisoners — Reading Companion, where patience holds more weight than any chase. Some stories simply settle beside you, unhurried, like an old cat finding its spot.
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