she lived alone, and that in the long lapse of years she had
developed the kind of peculiarity which induces guffaws among the
thoughtless. She was burdened with a lot of small parcels, which
she kept dropping. She chose one seat; and then, not liking it,
chose another; and then another. In a few moments she had the
whole restaurant laughing at her. That my middle-aged Breton
should laugh was indifferent to me, but I was pained to see a
coarse grimace of giggling on the pale face of the beautiful young
waitress to whom I had never spoken.

I reflected, concerning the grotesque diner: "This woman was once
young, slim, perhaps beautiful; certainly free from these
ridiculous mannerisms. Very probably she is unconscious of her
singularities. Her case is a tragedy. One ought to be able to make
a heartrending novel out of the history of a woman such as she."
Every stout, ageing woman is not grotesque--far from it!--but
there is an extreme pathos in the mere fact that every stout
ageing woman was once a young girl with the unique charm of youth
in her form and movements and in her mind. And the fact that the
change from the young girl to the stout ageing woman is made up of
an infinite number of infinitesimal changes, each unperceived by
her, only intensifies the pathos.

It was at this instant that I was visited by the idea of writing
the book which ultimately became "The Old Wives' Tale." Of course
I felt that the woman who caused the ignoble mirth in the
restaurant would not serve me as a type of heroine. For she was
much too old and obviously unsympathetic. It is an absolute rule
that the principal character of a novel must not be unsympathetic,
and the whole modern tendency of realistic fiction is against