There is Paul. I understand nothing more completely than that man's mind. I know its habitual colour and every varying shade, and yet I may not make him the hero of a novel when I lay the scene in Montmartre, though I know it so well. I know when he dresses, how long he takes to dress, and what he wears. I know the breakfast he eats, and the streets down which he passes--their shape, their colour, their smell. I know exactly how life has come to him, how it has affected him. The day I met him in London! Paul in London! He was there to meet _une petite fermière_ with whom he had become infatuated when he went to Normandy to finish his novel. Paul is _foncièrement bon; he married her_, and this is their abode. There is the _salle-à-manger_, furnished with a nice sideboard in oak, and six chairs to match; on the left is their bedroom, and there is the baby's cot, a present from _le grand, le cher et illustre maître_. Paul and Mrs. Paul get up at twelve, and they loiter over breakfast; some friends come in and they loiter over les _petits verres_. About four Paul begins to write his article, which he finishes or nearly finishes before dinner. They loiter over dinner until it is time for Paul to take his article to the newspaper. He loiters in the printing office or the cafe until his proof is ready, and when that is corrected he loiters in the many cafés of the Faubourg Montmartre, smoking interminable cigars, finding his way back to the Butte between three and four in the morning. Paul is fat and of an equable temperament. He believes in naturalism all the day, particularly after a breakfast over _les petits verres_. He never said an unkind word to any one, and I am sure never thought one. He used to be fond of grisettes, but since he married he has thought of no one but his wife. _Il écrit des choses raides_, but no woman ever had a better husband. And now you know him as well as I do. Here are his own books, "The End of Lucie Pellegrin," the story that I have just finished writing: I think I must explain how it was that I have come to rewrite one of Paul's stories, the best he ever wrote. I remember asking him why he called her Lucie, and he was surprised to hear her name was Marie; he never knew her, he had never been to Alphonsine's, and he had told the story as he had picked it up from the women who turned into the Rat Mort at midnight for a _soupe à l'oignon_. He said it was a pity he did not know me when he was writing it, for I could have told him her story more sympathetically than the women in the Rat Mort, supplying him with many pretty details that they had never noticed or had forgotten. It would have been easy for me to have done this, for Marie Pellegrin is enshrined in my memory like a miniature in a case. I press a spring, and I see the beautifully shaped little head, the pale olive face, the dark eyes, and the blue-black hair. Marie Pellegrin is really part of my own story, so