Why takes it not the accusing shape of thy mouldering kinsman ?" and Dalibard would answer, for he was a philosopher in his cowardice: "Il n'y a que les morts qui ne reviennent pas." It is the notable convenience of us narrators to represent, by what is called "soliloquy," the thoughts, the interior of the personages we describe.

And this is almost the master-work of the tale-teller,--that is, if the soliloquy be really in words, what self-commune is in the dim and tangled recesses of the human heart! But to this privilege we are rarely admitted in the case of Olivier Dalibard, for he rarely communed with himself.

A sort of mental calculation, it is true, eternally went on within him, like the wheels of a destiny; but it had become a mechanical operation, seldom disturbed by that consciousness of thought, with its struggles of fear and doubt, conscience and crime, which gives its appalling interest to the soliloquy of tragedy.

Amidst the tremendous secrecy of that profound intellect, as at the bottom of a sea, only monstrous images of terror, things of prey, stirred in cold-blooded and devouring life; but into these deeps Olivier himself did not dive.

He did not face his own soul; his outer life and his inner life seemed separate individualities, just as, in some complicated State, the social machine goes on through all its numberless cycles of vice and dread, whatever the acts of the government, which is the representative of the State, and stands for the State in the shallow judgment of history.
Before this time Olivier Dalibard's manner to his son had greatly changed from the indifference it betrayed in England,--it was kind and affectionate, almost caressing; while, on the other hand, Gabriel, as if in possession of some secret which gave him power over his father, took a more careless and independent tone, often absented himself from the house for days together, joined the revels of young profligates older than himself, with whom he had formed acquaintance, indulged in spendthrift expenses, and plunged prematurely into the stream of vicious pleasure that oozed through the mud of Paris.
One morning Dalibard, returning from a visit to Madame Bellanger, found Gabriel alone in the salon, contemplating his fair face and gay dress in one of the mirrors, and smoothing down the hair, which he wore long and sleek, as in the portraits of Raphael.