The elements of Françoise Sagan's plays are in a way her own private property—or at least are not instinctively used, or even borrowed, by other writers for the French theatre. For her, as a romantic, love is the fine flower of life—the most important gift you get or give—and it fades. As a modern intelligence, she perceives that between lovers the practice of ideas usually destroys emotion, that personal liberty is a dangerous necessity, that most human beings suffer from and give off ennui, and that fantasy is a final refuge from reality, especially for the French. This inventory she used in such perfect proportion in her "Château en Suède" that the play will likely be regarded for its delights as a personal period piece, and will be revived over time, like a minor theatre classic. The ingredients are similar enough in...