these strange things, and even more plainly how much she was
interested in La Palferine.

"In 1829, one of the most influential, steady, and clever of dramatic
writers was du Bruel. His real name is unknown to the public, on the
play-bills he is de Cursy. Under the Restoration he had a place in the
Civil Service; and being really attached to the elder branch, he sent
in his resignation bravely in 1830, and ever since has written twice
as many plays to fill the deficit in his budget made by his noble
conduct. At that time du Bruel was forty years old; you know the story
of his life. Like many of his brethren, he bore a stage dancer an
affection hard to explain, but well known in the whole world of
letters. The woman, as you know, was Tullia, one of the _premiers
sujets_ of the Academie Royale de Musique. Tullia is merely a
pseudonym like du Bruel's name of de Cursy.

"For the ten years between 1817 and 1827 Tullia was in her glory on
the heights of the stage of the Opera. With more beauty than
education, a mediocre dancer with rather more sense than most of her
class, she took no part in the virtuous reforms which ruined the corps
de ballet; she continued the Guimard dynasty. She owed her ascendency,
moreover, to various well-known protectors, to the Duc de Rhetore (the
Due de Chaulieu's eldest son), to the influence of a famous
Superintendent of Fine Arts, and sundry diplomatists and rich
foreigners. During her apogee she had a neat little house in the Rue
Chauchat, and lived as Opera nymphs used to live in the old days. Du
Bruel was smitten with her about the time when the Duke's fancy came
to an end in 1823. Being a mere subordinate in the Civil Service, du
Bruel tolerated the Superintendent of Fine Arts, believing that he
himself was really preferred. After six years this connection was