“‘And then’ (La Palferine told us) ‘she went out with a little coquettish gesture like a woman that has had her way. As she stood in my garrett doorway, tall and proud, she seemed to reach the stature of an antique sibyl.’ “All this should sufficiently explain the manners and customs of the Bohemia in which the young _condottiere_ is one of the most brilliant figures,” Nathan continued after a pause. “Now it so happened that I discovered Claudine’s identity, and could understand the appalling truth of one line which you perhaps overlooked in that letter of hers. It was on this wise.” The Marquise, too thoughtful now for laughter, bade Nathan “Go on,” in a tone that told him plainly how deeply she had been impressed by 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.