fringed below the ears with hair, is M. Duval. He is a dramatic author, the author of a hundred and sixty plays. He does not intrude himself on your notice, but when you speak to him on literary matters he fixes a pair of tiny, sloe-like eyes on you, and talks affably of his collaborateurs. I was soon deeply interested in M. Duval, and I invited him to come to the _café_ after dinner. I paid for his coffee and liqueurs, I offered him a choice cigar. He did not smoke; I did. It was, of course, inevitable that I should find out that he had not had a play produced for the last twenty years, but then the aureole of the hundred and sixty was about his poor bald head. I thought of the chances of life, he alluded to the war; and so this unpleasantness was passed over, and we entered on more genial subjects of conversation. He had written plays with everybody; his list of collaborateurs was longer than any list of lady patronesses for an English county ball; there was no literary kitchen in which he had not helped to dish up. I was at once amazed and delighted. Had M. Duval written his hundred and sixty plays in the seclusion of his own rooms, I should have been less surprised; it was the mystery of the _séances_ of collaboration, the rendezvous, the discussion, the illustrious company, that overwhelmed me in a rapture of wonder and respectful admiration. Then came the anecdotes. They were of all sorts. Here are a few specimens: He, Duval, had written a one-act piece with Dumas _père_; it had been refused at the Français, and then it had been about, here, there, and everywhere; finally the _Variétés_ had asked for some alterations, and _c'était une affaire entendue_. "I made the alterations one afternoon, and wrote to Dumas, and what do you think,--by return of post I had a letter from him saying he could not consent to the production of a one-act piece, signed by him, at the _Variétés,_ because his son was then giving a five-act piece at the Gymnase." Then came a string of indecent witticisms by Suzanne Lagier and Dejazet. They were as old as the world, but they were new to me, and I was amused and astonished. These _bon-mots_ were followed by an account of how Gautier wrote his Sunday feuilleton, and how he and Balzac had once nearly come to blows. They had agreed to collaborate. Balzac was to contribute the scenario, Gautier the dialogue. One morning Balzac came with the scenario of the first act. "Here it is, Gautier! I suppose you can let me have it back finished by to-morrow afternoon?" And the old gentleman would chirp along in this fashion till midnight. I would then accompany him to his rooms in the Quartier Montmartre--rooms high up on the fifth floor--where, between two pictures, supposed to be by Angelica Kauffmann, M. Duval had written unactable plays for the last twenty years, and where he would continue to write unactable plays until God called him to a world, perhaps, of eternal cantatas, but