He will dismiss the subject, the plot, the characters, and the details in five lines; while fifteen columns will not suffice for all the wonders of the decorations.  If you ask him to send you to some person most familiar with contemporary dramatic art, instead of sending you to Alexandre Dumas, the elder or the younger, to Ponsard, or to Augier, he will send you to the celebrated scene-painters, to Ciceri or Sechan or Cambon.  As for Monsieur Jules Janin, of whom I am very fond, he is—­You have sometimes been to concerts where virtuosos play variations on the sextuor of “Lucie,” or the trio of “William Tell,” or the duet of “Les Huguenots”?  You listen attentively, and do at first detect a phrase here and a phrase there which vaguely recall the work of Donizetti, or of Rossini, or of Meyerbeer; but in an instant the virtuoso himself forgets all about them.  You have nothing but volley after volley of notes, a musical storm, tempest, avalanche; the primitive idea is fathoms deep under water, and when it is caught again it is drowned.  Now Monsieur Jules Janin has had for the last five-and-twenty years the business of executing brilliant variations upon the piano of dramatic criticism.  He acts like the virtuosos you hear at concerts.  He writes, for conscience’ sake, the name of the author and the title of the play at the head of his dramatic report, and then off he goes, heels over head, with variation and variation, and variation and variation again, in French and in Latin, until at last no human being can tell what he is after, where he is going, what he is talking about, or what he means to say.  He will tell you the whole story of the Second Punic War, speaking of a sentimental comedy played at the Gymnase Theatre, and a low farce of the Palais Royal Theatre will furnish him the pretext to quote ten lines of Xenophon in the original Greek.  Monsieur Jules Janin is, notwithstanding all this, an excellent fellow, and a man of great talents; but you must not ask him to work miracles; in other words, you must not ask him to express briefly and clearly what he thinks of the play he criticizes, nor to remember to-day the opinion he entertained yesterday.  These are miracles he cannot work.  He hears a piece; he is delighted with it; he says to the author, ’Your piece is charming.  You will be gratified by my criticism upon it.’  He comes home; he sits at his desk.  What happens?  Why, the wind which blew from the north blows from the south; the soap-bubble rose on the left, it floats away towards the right.  His pen runs away with him; praise is thrown out by the first hole in the road; epigram jumps in; and at last the poor dramatic author, who was lauded to the skies yesterday, complimented this morning, finds himself cut to pieces and dragged at horses’ tails in to-morrow’s paper.  Don’t blame Monsieur Jules Janin for it.  ’Tis not his fault.  The fault lies with his inkhorn; the fault lies with his pen, which mistook the mustard-pot for the honey-jar; ’twill be more careful next time.  ’Tis the fault of the hand-organ which would grind away while he was writing; ’tis the fault of the fly which would keep buzzing about the room and bumping against the panes of glass; ’tis the fault of the idea which took wings and flew away.  The poor dramatic author is mortified to death; but, Lord bless your soul!  Monsieur Jules Janin is not guilty.”