[1] I resolutely stuck to this decision until the time when my great friendship with Maquet determined me to spring the surprise upon him of putting forth his name with mine as the author of the drama of _Les Mousquetaires._ This was but fair, however, since we did not only the drama, but also the romance, in collaboration. I am delighted to be able to add, that, although we have not worked together now for a couple of years, the friendship is just the same, at all events on my side. CHAPTER XVI _Marion Delorme_ I fell into meditation. What was the reason the public was not of my way of thinking about _Marion Delorme_? I had remarked to Taylor on the night of the reading at Devéria's-- "If Hugo makes as much dramatic progress as is usual in ordinary dramatic development, we shall all be done for!" The first act of _Marion_, in style and argument, is one of the cleverest and most fascinating ever seen on the stage. All the characters take part in it: Marion, Didier and Saverny. The last six lines forecast the whole play, even including the conversion of the courtesan. Marion remains in a reverie for a while, then she calls out-- "MARION. Dame Rose (_Montrant la fenêtre._) Fermez ... DAME ROSE, _à part._ On dirait qu'elle pleure! (_Haut._) Il est temps de dormir, madame. MARION. Oui, c'est votre heure, A vous autres ... (_Défaisant ses cheveux._) Venez m'accommoder. DAME ROSE _(la désabillant)._ Eh bien, Madame, le monsieur de ce soir est-il bien?... Riche?... MARION. Non. DAME ROSE. Galant? MARION. Non, Rose: il ne m'a pas même Baisé la main! DAME ROSE. Alors, qu'en faites-vous? MARION, _pensive._ Je l'aime!..." The second act scintillates with wit and poetry. The very original character of Langely, which is unfolded in the fourth act, is inserted as neatly as possible. As regards poetry I know none in any other language constructed like this--