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“On tracing this hoax to its source,” says Mr. Delepierre, “we find that M. Henri Berthoud, a literary man of some repute, and a constant contributor to the Musee des Familles, confesses that the letter attributed to Marion was in fact written by himself. The editor of this journal had requested Gavarni to furnish him with a drawing for a tale in which a madman was introduced looking through the bars of his cell. The drawing was executed and engraved, but arrived too late; and the tale, which could not wait, appeared without the illustration. However, as the wood-engraving was effective, and, moreover, was paid for, the editor was unwilling that it should be useless. Berthoud was, therefore, commissioned to look for a subject and to invent a story to which the engraving might be applied. Strangely enough, the world refused to believe in M. Berthoud’s confession, so great a hold had the anecdote taken on the public mind; and a Paris newspaper went so far even as to declare that the original autograph of this letter was to be seen in a library in Normandy! M. Berthoud wrote again, denying its existence, and offered a million francs to any one who would produce the said letter.”

From this we may learn two lessons, the first being that utterly baseless but plausible stories may arise in queer ways. In the above case, the most far-fetched hypothesis to account for the origin of the legend could hardly have been as apparently improbable as the reality. Secondly, we may learn that if a myth once gets into the popular mind, it is next to impossible to get it out again. In the Castle of Heidelberg there is a portrait of De Caus, and a folio volume of his works, accompanied by a note, in which this letter of Marion Delorme is unsuspectingly cited as genuine. And only three years ago, at a public banquet at Limoges, a well-known French Senator and man of letters made a speech, in which he retailed the story of the madhouse for the edification of his hearers. Truly a popular error has as many lives as a cat; it comes walking in long after you have imagined it effectually strangled.

In conclusion, we may remark that Mr. Delepierre does very scant justice to many of the interesting questions which he discusses. It is to be regretted that he has not thought it worth while to argue his points more thoroughly, and that he has not been more careful in making statements of fact. He sometimes makes strange blunders, the worst of which, perhaps, is contained in his article on Petrarch and Laura. He thinks Laura was merely a poetical allegory, and such was the case, he goes on to say, “with Dante himself, whose Beatrice was a child who died at nine years of age.” Dante’s Beatrice died on the 9th of June, 1290, at the age of twenty-four, having been the wife of Simone dei Bardi rather more than three years.

October, 1868.