My sister had not changed in any way; she had only taken the fixed expression of her ills: her head had sunk a little, like a head on which the hours had weighed heavily. She reminded me of my parents: those first family memories, evoked from the grave, surrounded me like wraiths which had gathered round at night to warm themselves at the dying flame of a funeral pile. As I watched her, I seemed to see in Lucile my whole childhood, looking out at me from behind her somewhat wild eyes. The vision of pain faded away: that woman, borne down by life, seemed to have come to fetch the other dejected woman whom she was to take with her. * [Sidenote: Talma.] The summer passed: according to custom, I promised myself to begin it again next year; but the hand of the clock does not return to the hour which we would wish to call back. During the winter, in Paris, I made some new acquaintances. M. Jullien, a rich man, obliging, and a jovial table-companion, although belonging to a family in which they killed themselves, had a box at the Français; he used to lend it to Madame de Beaumont: I went four or five times to the play with M. de Fontanes and M. Joubert. When I entered the world, old-fashioned comedy was in all its glory; I found it again in a state of complete decomposition. Tragedy still kept up, thanks to Mademoiselle Duchesnois[417] and, above all, to Talma, who had attained the highest level of dramatic talent. I had seen him when he made his first appearances; he was less handsome and, so to speak, less young than at the age when I saw him again: he had acquired the distinction, the nobility, and the gravity of years. The portrait of Talma which Madame de Staël has drawn in her work on Germany is only half true: the brilliant writer saw the great actor through a woman's imagination, and attributed to him what he lacked. Of the intermediate world Talma did not know what to make: he did not understand the man of gentle birth; he did not know our old-time society; he had not sat at the table of high-born ladies, in the Gothic tower enshrined in the wood; he knew nothing of the flexibility, the variety of expression, the gallantry, the light charm of manner, the ingenuousness, the tenderness, the heroism based upon honour, the Christian devotion of chivalry: he was not Tancred, or Coucy, or at least he turned them into heroes of a middle-age of his own creation; his Othello was placed in the heart of Vendôme.