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Content Warning: This section of the guide includes discussion of substance use, sexual content, cursing, and emotional abuse.
Cécile scrutinizes her feelings toward Anne, unsure whether her hostility is justified or a result of immaturity. Though she attempts to reason through her emotions, she remains undecided and divided. Her behavior becomes more withdrawn, and she speaks little, creating a tense atmosphere at the villa.
Cécile fixates on Anne’s relationship with Raymond, observing Anne’s gestures and tone for signs of affection. At times, she condemns Anne as cold and possessive, describing her as “a beautiful serpent” (60), only to later feel ashamed of the thought. Anne notices Cécile’s shifting behavior, but Raymond remains oblivious.
One morning, Raymond comments on Cécile’s weight and jokingly blames the stress of studying. Anne points out that Cécile hasn’t been working but instead paces in her room. When pressed, Cécile denies missing Cyril and lashes out, insisting she doesn’t care about her upcoming exam. She hopes Anne will ask her what’s truly wrong, but Anne does not. Cécile realizes that Anne’s emotional reserve and sense of propriety make such questioning unlikely. Anne offers Cécile calm encouragement to return to her usual cheerful self. Cécile bitterly responds, calling herself “a thoughtless heathy young thing, brimful of gaiety and stupidity” (63). Afterward, Raymond silently takes Cécile’s hand on the walk back to the house.
In the days following her confrontation with Anne, Cécile becomes increasingly fixated on the idea that Anne’s presence threatens to upend their lives. She spends her time alone, avoiding Cyril, preferring to dwell on her anxieties.
One afternoon, Elsa unexpectedly arrives to retrieve her belongings. Cécile notices Elsa’s transformation—she’s tanned, stylish, and striking. Cécile draws Elsa into a private conversation and tells her that Raymond is unhappy and being manipulated into marriage by Anne. She convinces Elsa to disrupt the engagement by appearing to kindle a romance with Cyril to provoke Raymond’s jealousy.
When she next sees Anne, Cécile is overcome by guilt, and she tries to compensate by showing Anne affection. She briefly considers telling Anne the truth but refrains, believing Anne might not understand. Later, Cécile affirms her intention to abandon her plan and focus on studying. She imagines becoming more like Anne—intelligent, poised, and accomplished.
Reflecting on her interaction with Elsa, Cécile experiences the thrill of intentional persuasion for the first time. Though she regrets achieving it through deceit, she recognizes the power of words and influence, imagining one day using those abilities in love.
The morning after a night of drinking, Cécile visits Cyril, feeling unwell and uncertain. Cyril, overjoyed to see her, expresses deep concern and confesses his love for her. He reveals he has considered giving up law to marry her. Cécile, surprised and touched but uninterested in marriage, deflects, saying that Anne and Raymond wouldn’t approve.
Elsa joins them, and Cécile outlines her plan: Elsa will pose as Cyril’s romantic partner to provoke Raymond’s jealousy and drive a wedge between him and Anne. Though uncomfortable, Cyril agrees to go along with the scheme. Cécile enjoys the control she exerts over the situation.
As she rejoins Anne and Raymond on the beach, Cécile feels guilt and uncertainty. Just then, Cyril and Elsa sail past. Raymond is surprised and amused to see Elsa, but Anne watches Cécile. Anne says she regrets being too strict, and Cécile is affected by Anne’s kindness and momentarily feels overcome with remorse.
Cécile notes that her father shows no sign of jealousy, and she soon begins to feel genuinely uncomfortable watching Cyril and Elsa together. She resents their visible happiness and finds herself unable to sail or participate in activities she once enjoyed. Anne treats Cécile with sympathy.
During a brief encounter between Cécile, Raymond, and Elsa, Raymond expresses surprise at Elsa’s renewed beauty. Cécile provokes him by suggesting that age plays a role in romantic relationships. He insists, “If Anne hadn’t come along, it wouldn’t have been inevitable at all” (84).
One day, Anne catches Cécile wrapped in towels, staging a mock yoga session. Anne questions her about an essay she had claimed to be working on, and when Cécile does not respond, Anne criticizes her dishonesty. The encounter humiliates Cécile, who runs out of the house in anger and visits Cyril. She finds him sleeping and, after a brief exchange, they become physically intimate for the first time.
Afterward, Cécile walks home alone. She joins Anne on the terrace, where she struggles to light a cigarette, and her nervous movements draw Anne’s attention. Eventually, Anne helps her by lighting her cigarette. Cécile later recalls this moment as symbolic, noting how Anne’s gaze and her own inability to control her hands left her feeling vulnerable.
In the days following her encounter with Anne on the terrace, Cécile senses a shift in Anne’s behavior—though Anne had previously shown pity, she returns to strictness and discipline. After a disagreement at dinner over Cécile’s studies, Anne silently locks her in her room. Cécile, unaccustomed to punishment, initially panics and tries to escape. Once calm, she recognizes the act as a form of cruelty and fixates on the idea of revenge.
When Raymond releases her, Cécile feigns calm and says she will apologize to Anne. Concerned, Raymond asks if she is unhappy. Cécile agrees and implies that if things become too difficult, she might marry sooner than expected. The remark unsettles Raymond. Cécile continues to emphasize Anne’s superiority, saying, “Her life is really far more successful than ours” (93). Raymond appears shaken by the idea that Cécile may adopt Anne’s worldview.
Cécile apologizes to Anne, who attributes the quarrel to the heat. That evening, Cécile meets Cyril in the woods to update him on her plan. Cécile feels emotionally tied to him, experiencing a surge of possessiveness. She is surprised by the strength of her feelings and struggles with the idea of spending the night apart from him.
The next morning, Cécile takes her father for a walk with the intention of leading him past Elsa and Cyril, who are posing as sleeping lovers in the pine wood. The scene unfolds as planned: Raymond sees them and reacts with visible shock. Cécile urges him to move on quietly, but he mutters “The bitch! The bitch!” in anger (95). Though he insists he no longer loves Elsa, he admits that the sight still hurt. Cécile steers the conversation, encouraging Raymond to reflect on the loss of his influence over Elsa. Back at the villa, Raymond embraces Anne with sudden intensity, which surprises her. Cécile interprets the gesture as a sign of guilt and leaves the room.
In the afternoon, Cécile joins Cyril for a sail. They go out to sea alone, and the outing turns into another intimate encounter. They lie in the sun and talk, and Cécile feels peaceful and detached. She notes that her experience with Cyril has altered her perspective on love and vulnerability.
Meanwhile, Elsa grows impatient with the plan. She repeatedly questions Cécile about its progress and tries to cross paths with Raymond. Cécile is skeptical of Elsa’s romantic enthusiasm but continues to monitor her father’s behavior. Raymond becomes more affectionate toward Anne, which Cécile thinks is a sign of guilt. She worries that if something goes wrong before they return to Paris, the plan will fail. Meanwhile, she looks forward to continuing her relationship with Cyril in Paris.
In this section of Bonjour Tristesse, the emotional tone of the novel shifts decisively as the psychological tension introduced in earlier chapters deepens and Cécile’s passive discomfort gives way to active manipulation. A major development in these chapters is Cécile’s fleeting recognition of her own emotional contradictions. She begins to question the legitimacy of her antagonism toward Anne, as she wonders “whether the fear and hostility which Anne inspired in [her] were justified, or if [she] was merely a silly, spoilt, selfish girl in a mood of sham independence” (59). However, this moment of introspection is short-lived. Rather than pursuing self-understanding, Cécile returns to a pattern of deflection and rationalization, mirroring the novel’s theme of The Comfort of Denial and Self-Deception. For instance, even as Cécile orchestrates a scheme to break Anne and Raymond’s engagement, she insists that she is not truly to blame. She says: “Sometimes I think I would blame myself less if I had been prompted that day by hatred and violence, and had not allowed myself to drift into it merely through inertia, the sun, and Cyril’s kisses” (79). This poetic line cloaks her calculated sabotage in the language of helplessness and sensuality, reinforcing how Cécile aestheticizes her moral failure. She sustains a comforting image of herself as misunderstood rather than malicious.
Cécile’s plan—convincing Elsa and Cyril to fake a relationship in order to provoke Raymond’s jealousy—highlights The Fragility of Control as the plan teeters out of her control and ends in Cécile herself becoming jealous. While she flatters herself that the adults “hung on [her] words” despite being a decade older (77), her supposed power is undercut by scenes that expose her emotional volatility and situational instability. Her interaction with Anne over the essay, for example, ends with Anne locking her in her room—an act of discipline that Cécile experiences as her “first act of cruelty” (91). This leads to her fantasizing about revenge because her illusion of dominance has been punctured. Similarly, Cécile’s struggle to light a cigarette under Anne’s gaze is an indicator of her inner stability: She cannot even steady her own hand, yet she imagines herself orchestrating the fates of others.
The Consequences of Existential Ennui affect Cécile’s misdirected actions. Her days are filled with supposedly pleasurable activities like swimming and drinking, but she is still inwardly unmoored. Her shallow engagement with philosophy, as when she is unable to study Bergson, highlights her discomfort with intellectual or emotional depth. She lashes out at Anne out of boredom, framing her decision to target Anne as emotional inertia. She emphasizes that she does not act out of passion or ideology but out of a numb kind of reflex. For Cécile, movement becomes a substitute for meaning.
Sagan further explores The Consequences of Existential Ennui through Raymond. He remains mostly passive, uninterested in Cécile’s education, indulging in charm and sensuality, and oblivious to Anne’s emotional needs. When he sees Elsa with Cyril, his angry muttering—“The bitch! The bitch!” (95)—reflects his wounded ego rather than his desire for Elsa. Cécile notes, with detached irony, that he must have felt “like dashing up to separate them and seizing his property” (95), a line that both critiques and normalizes the misogyny inherent in Raymond’s character. Sagan presents Raymond not as a villain but as someone who, like Cécile, is a product of emotional laziness and an unwillingness to reckon with the consequences of his behavior.
Sagan’s use of symbolic gesture and ironic juxtaposition highlights the tension in these chapters. Anne lighting Cécile’s cigarette becomes an intimate moment of both maternal care and subtle dominance. Cécile’s internal monologue often slips into a self-aware and confessional tone, as in the line about inertia and kisses. This literary technique invites the reader to participate in Cécile’s self-deception and to be persuaded by her justifications. Meanwhile, Sagan contrasts Cécile’s romanticized view of herself with the emotional damage she causes.
By the end of Chapter 6, Cécile is no longer an idle observer. She is deeply entangled in a scheme she does not fully understand or control. These chapters highlight her expanding influence but also her increasing alienation. The fleeting comfort she finds with Cyril, the aesthetic pleasure she takes in the Mediterranean setting, and the thrill of manipulation are all signs that she is desperate for control but terrified of intimacy. She mistakes emotional detachment for maturity, and control for strength.



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