of this inclination to desert the positive, to bring the ideal even into historic annals, I believe that with greater reason we should be completely indifferent to historical reality in judging the dramatic works, whether poems, romances, or tragedies, which borrow from history celebrated characters. Art ought never to be considered except in its relations with its ideal beauty. Let it be said that what is true in fact is secondary merely; it is only an illusion the more with which it adorns itself—one of our prejudices which it respects. It can do without it, for the Truth by which it must live is the truth of observation of human nature, and not authenticity of fact. The names of the characters have nothing to do with the matter. The idea is everything; the proper name is only the example and the proof of the idea.

So much the better for the memory of those who are chosen to represent philosophical or moral ideas; but, once again, that is not the question. The imagination can produce just as fine things without them; it is a power wholly creative; the imaginary beings which it animates are endowed with life as truly as the real beings which it brings to life again. We believe in Othello as we do in Richard III., whose tomb is in Westminster; in Lovelace and Clarissa as in Paul and Virginia, whose tombs are in the Isle of France. It is with the same eye that we must watch the performance of its characters, and demand of the Muse only her artistic Truth, more lofty than the True—whether collecting the traits of a character dispersed among a thousand entire individuals, she composes from them a type whose name alone is imaginary; or whether she goes to their tomb to seek and to touch with her galvanic current the dead whose great deeds are known, forces them to arise again, and drags them dazzled to the light of day, where, in the circle which this fairy has traced, they re-assume unwillingly their passions of other days, and begin again in the sight of their descendants the sad drama of life.

ALFRED DE VIGNY. 1827.

CINQ-MARS

BOOK 1.

CHAPTER I. THE ADIEU

Do you know that charming part of our country which has been called the garden of France—that spot where, amid verdant plains watered by wide streams, one inhales the purest air of heaven?

If you have travelled through fair Touraine in summer, you have no doubt followed with enchantment the peaceful Loire; you have regretted the impossibility of determining upon which of its banks you would choose to dwell with your beloved. On its right bank one sees valleys dotted with white houses surrounded by woods, hills yellow with vines or white with the blossoms of the cherry-tree, walls covered with honeysuckles, rose-gardens, from which pointed roofs rise suddenly. Everything reminds the traveller either of the fertility of the land or of the antiquity of its monuments; and everything interests him in the work of its busy inhabitants.

Nothing has proved useless to them; it seems as if in their love for so beautiful a country—the only province of France never occupied by foreigners—they have determined not to lose the least part of its soil, the smallest grain of its sand. Do you fancy that this ruined tower is inhabited only by hideous night-birds? No; at the sound of your horse's hoofs, the smiling face of a young girl peeps out from the ivy, whitened with the dust from the road. If you climb a hillside covered with vines, a light column of smoke shows you that there is a chimney at your feet; for the very rock is inhabited, and families of vine-dressers breathe in its caverns, sheltered at night by the kindly earth which they laboriously cultivate during the day. The good people of Touraine are as simple as their life, gentle as the air they breathe, and strong as the powerful earth they dig. Their countenances, like their characters, have something of the frankness of the true people of St. Louis; their chestnut locks are still long and curve around their ears, as in the stone statues of our old kings; their language is the purest French, with neither slowness, haste, nor accent—the cradle of the language is there, close to the cradle of the monarchy.

But the left bank of the stream has a more serious aspect; in the distance you see Chambord, which, with its blue domes and little cupolas, appears like some great city of the Orient; there is Chanteloup, raising its graceful pagoda in the air. Near these a simpler building attracts the eyes of the traveller by its magnificent situation and imposing size; it is the chateau of Chaumont. Built upon the highest hill of the shore, it frames the broad summit with its lofty walls and its enormous towers; high slate steeples increase their loftiness, and give to the building that conventual air, that religious form of all our old chateaux, which casts an aspect of gravity over the landscape of most of our provinces. Black and tufted trees surround this ancient mansion, resembling from afar the plumes that encircled the hat of King Henry. At the foot of the hill, connected with the chateau by a narrow path, lies a pretty village, whose white houses seem to have sprung from the golden sand; a chapel stands halfway up the hill; the lords descended and the villagers ascended to its altar-the region of equality, situated like a neutral spot between poverty and riches, which have been too often opposed to each other in bitter conflict.

Here, one morning in the month of June, 1639, the bell of the chateau having, as usual, rung at midday, the dinner-hour of the family, occurrences of an unusual kind were passing in this ancient dwelling. The numerous domestics observed that in repeating the morning prayers before the assembled household, the Marechale d'Effiat had spoken with a broken voice and with tears in her eyes, and that she had appeared in a deeper mourning than was customary. The people of the household and the Italians of the Duchesse de Mantua, who had at that time retired for a while to Chaumont, saw with surprise that sudden preparations were being made for departure. The old domestic of the Marechal d'Effiat (who had been dead six months) had taken again to his travelling-boots, which he had sworn to abandon forever. This brave fellow, named Grandchamp, had followed the chief of the family everywhere in the wars, and in his financial work; he had been his equerry in the former, and his secretary in the latter. He had recently returned from Germany, to inform the mother and the children of the death of the Marechal, whose last sighs he had heard at Luzzelstein. He was one of those faithful servants who are become too rare in France; who suffer with the misfortunes of the family, and rejoice with their joys; who approve of early marriages, that they may have young masters to educate; who scold the children and often the fathers; who risk death for them; who serve without wages in revolutions; who toil for their support; and who in prosperous times follow them everywhere, or exclaim at their return, "Behold our vines!" He had a severe and remarkable face, a coppery complexion, and silver-gray hair, in which, however, some few locks, black as his heavy eyebrows, made him appear harsh at first; but a gentle countenance softened this first impression. At present his voice was loud. He busied himself much that day in hastening the dinner, and ordered about all the servants, who were in mourning like himself.

"Come," said he, "make haste to serve the dinner, while Germain, Louis, and Etienne saddle their horses; Monsieur