fluence to have him made Archbishop of
Parma, an office frequently held in the past by Del Dongos.
Unfortunately Fabrice is drawn into a quarrel with a certain Giletti, a
low comedy actor, whom he kills in self-defense. Ordinarily the killing
of a fellow of Giletti's stamp by a Del Dongo would have been
considered a trifling matter; but this offense assumes importance
through the efforts of a certain political faction to discredit the
minister through his protege. The situation is further complicated by
the Prince, Ernest IV., who has come under the spell of Gina's beauty,
and furious at finding her obdurate, is glad of an opportunity to
humiliate her. Fabrice is condemned to ten years' imprisonment in the
Farnese tower, the Prince treacherously disregarding his promise of
pardon. From this point the plot becomes fantastic. From his window in
the tower, Fabrice overlooks that of Clelia, daughter of General Fabio
Conti, governor of the prison. It is a case of mutual love at first
sight, and for months the two hold communication by signs above the
heads of the passing sentries. After his fabulous escape, effected by
the help of his aunt, Fabrice is inconsolable, and at length returns
voluntarily to the tower in order to be near Clelia. It is not until
after the death of the Prince that the Duchess obtains Fabrice's pardon
from his son and successor. At last Clelia dies, and Fabrice enters the
neighboring monastery, the Chartreuse of Parma.

Fabrice's experiences on the battle-field of Waterloo, where as a raw
youth he first "smelled powder," are recounted with a good deal of
realistic detail. They suggest a comparison with a book of more recent
date devoted to a similar subject, Stephen Crane's 'Red Badge of
Courage,' though of course the latter does not approach Stendhal in
artistic self-restraint and mastery over form.

The remaining novel, 'Lucien Leuwen,' was left in an unfinished state,
and thus published after the author's death, under the title of 'Le
Chasseur Vert.' Recently they have been republished, under the name of
'Lucien Leuwen,' with additional material which the editor, M. Jean de
Mitty, claims to have deciphered from almost illegible manuscripts found
in the library at Grenoble. But even without these additions there is
enough to show that 'Lucien Leuwen' would have been one of his best
efforts, second only, perhaps, to the 'Rouge et Noir.' The hero, Lucien,
is the son of a rich financier, who "was neve