Asmodeus; or, The Devil on Two Sticks — Context and Discussion

A Devil's-Eye View of Madrid

The excerpts establish a distinctive narrative mechanism: Asmodeus and Don Cleophas move from rooftop to rooftop, peering into houses. The devil points out individuals and delivers crisp, mocking summaries of their obsessions. One man buys furniture only to pack it away for posthumous inventory; another loiters in ministerial antechambers to create the illusion of influence. The student's reactions—laughter, disbelief, and the occasional wry remark—anchor the reader's response.

Le Sage's prose, even in translation, favors direct speech and rapid characterization. The devil's tone is worldly and amused, never moralizing. He presents each case as a specimen of human absurdity, and the student's questions keep the dialogue moving. The setting—a city seen from above at night—gives the satire a theatrical quality, as if the reader is watching a series of short plays.

The Translator's Double Task

Joseph Thomas's preface is unusually candid about the challenges of rendering Le Sage into English. He criticizes the earlier version for its 'total absence of style' and admits he does not always translate literally, aiming instead to convey the 'ideas which those words import.' This self-awareness colors the reading experience: the text we have is a deliberate reinterpretation, not a transparent window onto the French original.

Thomas also adopts Jules Janin's biographical notice, which describes Le Sage as a 'Devil truly French.' The preface thus frames the work as both a literary artifact and a translation project. Readers may notice moments where the English feels slightly formal or period-specific—'cavalier,' 'devoirs,' 'auditor of the court'—which reflect Thomas's effort to balance fidelity with readability.

Patterns in the Madness

The excerpts reveal a recurring structure: Asmodeus identifies a person, describes their peculiar behavior, and Don Cleophas responds with surprise or laughter. The devil then often adds a second, related example, creating a cumulative effect. For instance, after the collector of packed-away furniture, he presents the old bachelor from the Philippines who pretends to have court connections. The student's comment—'An amusing original, indeed!'—prompts the devil to offer more cases.

This pattern suggests that the full book will proceed as a series of such vignettes, linked by the framing device of the rooftop journey. The satirical targets are varied—vanity, avarice, lust, social climbing—but the method remains consistent: expose the gap between public appearance and private folly. The devil's tone is never angry; he seems to enjoy the spectacle.

What the Excerpts Leave Unseen

The provided text covers only the translator's preface and a few early episodes. We do not see how the story begins (how Don Cleophas meets Asmodeus) or ends. The excerpts give no indication of a larger plot—no overarching conflict, no character development beyond the student's role as a sounding board. The devil's own motives remain unclear; he says he 'esteems' one old bachelor who is 'formed in my own mould,' but this hint of self-identification is not elaborated.

Readers should expect the book to maintain its episodic structure, with the devil as a consistent, ironic narrator. The translation's style, as established in the preface, will likely prioritize clarity and wit over archaic flourish. The illustrations by Tony Johannot, mentioned on the title page, are not represented in the excerpts but may add visual commentary.

Approach this edition as a performance of translation as much as a novel. Thomas's preface invites us to compare his choices with the original's reputation for 'verbal melody,' and the early episodes demonstrate his method: brisk dialogue, pointed characterization, and a light satirical touch. The devil's rooftop tour is a flexible frame, not a tight plot, so readers can dip in and out of episodes. Pay attention to the rhythm of Asmodeus's speech—it carries the book's energy.

There’s something about the way Asmodeus lifts the rooftops off Madrid, showing every private ache beneath, that stayed with me. That same quiet tenderness for flawed people seems to live in After the Divorce: A Romance — Reading Companion. It left a soft ache, like recognizing a friend’s sigh before they speak.