to arouse and reward. The Revolution of 1830, and the secret "freemasonry" agitations connected therewith, are touched upon; but the dramatic effect of the story is borrowed from the author's own play of "Comte Hermann," produced three years before. We have indicated the sources of the story's strength; its weakness lies in a husband's non-recognition of his wife, after years of separation.
"La Femme au Collier de Velours," which also dates from 1851, contains by way of introduction an interesting account of Dumas's literary patron, Charles Nodier, and the society at the Arsenal. The tale itself, which purports to have been told to the narrator by the dying Nodier, and of which Hoffmann, the author of "Contes Fantastiques," is the hero, is as weird as any story by the German Poe. Incidentally it introduces the guillotining of Madame Dubarry the mistress of Louis XV., and presents a realistic picture of life in Paris in '93.
This story is associated by Calmann-Lévy with another essay into the supernatural—"Le Testament de M. Chauvelin." That noble, who was historically one of Louis XV.'s roués, makes a will for the protection of his wife and children, which he neglects to sign. He dies suddenly, but is seen to return to his chateau, and the will is found, duly completed. Powerful as the story is, its chief value lies in the introduction, which gives us a glimpse
