And this real man, who was he? An alert student of history, who yet was so fascinated by its anecdotal phases that he cared not at all for the large philosophy of events in sequence; a linguist who early delved into Greek and Latin, knew English well enough to memorize long passages from the poets, spoke Castilian Spanish as well as several dialects, and translated Russian--Pushkin, Gogol, and Turgenieff--with rare ability; an epicure in travel, keen for the curious and the novel; a connoisseur in art and archæology of sufficient distinction to warrant his appointment as the national “Inspector of Monuments;” a prejudiced scorner of priests and religion, yet bitterly distrustful of his own inner light; an orderly man, systematic even in his indulgences; a pagan in refined sensualism, which he always checked before its claims impinged too largely upon other domains; an aloof spirit, ironical and cold, yet capable of the warm friendship that made Stendhal happy for two days by receiving one of Mérimée’s letters, constant enough to pour out his best at the feet of his Unknown for more than half a lifetime, and so gentle as to crave with the tender heart of a father the love of little children. The sum of all this is Enigma. We are not sure which is the real man; but this we know: his was a tender, susceptible heart beating under an outer garment of ironical coldness. To love deeply was to endure pain, to follow impulse was to court trouble, to cherish enthusiasms was to delude the mind--so he schooled himself to appear impassive and blasé. How much of this frosty withdrawal was genuine and how much a protective mask, no man can say. Mérimée’s literary methods reflected his singularly composite personality, yet the author is not apparent in his work. He delighted to tell his tales in the impersonal, matter-of-fact manner of the casual traveller who had picked up a good story and passed it on just as it was told to him. “They contain,” writes Professor Van Steenderen, “no lengthy descriptions. There are no reflections, dissertations, or explanations in them. They bring out in relief only the permanent features of a given situation, features interesting and intelligible to men of other ages and climes. They are lucid and well constructed. Their plots turn about a simple action with unique effect. Their style is alert, urbane, discreet, and rich, seeking its effect only through concrete and simple means. They deal but very slightly with lyrical emotion, they deal with passions and the will.” Mérimée’s literary career began at the age of twenty-two, when he published a collection of eight of his short plays purporting to be translated from the Spanish. His portrait, disguised as a Spanish actress, serves as a frontispiece. He perpetuated a similar hoax two years later when he issued a volume of pseudo-Illyrian poems, “translated into French.” These brilliant jokes gulled the literary world as completely as did Chatterton.