Celio and Octave, of Carmosine and Bettine, there is something contagious, irresistibly touching. But the great charm is Musset's dramatic world itself, the atmosphere in which his figures move, the element they breathe. It seems at first like a reckless thing to say, but we will risk it: in the _quality_ of his fancy Musset always reminds us of Shakespeare. His little dramas go on in the country of "As you Like It" and the "Winter's Tale"; the author is at home there, like Shakespeare himself, and he moves with something of the Shakespearian lightness and freedom. His fancy loves to play with human life, and in the tiny mirror which it holds up we find something of the depth and mystery of the object. Musset's dialogue, in its mingled gayety and melancholy, its sweetness and irony, its allusions to real things and its kinship with a romantic world, has an altogether indefinable magic. To speak it on the stage is almost to make it coarse. Once Musset attempted a larger theme than usual; in "Lorenzaccio" he wrote an historical drama on the scale of Shakespeare's histories; that is, with multitudes of figures, scenes, incidents, and illustrations. He laid his hand on an admirable subject--the story of a certain Lorenzino de' Medici, who played at being a debauchee and a poltroon in order better to put the tyrant of Florence (his own cousin) off his guard, and serve his country by ridding her of him. The play shows an extraordinary abundance and vivacity of imagination, and really, out of those same "histories" of Shakespeare, it is hard to see where one should find an equal spontaneity in dealing with the whole human furniture of a period. Alfred de Musset, in "Lorenzaccio," has the air of being as ready to handle a hundred figures as a dozen--of having imagination enough for them all. The thing has the real creative _souffle_, and if it is not the most perfect of his productions, it is probably the most vigorous.