NATHAN (Raoul), son of a Jew pawn-broker, who died in bankruptcy a short while after marrying a Catholic, was for twenty-five years (1820-45) one of the best known writers in Paris. Raoul Nathan touched upon many branches: the journal, romance, poetry and the stage. In 1821, Dauriat published for him an imaginative work which Lucien de Rubempre alternately praised and criticized. The harsh criticism was meant for the publisher only. Nathan then put on the stage the "Alcade dans l'Embarras"--a comedie called an "imbroglio" and presented at the Panorama-Dramatique. He signed himself simply "Raoul"; he had as collaborator Cursy--M. du Bruel. The play was a distinct success. About the same time, he supplanted Lousteau, lover of Florine, one of his leading actresses. About this time also Raoul was on terms of intimacy with Emile Blondet, who wrote him a letter dated from Aigues (Bourgogne) in which he described the Montcornets, and related their local difficulties. Raoul Nathan, a member of all the giddy and dissipated social circles, was with Giroudeau, Finot and Bixiou, a witness of Philip Bridau's wedding to Madame J.-J. Rouget. He visited Florentine Cabirolle, when the Marests and Oscar Husson were there, and appeared often on the rue Saint-Georges, at the home of Esther van Gobseck, who was already much visited by Blondet, Bixiou and Lousteau. Raoul, at this time, was much occupied with the press, and made a great parade of Royalism. The accession of Louis Philippe did not diminish the extended circle of his relations. The Marquise d'Espard received him. It was at her house that he heard evil reports of Diane de Cadignan, greatly to the dissatisfaction of Daniel d'Arthez, also present. Marie de Vandenesse, just married, noticed Nathan, who was handsome by reason of an artistic, uncouth ugliness, and elegant irregularity of features, and Raoul resolved to make the most of the situation. Although turned Republican, he took very readily to the idea of winning a lady of the aristocracy. The conquest of Madame the Comtesse de Vandenesse would have revenged him for the contempt shown him by Lady Dudley, but, fallen into the hands of usurers, fascinated with Florine, living in pitiable style in a passage between the rue Basse-du-Rempart and the rue Neuve-des-Mathurins, and being often detained on the rue Feydau, in the offices of a paper he had founded, Raoul failed in his scheme in connection with the countess, whom Vandenesse even succeeded in restoring to his own affections, by very skilful play with Florine. During the first years of Louis Philippe's reign, Nathan presented a flaming and brilliant drama, the two collaborators in which were Monsieur and Madame Marie Gaston, whose names were indicated on the hand-bills by stars only. In his younger days he had had a play of his put on at the Odeon, a romantic work after the style of "Pinto,"[*] at a time when the classic was dominant, and the stage had been so greatly stirred up for three days