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 the following year on its inevitable course of glory. It is a curious and memorable fact that the most tender-hearted of all great poets had originally made the hero of this tragedy leave the heroine unforgiven for the momentary and reluctant relapse into shame by which she had endeavoured to repurchase his forfeited life; and that Prosper Mérimée should have been the first, Marie Dorval the second, to reclaim a little mercy for the penitent. It is to their pleading that we owe the sublime pathos of the final parting between Marion and Didier.

In one point it seems to me that this immortal masterpiece may perhaps be reasonably placed, with Le Roi s'amuse and Ruy Blas, in triune supremacy at the head of Victor Hugo's plays. The wide range of poetic abilities, the harmonious variety of congregated powers, displayed in these three great tragedies through almost infinite variations of terror and pity and humour and sublime surprise, will seem to some readers, whose reverence is no less grateful for other gifts of the same great hand, unequalled at least till the advent in his eighty-first year of Torquemada.

Victor Hugo was not yet thirty when all these triumphs lay behind him. In the twenty-ninth year of a life which would seem fabulous and incredible in the record of its achievements if divided by lapse of time from all possible proof of its possibility by the attestation of dates and facts, he published in February Notre-Dame de Paris, in November Les Feuilles d'Automne: that the two dreariest months of the year might not only 'smell April and May,' but outshine July and August. The greatest of all tragic romances has a Grecian perfection of structure, with a Gothic intensity of pathos. To attempt the praise of such a work