antique simplicity of the Mare au Diable, is the story of François le Champi, the foundlings saved from the demoralisation to which lack of the softening influences of home and parental affection predestine such unhappy children, through the tenderness his forlorn condition inspires in a single heart—that of Madeline Blanchet, the cheerless wife, whose own wrongs, patiently borne, have quickened her commiseration for the wrongs of others. Her sympathy, little though it lies in her power to manifest it, he feels, and its incalculable worth to him, which is such that the gratitude of a whole life cannot do more than repay it.
Part of the narrative is here put into the mouth of a peasants and told in peasant language, or something approaching to it. Over the propriety of this proceeding, adopted also in Les Maîtres Sonneurs, French critics are disagreed, though for the most part they regret it. It is not for a foreigner to decide between them. One would certainly regret the absence of some of the extremely original and expressive words and turns of speech current among the rural population, forms which such a method enabled her to introduce into the narrative as well as into the dialogue.
La Petite Fadette is not only worthy of its predecessors but by many will be preferred to either. There is something particularly attractive in the portraits of the twin brothers—partly estranged by character, wholly united by affection,—and in the figure of
