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[AUTOGRAPH]. COTTIN (Sophie, née Risteau). AUTOGRAPH LETTER SIGNED “Sophie,” TO CITIZEN VICTOR DE LAMOTHE. [Champlan], 11 Messidor [Year II—June 29, 1794]. Two handwritten pages in brown ink on a single sheet (235 × 195 mm), with an old identifying annotation at the top. Folds, browning at the margins, a few foxing spots, small tears along the right-hand margin with no loss of text. A MOVING LETTER WRITTEN DURING THE REIGN OF TERROR, BLENDING FAMILY CONCERNS AND CONFIDENCES OF GRIEF. Sophie Cottin informs her correspondent that her cousin Julie Verdier’s husband has been imprisoned in Versailles, denounced for insubordination. Julie has traveled there to expedite the review of his case, while Sophie watches over the children. Along with this news comes a painful confession: “ I will tell you nothing of myself. The night—the blackest night, when it envelops me in thick darkness—is still less dark than my soul.” She explains that she no longer feels capable of loving, speaks of her broken heart, and turns her thoughts to her departed husband: “I lift all my thoughts toward heaven; the angel who dwells there draws me after him—I already feel detached from the earth.” A postscript provides reassuring news about the children and mentions Félicité, whose son is set to take an exam to enter the Corps of Engineers. PUBLISHED LETTER, reproduced in large part by Arnelle in *Une oubliée: Madame Cottin d’après sa correspondance*, Chapter II. A testament to the sensitivity of the future novelist and to the hardships endured by those around her during the Revolution. ENCLOSED: TAILHADE (Laurent). LOUANGE DE SOPHIE COTTIN. Poem recited by the author in Bagnères-de-Bigorre on August 28, 1910. Paris, Albert Messein, 1911. Paperback booklet with color-illustrated cover. Angular foxing and a brown streak on the title page; tears in the cover with no missing material. FIRST EDITION of this poetic tribute to Sophie Cottin, attesting to the enduring memory of the novelist in Bagnères-de-Bigorre. Illustrations by Louis CAZENAVE, including a medallion portrait on the title page, a chapter head, a tailpiece, and a composition covering both sides of the cover, colored by stencil. The latter depicts Pyrenean singers gathered under the banner “Halt there! The mountain folk are here!” This copy is printed with full margins on laid paper.
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