“Well,” said Gatien to Lousteau, “what do you think of her?”

“I think that the clever woman of Sancerre is simply the greatest chatterbox,” replied the journalist.

“A woman who wants to see you deputy!” cried Gatien.  “An angel!”

“Forgive me, I forgot you were in love with her,” said Lousteau.  “Forgive the cynicism of an old scamp.—­Ask Bianchon; I have no illusions left.  I see things as they are.  The woman has evidently dried up her mother like a partridge left to roast at too fierce a fire.”

Gatien de Boirouge contrived to let Madame de la Baudraye know what the journalist had said of her in the course of the dinner, which was copious, not to say splendid, and the lady took care not to talk too much while it was proceeding.  This lack of conversation betrayed Gatien’s indiscretion.  Etienne tried to regain his footing, but all Dinah’s advances were directed to Bianchon.

However, half-way through the evening, the Baroness was gracious to Lousteau again.  Have you never observed what great meanness may be committed for small ends?  Thus the haughty Dinah, who would not sacrifice herself for a fool, who in the depths of the country led such a wretched life of struggles, of suppressed rebellion, of unuttered poetry, who to get away from Lousteau had climbed the highest and steepest peak of her scorn, and who would not have come down if she had seen the sham Byron at her feet, suddenly stepped off it as she recollected her album.

Madame de la Baudraye had caught the mania for autographs; she possessed an oblong volume which deserved the name of album better than most, as two-thirds of the pages were still blank.  The Baronne de Fontaine, who had kept it for three months, had with great difficulty obtained a line from Rossini, six bars written by Meyerbeer, the four lines that Victor Hugo writes in every album, a verse from Lamartine, a few words from Beranger, Calypso ne pouvait se consoler du depart d’Ulysse (the first words of Telemaque) written by George Sand, Scribe’s famous lines on the Umbrella, a sentence from Charles Nodier, an outline of distance by Jules Dupre, the signature of David d’Angers, and three notes written by Hector Berlioz.  Monsieur de Clagny, during a visit to Paris, added a song by Lacenaire—­a much coveted autograph, two lines from Fieschi, and an extremely short note from Napoleon, which were pasted on to pages of the album.  Then Monsieur Gravier, in the course of a tour, had persuaded Mademoiselle Mars to write her name on this album, with Mademoiselles Georges, Taglioni, and Grisi, and some distinguished actors, such as Frederick Lemaitre, Monrose, Bouffe, Rubini, Lablache, Nourrit, and Arnal; for he knew a set of old fellows brought up in the seraglio, as they phrased it, who did him this favor.