It is, however, with this pleasant book itself that we are concerned. Here again, of course, the picaresque model comes in, and there is a good deal of directly borrowed matter. But a much greater talent, and especially a much more acute and critical wit than Sorel's, brings to that scheme the practical-artistic French gift, the application of which to the novel is, in fact, the subject of this whole chapter. Not unkindly judges have, it is true, pronounced it not very amusing; and an uncritical comparer may find it injured by Gautier's book. The older novel has, indeed, nothing of the magnificent style of the overture of this latter. _Le Chateau de la Misere_ is one of the finest things of the kind in French; for exciting incident there is no better duel in literature than that of Sigognac and Lampourde; and the delicate pastel-like costumes and manners and love-making of Gautier's longest and most ambitious romance are not to be expected in the rough "rhyparography"[253] of the seventeenth century. But in itself the _Roman Comique_ is no small performance, and historically it is almost great. We have in it, indeed, got entirely out of the pure romance; but we have also got out of the _fatrasie_--the mingle-mangle of story, jargon, nonsense, and what not,--out of the mere tale of adventure, out of the mere tale of _grivoiserie_. We have borrowed the comic dramatist's mirror--the "Muses' Looking-glass"--and are holding it up to nature without the intervention of the conventionalities of the stage. The company to which we are introduced is, no doubt, pursuing a somewhat artificial vocation; but it is pursuing it in the way of real life, as many live men and women have pursued it. The mask itself may be of their trade and class; but it is taken off them, and they are not merely _personae_, they are persons.