Zebiline | Page 4

February 3, 1880. He has been decorated with the Legion of Honor.
The Marquis de Massa is known as a composer of music and as a dramatic author and novelist. At the Opera Comique there was represented in 1861 Royal-Cravate, written by him. Fragments of two operas by him were performed at the Paris Conservatory of Music in 1865, and in 1868. The list of his principal plays follows: 'Le Service en campagne, comedy (1882); La Cicatrice, comedy (1885); Au Mont Ida, Fronsac a La Bastille, and La Coeur de Paris, all in 1887; La Czarine and Brouille depuis Magenta (1888), and La Bonne Aventure--all comedies--1889. Together with Petipa he also wrote a ballet Le Roi d'Yvetot (1866); music by Charles Labarre. He further wrote Zibeline, a most brilliant romance (1892) with an Introduction by Jules Claretie; crowned by the Academie Francaise. This odd and dainty little story has a heroine of striking originality, in character and exploits. Her real name is Valentine de Vermont, and she is the daughter of a fabulously wealthy French-American dealer in furs, and when, after his death, she goes to Paris to spend her colossal fortune, and to make restitution to the man from whom her father won at play the large sum that became the foundation of his wealth, certain lively Parisian ladies, envying her her rich furs, gave her the name of Zibeline, that of a very rare, almost extinct, wild animal. Zibeline's American unconventionality, her audacity, her wealth, and generosity, set all Paris by the ears. There are fascinating glimpses into the drawing- rooms of the most exclusive Parisian society, and also into the historic greenroom of the Comedie Francaise, on a brilliant "first night." The man to whom she makes graceful restitution of his fortune is a hero of the Franco-Mexican and Franco-Prussian wars, and when she gives him back his property, she throws her heart in with the gift. The story is an interesting study of a brilliant and unconventional American girl as seen by the eyes of a clever Frenchman.
Later came 'La Revue quand meme, comedy, (1894); Souvenirs et Impressions (1897); La Revue retrospective, comedy (1899); and Sonnets' the same year.
PAUL HERVIEU de l'Academe Francaise.

LETTER FROM JULES CLARETIE TO THE AUTHOR
MY DEAR FRIEND:
I have often declared that I never would write prefaces! But how can one resist a fine fellow who brings one an attractive manuscript, signed with a name popular among all his friends, who asks of one, in the most engaging way, an opinion on the same--then a word, a simple word of introduction, like a signal to saddle?
I have read your Zibeline, my dear friend, and this romance--your first-- has given me a very keen pleasure. You told me once that you felt a certain timidity in publishing it. Reassure yourself immediately. A man can not be regarded as a novice when he has known, as you have, all the Parisian literary world so long; or rather, perhaps, I may more accurately say, he is always a novice when he tastes for the first time the intoxication of printer's ink.
You have the quickest of wits and the least possible affectation of gravity, and you have made as well known in Mexico as in Paris your couplets on the end of the Mexican conflict with France. 'Tout Mexico y passera!' Where are they, the 'tol-de-rols' of autumn?
Yesterday I found, in a volume of dramatic criticism by that terrible and charming Jules Barbey d'Aurevilly, an appreciation of one of your comedies which bears a title very appropriate to yourself: 'Honor.' "And this play does him honor," said Barbey d'Aurevilly, "because it is charming, light, and supple, written in flowing verse, the correctness of which does not rob it of its grace."
That which the critic said of your comedy I will say of your romance. It is a pretty fairy-story-all about Parisian fairies, for a great many fairies live in Paris! In fact, more are to be found there than anywhere else! There are good fairies and bad fairies among them. Your own particular fairy is good and she is charming. I am tempted to ask whether you have drawn your characters from life. That is a question which was frequently put to me recently, after I had published 'L'Americaine.' The public longs to possess keys to our books. It is not sufficient for them that a romance is interesting; it must possess also a spice of scandal.
Portraits? You have not drawn any--neither in the drawing-rooms where Zibeline scintillates, nor in the foyer of the Comedie Francaise, where for so long a time you have felt yourself at home. Your women are visions and not studies from life--and I do not believe that you will object to my saying this.
You should not dislike the "romantic romance," which every one