“By way of amusement on Sunday evenings, when work was temporarily laid aside, he loved the theatre, delighting in every kind of play, from the broad farces of the Palais Royal to the tragedies of Racine, and entertaining comedians in order, as he said, ‘to keep young’! One evening Théophile Gautier brought a pretty actress to dinner. Sainte-Beuve, who was past-master in the difficult art of conversation, and on whom a fair woman acted as an inspiration, surpassed himself on this occasion, surprising even the Goncourts with his knowledge of the Eighteenth century and the women of that time, Mme. de Boufflers, Mlle. de Lespinasse, la Maréchale de Luxembourg. The hours flew by unheeded by all of his guests but one. The _débutante_ was overheard confiding, later in the evening, to a friend at the Gymnase, where she performed in the last act, ‘Ouf! I’m glad to get here. I‘ve been dining with a stupid old Senator. They told me he would be amusing, but I’ve been bored to death.’ Which reminded me of my one visit to England, when I heard a young nobleman declare that he had been to ‘such a dull dinner to meet a duffer called “Renan!” ’ “Sainte-Beuve’s _Larmes de Racine_ was given at the Théâtre Français during its author’s last illness. His disappointment at not seeing the performance was so keen that M. Thierry, then _administrateur_ of La Comédie, took Mlle. Favart to the rue Montparnasse, that she might recite his verses to the dying writer. When the actress, then in the zenith of her fame and beauty, came to the lines— Jean Racine, le grand poête, Le poête aimant et pieux, Après que sa lyre muette Se fut voilèe à tous les yeux, Renonçant à la gloire humaine, S’il sentait en son âme pleine Le flot contenu murmurer, Ne savait que fondre en prière, Pencher l’urne dans la poussière Aux pieds du Seigneur, et pleurer! the tears of Sainte-Beuve accompanied those of Racine!” There were tears also in the eyes my companion turned toward me as he concluded. The sun had set while he had been speaking. The marble of the statues gleamed white against the shadows of the sombre old garden. The guardians were closing the gates and warning the lingering visitors as we strolled toward the entrance. It seemed as if we had been for an hour in the presence of the portly critic; and the circle of brilliant men and witty women who surrounded him—Flaubert, Tourguéneff, Théophile Gautier, Renan, George Sand—were realities at that moment, not abstractions with great names. It was like returning from another age, to step out again into the glare and bustle of the Boulevard St. Michel. CHAPTER 6—Modern Architecture