We are conscious, under all this witty pleasantry, of the distinguished author's vexation with himself for having borne a banner, belonged to a party, even though it was only in literature and as a youth. And the preface, moreover, does not tell the exact truth; for Mérimée's Illyrian prose ballads, though by no means remarkably good in other respects, are distinctly the product of intelligent and careful study, and accurately reproduce the style of Slavonic popular poetry. But Mérimée could never write of himself without self-depreciation. His prefaces, when he on a rare occasion condescends to enter into direct relations with the public by means of a preface, are distinguished by a nonchalant, apathetic humility, a manner which isolates the man who assumes it more completely than the most exaggerated self-assertion. [1] Guizot: _Shakespeare et son temps_, 294. [2] Goethe alone publicly proclaimed Mérimée to be the author of the Illyrian poems. In one of his letters Mérimée makes some not unreasonably caustic remarks on the explanation given by the great poet of his divination of the personality concealed under the pseudonym _Hyacinth Maglanovitch_: "It occurred to us that the word Guzla lay concealed in the word Gazul." The fact was that Mérimée, who, like all the other young Romanticists, courted Goethe's favour, had sent him the book along with a letter confiding the secret of its authorship. XXV MÉRIMÉE The stern or satirical reserve of Mérimée's style is most noticeable in the works which he wrote in his official capacity, in his brief descriptions of French historical monuments, crowded with technical expressions (_Notes sur le Midi de la France_, &c.) Not a word about himself, not a single personal impression of travel, not one remark addressed to the uninitiated! What a satisfaction there lay in disappointing all the critics who were lying in wait to detect the dilettante and novel-writer in the inspector of historical monuments! Reserve is also apparent in the love of mystification displayed by the author of _Le Théâtre de Clara Gazul_ and the Illyrian ballads. We are reminded of Beyle here, though the tendency took a somewhat different form in his case. Mérimée's pseudonymity was of short duration, but whilst it lasted it was impenetrable. Nothing gave him greater pleasure than to send his readers on a wild-goose chase. He neglected nothing that could give an appearance of authenticity to his pseudonyms. He supplied his works not only with biographies, but with portraits of their supposed authors. To complete the jest, he prefixed to the first edition of _Clara Gazul_ an engraved portrait of himself dressed as a Spanish lady, in a low-necked dress, with a lace mantilla thrown over his head.