THE GOOD FELLOW. 693 



low some of those scenes, which it is the delight of Paul de Kock 

 to pourtray: he beautifully depicts the virtuous and tender wife, 

 calm, gentle, and uncomplaining, though oppressed by multiplied afflic- 

 tions, and surrounded by misery, labouring incessantly at her needle 

 to procure bread for her children, and to supply the demands of her 

 reckless and idle husband. 



The character of Mongerand is supported throughout with consum- 

 mate skill and attention to details. It is a full length and highly 

 finished portrait. The gradual changes in his manners, after he has 

 quitted his regiment, until the bold, frank, rough demeanour of the 

 soldier deviates into the undisguised brutality of the daring bully, 

 who quarrels in every tavern he visits, are traced with masterly pre- 

 cision. The continued ascendancy of his stronger will over the mind 

 of the feeble and irresolute Charles, still drawing him on, in 

 spite of his better judgment, into fresh scenes of dissipation and 

 deeper distress, and the facility with which Charles foregoes his re- 

 sentment for every fresh injury, and becomes reconciled to him on 

 hearing some bold lying apology, and some new scheme of pleasure, 

 are happily contrasted, and mades each individual character stand 

 more prominently forward. But all this is so spread over our author's 

 pages, and conveyed by so many separate touches, that we despair of 

 finding a passage that shall place it in one distinct point of view. 

 However, as Paul is peculiarly strong in his description of rows of 

 all sorts, and as they are plentifully interspersed with his sentimental 

 scenes, we shall give one for the amusement of our readers. Charles 

 had been involved in a duel by Mongerand, and conveyed to his gar- 

 ret dangerously wounded. Mongerand takes advantage of his illness 

 to extort money from his friend's mother, who dies broken-hearted. 

 On his recovery, Charles is very indignant, and swears vengeance 

 against Mongerand. After a long suspension of acquaintance, chance 

 again brings them together. Fiddling or dancing are the two great 

 resources of a Frenchman without a sous ; so Charles betakes himself 

 to the former, and with the knowledge of only two tunes, he sets up 

 as a violinist. In this capacity he is engaged to play at a wedding. 



" Charles sounded the strings of his violin ; instantly a lively expression 

 of hilarity lit up the countenances of the party; it seemed as if they heard a 

 violin for the first time in their lives. Each one turned smiling towards the 

 musician. Charles gave a few notes the company formed Charles played 

 at random the contre-dances he could recollect. As for the figures, the dancers 

 made them go to every air. The first quadrille was got over tolerably : during 

 the second a young man thought proper to exclaim, 'the figure, if you please.' 

 ' As you please/ said Charles. ' As you please but hark ye, I dont 

 know it/ ' It's the cavalier seal,' cried uncle Csesar, who was very fond of 

 that figure. * * * A buz a sudden commotion, which took place in the 

 assembly, was caused by the arrival of the intended bridegroom. Miss Tigre 

 was dancing, but without waiting to finish the set, she cried out, ' Oh ! here 

 he is, here he is I hear him ! ' and she advanced to meet a stout gentleman, 

 dressed in black, who then entered the room, with two large nosegays in his 

 hands : he smiled on all around him with an air of the utmost ease ; began 

 by kissing the hands of Flora, who devoured him with her eyes, gave her a 

 bouquet, presented another to Madam Tigre, slapped the shoulder of the 

 papa, saluted the family, embraced the aunts and cousins, and ended his ca- 

 reer right opposite Charles, who remained stupified on recognizing Monge- 



