dence of_. The term is from
aristocratic etiquette.]

[Footnote 181: #j'y pense#, _it just occurs to me_.]

ACT III. SCENE 9.

#Page 78.#

[Footnote 182: #prerogatives#, _consideration_. For instance, one
might choose to be shot rather than guillotined, to look death in the
face with unbandaged eyes, and to give the command to fire, all matters
regarded as questions of honor by soldiers sentenced to death.]

[Footnote 183: #sans bruit#, _unostentatiously_, but de Grignon takes
it literally. The rest of this scene recalls not unsuccessfully
Moliere's _sans dot_ in "l'Avare," Act I., Scene 5.]

ACT III. SCENE 10.

#Page 80.#

[Footnote 184: #de gaiete de coeur#, _frivolously_ or _wantonly_,
here.]

ACT III. SCENE 11.

#Page 81.#

[Footnote 185: #reellement# is meant to hint a pity that foreshadows
the dawn of the love suggested in p. 93, line 7.]

#Page 82.#

[Footnote 186: #tant y a-t-il que#, _any way this much is certain
that_.]

[Footnote 187: #j'ai ce qu'il me faut#. The phrase has a touch of
irony that is not in de Grignon's character.]

ACT III. SCENE 12.

#Page 83.#

[Footnote 188: #feu de file#, _volley fire_.]

#Page 85.#

[Footnote 189: #je le voudrais bien#, _I wish it had been_, it would
have been so comical. This was of course practically a confession.]

#Page 86.#

[Footnote 190: #vingt-cinq louis#. See p. 72, line 28.]

ACT III. SCENE 13.

#Page 87.#

[Footnote 191: #il# is masculine; _wherever he may be found_.]

ACT III. SCENE 14.

#Page 88.#

[Footnote 192: #je le pense#, _I really think so_. He is surprised at
the change in his character that his magnanimity has produced in him; a
psychological touch as delicate as it is true.]

[Footnote 193: #en sentinelle#, _play the sentinel_.]

ACT III. SCENE 15.

#Page 89.#

[Footnote 194: #lui en veux#, _are hurt with him for it_. For the
ordinary use, cp. p. 20, line 29, and p. 85, line 16.]

#Page 90.#

[Footnote 195: #promesse#, alluding to p.74.]

[Footnote 196: #de grace#, _for mercy's sake_.]

#Page 91.#

[Footnote 197: Note that to the very end Leonie does not suspect either
her aunt's love or her self-sacrifice.]

[Footnote 198: #jupes#. Fortunately for the possibility of this
concealment, neither the _skirts_ of 1817, nor those of 1851, were like
those of recent years.]

ACT III, SCENE 16.

[Footnote 199: _Amnesty_ to political offenders was the settled policy
of Louis XVIII. fro