As has been said, all of the volumes are now recognized as chiefly the work of Colette, and also as more autobiographical than could be admitted at the time of their composition. They may, therefore, be trusted as giving a fairly accurate picture of a certain group of Parisian literati at the turn of the century. There is something of Willy in the idealized Renaud and also in the caricatured Maugis, alcoholic music critic and paramour of Annie’s sister-in-law. Judging Willy’s attitude from that found in his independent fiction, the complaisance of Renaud toward his wife’s lesbian liaison was less improbable than certain contemporary critics—Rachilde among them—felt it to be. From passing references in Colette’s much later volume of personal reminiscences, _Ces Plaisirs_,[4] it would appear that the group in which she moved during her early married years—that is, the middle and late Nineties—were tolerant of male as well as female homosexuality, and Marcel’s affairs were probably drawn from life. Colette’s divorce after twelve years of marriage, however, is said to have been due to heterosexual irregularities on her husband’s part. A second marriage in 1914 to Henri de Jouvenel, by whom she had a daughter, seems to have brought her a more settled happiness. But it should be noted that Stella Browne, in a psychological study of some women authors with homosexual tendencies,[5] mentions Colette as having been involved herself before 1914 in two powerful variant attachments, one with the film star, Marguérite Moréno, whom she met while she was earning her living on the stage between her two marriages, and the other with an unnamed foreign noblewoman. Character sketches of both these women, naturally drawn with great discretion, appear in _Ces Plaisirs_. From them one gathers that Colette’s relations with Moréno were intimate, but “the Chevalier” (the nickname perhaps an echo from Peladan’s chaste lady) is presented as a romantic idealist unwilling or unable to cross the boundaries of physical intimacy with anyone.