lives. He has, moreover, written a book of a robust and healthy novelty.
The picture of the greenroom of the Ballet with which the tale opens and
where we are introduced in the most natural way possible to nearly all
the characters that play a part in the story of Vaudrey is masterly in
execution and intention. It is Balzac, but Balzac toned down and more
limpid."_

_I will stop here at the greenroom of the Ballet commended by Monsieur
J.-J. Weiss, to give a slight sketch, clever as a drawing by Saint' Aubin
or a lithograph by Gavarni, which Monsieur Ludovic Halévy has
contributed to a journal and in which he also praises the romance that
the _feuilletoniste_ of the _Débats_ has criticized with an authority so
discriminating and a benevolence so profound._

_It was very agreeable for me to observe that such a thorough Parisian
as the shrewd and witty author of _Les Petites Cardinal_ should find
that the Opéra--which certainly plays a rôle in our politics--had been
sufficiently well portrayed by the author of _Monsieur le Ministre_. And
upon this, the first chapter of my book, Monsieur Ludovic Halévy adds,
moreover, some special and piquant details which are well worth
quoting:_

_"That which gave me very great pleasure in this tale of a man of
politics is that politics really have little, very little place in the
novel; it is love that dominates it and in the most despotic and
pleasant way possible. This great man of Grenoble who arrives at Paris
in order to reform everything, repair everything, elevate everything,
falls at once under the sway of a most charming Parisian adventuress.
See Sulpice Vaudrey the slave of Marianne. Marianne's gray eyes never
leave him--But she in her turn meets her master--and Marianne's master