If, however, Feuillet’s villains are failures, his adventuresses and bad women are grotesquer failures still. And no wonder. His reluctance to fashion an ugly thing out of material that would, in the natural course of his impressions, suggest to him none but ideas of beauty, is quite enough to account for it. Octave Feuillet is too much a gentleman, too much a _preux chevalier_, to be able to get any intellectual understanding of a bad woman; the actual operations of a bad woman’s soul are things he can get no "realizing sense" of. So he dresses up a marionette, which shall do all the wicked feminine things his game necessitates, which shall plot and poison, wreck the innocent heroine’s happiness, attitudinize as a fiend in woman’s clothing, and even, at a pinch, die a violent death, but which shall never let us forget that it is stuffed with saw-dust and moved by strings. Madame de Campvallon, Sabine Tallevaut, Mademoiselle Hélouin, even Julia de Trécoeur—the more they change, the more they are the same: sister-puppets, dolls carved from a common parent-block, to be dragged through their appointed careers of improbable naughtiness. You can recognise them at once by their haunting likeness to the proud beauties of the hair-dresser’s window. They are always statuesque, always cold, reserved, mysterious, serpentlike, goddesslike—everything, in fine, that bad women of flesh and blood are not. Octave Feuillet, the wit and the man of the world, knows this as well as we do; and knowing it, he tries, by verbal fire-works, to make us forget it. "She charms me—she reminds me of a sorceress," says some one of Sabine Tallevaut. "Do you notice, she walks without a sound? Her feet scarcely touch the earth—she walks like a somnambulist-like Lady Macbeth." It is the old trick, the traditional _boniment_ of the showman; but not all the _boniments_ in Feuillet’s sack can make us believe in Sabine Tallevaut.