third of an author. A dramatic writer, as few people know, is made up
of three individuals; first, the man with brains who invents the
subject and maps out the structure, or scenario, of the vaudeville;
second, the plodder, who works the piece into shape; and third, the
toucher-up, who sets the songs to music, arranges the chorus and
concerted pieces and fits them into their right place, and finally
writes the puffs and advertisements. Du Bruel was a plodder; at the
office he read the newest books, extracted their wit, and laid it by
for use in his dialogues. He was liked by his collaborators on account
of his carefulness; the man with brains, sure of being understood,
could cross his arms and feel that his ideas would be well rendered.
The clerks in the office liked their companion well enough to attend a
first performance of his plays in a body and applaud them, for he
really deserved the title of a good fellow. His hand went readily to
his pocket; ices and punch were bestowed without prodding, and he
loaned fifty francs without asking them back. He owned a country-house
at Aulnay, laid by his money, and had, besides the four thousand five
hundred francs of his salary under government, twelve hundred francs
pension from the civil list, and eight hundred from the three hundred
thousand francs fund voted by the Chambers for encouragement of the
Arts. Add to these diverse emoluments nine thousand francs earned by
his quarters, thirds, and halves of plays in three different theatres,
and you will readily understand that such a man must be physically
round, fat, and comfortable, with the face of a worthy capitalist. As
to morals, he was the lover and the beloved of Tullia and felt himself
preferred in heart to the brilliant Duc de Rhetore, the lover in
chief.

Dutocq had seen with great uneasiness what he called the liaison of
des Lupeaulx with Madame Rabourdin, and his silent wrath on the