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Diotimos Library · Journals, Notebooks & Fragments Collection · Bilingual Edition

Maurice de Guérin

The Green Notebook

French with an independent English translation.

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The Green Notebook1835 · February 12, 1835

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Facing Pages · Branch 103 of 121

1835 · February 12, 1835

Book Mode

French

p. 205

Le 12.

Quel monde rêverions-nous? Quelles secrètes beautés de la nature pourraient attirer et retenir nos esprits avec plus de puissance que les côtes où Marie s’est évanouie? Je sais qu’elle est là, que les obscurités du monde des esprits nous la cachent. Combien ces obscurités deviennent attrayantes et quel charme pour moi à hasarder les approches de ce monde inconnu! Je vais, j’imagine comme je peux les demeures de l’esprit pur; je tâche à me représenter une âme rendue à son élément, les secrets de sa vie nouvelle et tous les points de sa condition impérissable. L’imagination apportant dans ses rêves ses habitudes terrestres, enveloppe de formes l’âme chérie, et je vois Marie avec ses traits d’ici-bas renouvelés dans le ciel. Mais souvent, de la formation même de ces doux fantômes, la douleur, un moment écartée, renaît; elle se précipite sur moi du milieu des plus calmantes visions. — Elle n’est donc plus qu’une pensée, me dis-je; elle n’est donc plus accessible qu’aux rêves de mon âme ! Je me soustrais difficilement à la tristesse pesante et humaine de cette idée. Quelquefois j’y échappe en recommençant le pèlerinage des souvenirs. Les pas légers et silencieux de mon imagination reprennent les sentiers aimés. Comme Paul errant dans son île, je reviens, conduit par un attrait inévitable, au lieu du naufrage. — Il y a quelques jours, j’ai rencontré dans une bibliothèque où j’étais seul un livre dont nous faisions des lectures dans nos soirées intimes et prolongées. Je l’ai ouvert... Comment rendre ce qui s’en est élevé, et la vivacité des souvenirs qui dormaient dans ces lignes comme dans autant de sillons? Combien j’ai versé de larmes sur ce bon Collin d’Harleville si gai, si charmant ! Ainsi tout devient deuil. — Revenez tous, souvenirs, douces émanations du passé, ombres de ce qui s’est évanoui, rentrez dans mon âme, comme, à la tombée de la nuit, les petits oiseaux et les abeilles qui s’étaient écartés dans la campagne revolent vers leurs retraites et s’y ramassent. Revenez tous, la nuit est tombée. — Ainsi je donne le change aux regrets extrêmes dont aucune consolation n’ose s’approcher. Je les entoure de cette multitude murmurante de souvenirs. Ils écoutent leurs voix mêlées et considèrent leurs traits marqués de mille nuances ; le cours précipité des pensées douloureuses se ralentit par degrés et s’adoucit, pour un temps, jusqu’à marcher comme un fleuve traînant et mélancolique.

205

The Green Notebook: 1835

p. 206

February 12, 1835

What world would we dream of? What secret beauties of nature could attract and hold our spirits more powerfully than the shores where Marie vanished? I know she is there, that the obscurities of the world of spirits hide her from us. How attractive those obscurities become, and what charm there is for me in venturing toward that unknown world! I go, I imagine as best I can the dwellings of pure spirit; I try to represent to myself a soul restored to its element, the secrets of its new life, and every aspect of its imperishable condition. Imagination, bringing its earthly habits into its dreams, wraps the cherished soul in forms, and I see Marie with her earthly features renewed in heaven. But often, from the very formation of these sweet phantoms, sorrow, put aside for a moment, is reborn; it rushes upon me from amid the most soothing visions. — So she is no more than a thought, I tell myself; so she is accessible only to the dreams of my soul! I find it hard to escape the heavy, human sadness of this idea. Sometimes I escape it by beginning again the pilgrimage of memories. My imagination’s light and silent steps resume the beloved paths. Like Paul wandering on his island, I return, led by an inevitable attraction, to the place of the shipwreck. — A few days ago, in a library where I was alone, I came upon a book from which we used to read in our intimate and prolonged evenings. I opened it... How can I convey what rose from it, and the liveliness of the memories which slept in those lines as in so many furrows? How many tears I shed over that good Collin d’Harleville, so gay, so charming! Thus everything becomes mourning. — Return, all of you, memories, sweet emanations of the past, shadows of what has vanished, come back into my soul like the little birds and bees which, having strayed through the countryside, fly back at nightfall toward their retreats and gather there. Return, all of you; night has fallen. — Thus I divert those extreme regrets which no consolation dares approach. I surround them with this murmuring multitude of memories. These regrets listen to the memories’ mingled voices and consider their features marked by a thousand shades; the headlong course of painful thoughts slows by degrees and softens, for a time, until it moves like a slow and melancholy river.

206

About This Reading Edition

Maurice de Guérin’s journal moves between close attention to nature, friendship, faith, and the inward demands of poetry. This bilingual edition presents the complete Journal section of the 1864 printing, with a separate appendix of earlier printed passages from 1861.

Historical Text and Translation

The French follows G. S. Trébutien’s sixth edition of Journal, lettres et poèmes (Paris: Didier et Cie, 1864), pages 3–126. Its 116 dated entries run from July 1832 to October 1835. Five earlier passages from Reliquiae (1861) appear separately in the appendix. Completeness refers to the printed Journal, rather than the autograph notebook; the following letters and poems are outside this edition.

About Diotimos Editions

Diotimos Editions prepared this independent English translation directly from the French, preserving Guérin’s imagery, repetitions, intimate voice, and original paragraph divisions. French and English remain aligned for comparison. Translator’s notes clarify words, quotations, and allusions, while historical editor notes retain their separate attribution. The Essential setting keeps explanations useful to reading; All also includes the note on the edition’s typographic treatment.

Rights

The historical French printings are in the public domain in the United States. The independent English translation and new editorial notes are © 2026 Diotimos Editions. The linked facsimiles identify the printed witnesses used for this edition. Historical annotations and editorial conjectures remain attributed to their source editors, and the earlier variant passages are presented separately from the later Journal text.