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In fiction Milady and Madame Marneffe come in for first honors in each the leopard crossed on the serpent and united under a petticoat, beautiful and wicked but since the Balzac and Dumas days the story-tellers and stage-mongers have made exceeding free with the type, and we have between Herman Merivale's Stephanie de Mohrivart and Victorien Sardou's Zica a very theater or shall we say a charnel house of the woman with the past; usually portrayed as the victim of circumstance; unprincipled through cruel experience; insensible through lack of conscience; sexless in soul, but a siren in seductive arts; cold as ice; hard as iron; implacable as the grave, pursuing her ends with force of will, intellectual audacity and elegance of manner, yet, beneath this brilliant depravity, capable of self-pity, yielding anon in moments of depression to a sudden gleam of human tenderness and a certain regret for the innocence she has lost.
In fiction Milady and Madame Marneffe come in for first honors in each the leopard crossed on the serpent and united under a petticoat, beautiful and wicked but since the Balzac and Dumas days the story-tellers and stage-mongers have made exceeding free with the type, and we have between Herman Merivale's Stephanie de Mohrivart and Victorien Sardou's Zica a very theater or shall we say a charnel house of the woman with the past; usually portrayed as the victim of circumstance; unprincipled through cruel experience; insensible through lack of conscience; sexless in soul, but a siren in seductive arts; cold as ice; hard as iron; implacable as the grave, pursuing her ends with force of will, intellectual audacity and elegance of manner, yet, beneath this brilliant depravity, capable of self-pity, yielding anon in moments of depression to a sudden gleam of human tenderness and a certain regret for the innocence she has lost.
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