nd copies of a number containing a novel by Prosper Merimee. Now
and then, M. Merimee comes out with a criticism of a foreign book. His
last was a review of "Grote's Greece," and he has also written a paper
on "Borrow's Spanish Rambles." A man of great erudition and extensive
travel, he is thoroughly master of many languages, and, in writing about
foreign countries and people, steers clear of the absurd blunders into
which some of his contemporaries, of respectable talents and
attainments, not unfrequently fall. His English officer and lady in
Colomba are excellent; very different from the absurd caricatures of
Englishmen one is accustomed to see in French novels. He is equally
truthful in his Spanish characters. A great lover of things Spanish, he
has frequently visited, and still visits, the Peninsula. In 1831 he
published, in the _Revue de Paris_, three charming letters from Madrid.
The action of most of his tales passes in Spain or Corsica, or the South
of France, although he now and then dashes at Parisian society. With
this he has unquestionably had ample opportunity to become acquainted,
for he is a welcome guest in the best circles of the French capital.
Still we must hope there is some flaw in the glasses through which he
has observed the gay world of Paris. The "Vase Etrusque" is one of his
sketches of modern French life, in the style of the "Double Meprise,"
but better. It is a most amusing and spirited tale, but unnecessarily
immoral. Had the heroine been virtuous, the interest of the story would
in no way have suffered, so far as we can see; and that which attaches
to her, as a charming and unhappy woman, would have been augmented. This
opinion, however, would be scoffed at on the other side of the Channel,
and set down as a piece of English prudery. And perhaps, instead of
grumbling at M. Merimee for making the Countess Mathilde the mistress of
Saint Clair--which nothing compelled him to do--we ought thankfully to
acknowledge his moderation in contenting himself with a quiet intrigue
between unmarried persons, instead of favouring us with a flagrant case
of adultery, as in the "Double Meprise," or initiating us into the very
profane mysteries of _operatic figurantes_, as in "Arsene Guillot." Even
in France, where he is so greatly and justly admired, this last tale was
severely censured, as bringing before the public eye phases of society
that ill bear the light. Fidelity to life in his scenes and characters