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The first, a continuation that had suggested itself to her of Sedaine's century-old comedy, Le Philosophe sans le savoir, escapes the ill fate that seems to attend sequels in general. It is of the slightest materials, but holds together, and is gracefully conceived and executed.
"It is Rose herself!" replied Sedaine. "A single note, madame," said the other, M. Grévey, "and I shall know if she be as perfectly Monsigny's Rose as she is Sedaine's." Then, turning to Pierrette, he said to her: "Sing the scale after me thus: Ut, Re, Mi, Fa, Sol." The girl repeated his notes. "She has a divine voice, madame!" was his verdict.
The ceiling was divided at the centre of the room by a huge beam, from which depended an old chandelier of rock-crystal swathed in green gauze. On the fireplace were two vases in Sevres blue, and two old girandoles attached to the frame of the mirror, and a clock, the subject of which, taken from the last scene of the "Deserteur," proved the enormous popularity of Sedaine's work.
First produced at the Gymnase in 1851, it was revived during the last year of Madame Sand's life in a manner very gratifying to her, being brought out with great applause at the Comédie Française, preceded on each occasion by Sedaine's play, and the same artists appearing in both.
He knew that he was himself no master, but he was manly enough to admire anybody who was nearer to mastery. He was full of unaffected delight at Sedaine's busy and pleasing little comedy, The Philosopher without knowing it; it was so simple without being stiff, so eloquent without the shadow of effort or rhetoric.
The ceiling was divided at the centre of the room by a huge beam, from which depended an old chandelier of rock-crystal swathed in green gauze. On the fireplace were two vases in Sevres blue, and two old girandoles attached to the frame of the mirror, and a clock, the subject of which, taken from the last scene of the "Deserteur," proved the enormous popularity of Sedaine's work.
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