Yesterday I found, in a volume of dramatic criticism by that terrible and
charming Jules Barbey d'Aurevilly, an appreciation of one of your
comedies which bears a title very appropriate to yourself: 'Honor.'
"And this play does him honor," said Barbey d'Aurevilly, "because it is
charming, light, and supple, written in flowing verse, the correctness of
which does not rob it of its grace."

That which the critic said of your comedy I will say of your romance.
It is a pretty fairy-story-all about Parisian fairies, for a great many
fairies live in Paris! In fact, more are to be found there than anywhere
else! There are good fairies and bad fairies among them. Your own
particular fairy is good and she is charming. I am tempted to ask
whether you have drawn your characters from life. That is a question
which was frequently put to me recently, after I had published
'L'Americaine.' The public longs to possess keys to our books. It is
not sufficient for them that a romance is interesting; it must possess
also a spice of scandal.

Portraits? You have not drawn any--neither in the drawing-rooms where
Zibeline scintillates, nor in the foyer of the Comedie Francaise, where
for so long a time you have felt yourself at home. Your women are
visions and not studies from life--and I do not believe that you will
object to my saying this.

You should not dislike the "romantic romance," which every one in these
days advises us to write--as if that style did not begin as far back as
the birth of romance itself: as if the Princess of Cleves had not
written, and as if Balzac himself, the great realist, had not invented,
the finest "romantic romances" that can be found--for example, the