the outward characteristics of persons, calling up before the imagination not only the details of their physical appearance, but the more recondite effects of their manner and their bearing, so that, when he has finished, one almost feels that one has met the man.  But his excellence does not stop there.  It is upon the inward creature that he expends his most lavish care—­upon the soul that sits behind the eyelids, upon the purpose and the passion that linger in a gesture or betray themselves in a word.  The joy that he takes in such descriptions soon infects the reader, who finds before long that he is being carried away by the ardour of the chase, and that at last he seizes upon the quivering quarry with all the excitement and all the fury of Saint-Simon himself.  Though it would, indeed, be a mistake to suppose that Saint-Simon was always furious—­the wonderful portraits of the Duchesse de Bourgogne and the Prince de Conti are in themselves sufficient to disprove that—­yet there can be no doubt that his hatreds exceeded his loves, and that, in his character-drawing, he was, as it were, more at home when he detested.  Then the victim is indeed dissected with a loving hand; then the details of incrimination pour out in a multitudinous stream; then the indefatigable brush of the master darkens the deepest shadows and throws the most glaring deformities into still bolder relief; then disgust, horror, pity, and ridicule finish the work which scorn and indignation had begun.  Nor, in spite of the virulence of his method, do his portraits ever sink to the level of caricatures.  His most malevolent exaggerations are yet so realistic that they carry conviction.  When he had fashioned to his liking his terrific images—­his Vendome, his Noailles, his Pontchartrain, his Duchesse de Berry, and a hundred more—­he never forgot, in the extremity of his ferocity, to commit the last insult, and to breathe into their nostrils the fatal breath of life.

And it is not simply in detached portraits that Saint-Simon’s descriptive powers show themselves; they are no less remarkable in the evocation of crowded and elaborate scenes.  He is a master of movement; he can make great groups of persons flow and dispose themselves and disperse again; he can produce the effect of a multitude under the dominion of some common agitation, the waves of excitement spreading in widening circles, amid the conflicting currents of curiosity and suspicion, fear and hope.  He is assiduous in his descriptions of the details of places, and invariably heightens the effect of his emotional climaxes by his dramatic management of the physical decor. Thus his readers get to know the Versailles of that age as if they had lived in it; they are familiar with the great rooms and the long gallery; they can tell the way to the king’s bedchamber, or wait by the mysterious door of Madame de Maintenon; or remember which prince had rooms opening out on to the Terrace near the Orangery, and which great family had apartments in the new wing.