confidences to him. The King with his very haughty bonhomie
and his somewhat infatuated wisdom; the grave and sweet DUCHESS
D'ORLEANS, the boisterous and amiable princes--the whole
commonplace and home-like court--are depicted with kindliness
but sincerity.

The horizon, however, grows dark, and from 1846 the new peer of
France notes the gradual tottering of the edifice of royalty.
The revolution of 1848 bursts out. Nothing could be more
thrilling than the account, hour by hour, of the events of the
three days of February. VICTOR HUGO is not merely a spectator
of this great drama, he is an actor in it. He is in the
streets, he makes speeches to the people, he seeks to restrain
them; he believes, with too good reason, that the Republic is
premature, and, in the Place de la Bastille, before the
evolutionary Faubourg Saint Antoine, he dares to proclaim the
Regency.

Four months later distress provokes the formidable insurrection
of June, which is fatal to the Republic.

The year 1848 is the stormy year. The atmosphere is fiery, men
are violent, events are tragical. Battles in the streets are
followed by fierce debates in the Assembly. VICTOR HUGO takes
part in the mêlée. We witness the scenes with him; he points
out the chief actors to us. His "Sketches" made in the National
Assembly are "sketched from life" in the fullest acceptation of
the term. Twenty lines suffice. ODILON BARROT and CHANGARNIER,
PRUDHON and BLANQUI, LAMARTINE and "Monsieur THIERS" come, go,
speak--veritable living figures.