255, 14. ca date de loin, mon pauvre ami—it goes a long way back, my poor friend.

256, 8. punctum coecum—blind spot.

257, 27. mon beau somnambule—my handsome somnambulist.

257, 33. On ne sait pas ce qui peut arriver—One never knows what may happen.

258, 17. tiens—look.

262, 10. sans peur et sans reproche—without fear and without reproach.

262, 15. "Ca s'appelle le point cache—c'est une portion de la retine avec laquelle on ne peut pas voir...."—"It is called the blind spot—it is a part of the retina with which we cannot see...."

263, 13. c'est toujours ca—that's always the way.

263, 23. plus que coquette—more than coquettish.

269, 8. pere et mere—father and mother.

271, 31. more Latino—in the Latin manner.

272, 12. pictor ignotus—the unknown painter.

273, 6. "Que me voila.... Ote ton chapeau!" "How happy I am, my little Barty—and you? what a pretty town, eh?" "It's heaven, pure and simple—and you are going to teach me German, aren't you, my dear?" "Yes, and we will read Heine together; by the way, look! Do you see the name of the street at the corner? Bolker Strasse! that's where he was born, poor Heine! Take off your hat!"

273, 19. Maitrank—May drink. (An infusion of woodruff in light White wine.)

273, 34. "Johanna, mein Fruehstueck, bitte!"—"Johanna, my breakfast, please!"

276, 27. la barre de batardise—the bar of bastardy.

279, 15. der schoene—the handsome.

280, 24. Speiserei—eating-house.

283, 5. "ni l'or ni la grandeur ne nous rendent heureux"—"neither gold nor greatness makes us happy."

285, 22. mes premieres amours—my first loves.

286, 3. "Petit chagrin ... un soupir!" "Little sorrow of childhood costing a sigh!"

286, 9. Il avait bien raison—He was quite right.

289, 15. rien que ca—nothing but that.

290, 29. "Il a les qualites ... sont ses meilleures qualites." "The handsome Josselin has the qualities of his faults." "My dear, his faults are his best qualities."

297, 4. Art et liberte—Art and liberty.

299, 11. "Du bist die Ruh', der Friede mild!"—"Thou art rest, sweet peace!"

300, 19. c'est plus fort que moi—it is stronger than I.

304, 2. dans le blanc des yeux—straight in the eyes.

306, 20. damigella—maiden.

308, 27. "Die Ruhe kehret mir zurueck"—"Peace comes back to me."

308, 30. prosit omen—may the omen be propitious.

309, 5. prima donna assoluta—the absolute first lady. (Grand Opera, the "leading lady.")

310, 32. gringalet-jocrisse—an effeminate fellow.

312, 3. faire la popotte ensemble au coin du feu; c'est le ciel—to potter round the fire together; that is heaven.

312, 29. Ausstellung—exhibition.

314, 8. loch—a medicine of the consistence of honey, taken by licking or sucking.

318, 10. "Et voila comment ca s'est passe"—"And that's how it happened."

320, 14. et plus royaliste que le Roi—and more of a royalist than the King.

321, 13. cru—growth.

323, 32. L'amitie est l'amour sans ailes—Friendship is love without wings.

325, 9. En veux-tu? en voila!—Do you want some? here it is!

327, 10. kudos—glory.

328, 9. Dis-moi qui tu hantes, je te dirai ce que tu es—Tell me who are your friends, and I will tell you what you are.

331, 20. si le coeur t'en dit—if your heart prompts you.

335, 5. esprit de corps—brotherhood.

335, 8. Noblesse oblige—Nobility imposes the obligation of nobleness.

336, 15. betise pure et simple—downright folly.

337, 15. Je suis au-dessus de mes affaires—I am above my business.

338, 11. Maman-belle-mere—Mama-mother-in-law.

338, 30. vous plaisantez, mon ami; un amateur comme moi—you are joking, my friend; an amateur like myself.

338, 31. Quis custodiet (ipsos custodes)?—Who shall guard the guards themselves?

339, 2. monsieur anglais, qui avait mal aux yeux—English gentleman, who had something the matter with his eyes.

340, 5. La belle dame sans merci—The fair lady merciless.

342, 4. de par le monde—in society.

342, 18. je tacherai de ne pas en abuser trop!—I will try not to take too much of it!

344, 15. le dernier des Abencerrages—the last of the Abencerrages. (The title of a story by Chateaubriand.)

347, 24. a mon insu—unknown to me.

354, 11. On a les defauts de ses qualites—One has the faults of one's virtues.

354, 15. joliment degourdie—finely sharpened.

358, 10. La quatrieme Dimension—The Fourth Dimension.

360, 25. nous avons eu la main heureuse—we have been fortunate.

360, 28. smalah—encampment of an Arab chieftain.

363, 19. Je suis homme d'affaires—I am a man of business.

373, 28. un conte a dormir debout—a story to bore one to sleep.

374, 23. Ou avions-nous donc la tete et les yeux?—What were we doing with our minds and eyes?

377, 1. "Cara deum soboles, magnum Jovis incrementum"—"The dear offspring of God, the increase of Jove."

378, 22. Tous les genres sont bons, hormis le genre ennuyeux—All kinds are good, except the boring kind.

380, 3. C'etait un naif, le beau Josselin—He was ingenuous, the handsome Josselin.

381, 9. Arma virumque cano—Arms and the man I sing.—The first words of Virgil's AEneid. Tityre tu patulae (recubans sub tegmine fagi)—Thou, Tityrus, reclining beneath the shade of a spreading beech.—The first line of the first Eclogue of Virgil. Maecenas atavis (edite regibus)—Maecenas descended from royal ancestors.—Horace, Odes, 1, 1, l.

381, 10. [Greek: Menin aeide]—Sing the wrath.—The first words of Homer's Iliad.

381, 21. Debats—Le Journal des Debats,—a Parisian literary newspaper.

386, 3. sommite litteraire—literary pinnacle.

386, 16. Rouillon Duval—a class of cheap restaurants in Paris.

386, 30. Etoiles Mortes—Dead Stars.

388, 5. la coupe—the cutwater.

388, 11. a la hussarde—head first.

389, 2. la tres-sage Heloise—the most learned Heloise. (Another of the ladies mentioned in Villon's "Ballade of the Ladies of Olden Time." See note to page 24, line 30.)

389, 5. nous allons arranger tout ca—we'll arrange all that.

389, 20. C'est la chastete meme, mais ce n'est pas Dejanire—It is chastity itself, but it is not Dejanire.

390, 20. tres elegante—very elegant.

390, 22. d'un noir de jais, d'une blancheur de lis—jet black, lily white.

391, 1. ah, mon Dieu, la Diane chasseresse, la Sapho de Pradier!—ah, My God, Diana the huntress, Pradier's Sappho!

391, 8. un vrai type de colosse bon enfant, d'une tenue irreprochable—a perfect image of a good-natured colossus, of irreproachable bearing.

391, 15. tartines—slices of bread and butter.

391, 17. une vraie menagerie—a perfect menagerie.

392, 7. belle chatelaine—beautiful chatelaine.

393, 1. gazebo—summer-house.

393, 18. le que retranche—name given in some French-Latin grammars to the Latin form which expresses by the infinitive verb and the accusative noun what in French is expressed by "que" between two verbs.

394, 32. alma mater dolorosa—the tender and sorrowful mother.

394, 33. maratre au coeur de pierre—stony-hearted mother.

396, 19. Tendenz novels—novels with a purpose.

396, 28. nouvelle-riche—newly rich.

404, 11. on y est tres bien—one is very well there.

406, 26. "Il est dix heures" etc.—See note to page 254, line 21.

406, 30. vilain mangeur de coeurs que vous etes—wretched eater of hearts that you are.

407, 30. Un vrai petit St. Jean! il nous portera bonheur, bien sur—A perfect little St. John! he will bring us good luck, for sure.

408, 27. nous savons notre orthographie en musique la bas—we know our musical a b c's over there.

412, 8. in-medio-tutissimus (ibis)—You will go safest in the middle.

412, 20. diablement bien conserve—deucedly well preserved.

413, 11. O me fortunatum, mea si bona norim!—O happy me, had I known my own blessings!

414, 28. un malheureux rate—an unfortunate failure

415, 9. abrutissant—stupefying.

416, 15. affaire d'estomac—a matter of stomach.

418, 1. "Je suis alle de bon matin," etc. "I went at early morn To pick the violet, And hawthorne, and jasmine, To celebrate thy birthday. With my own hands I bound The rosebuds and the rosemary To crown thy golden head.

"But for thy royal beauty Be humble, I pray thee. Here all things die, flower, summer, Youth and life: Soon, soon the day will be, My fair one, when they'll carry thee Faded and pale in a winding-sheet."

418, 19. perissoires—paddle-boats. pique-tetes—diving-boards.

418, 21. station balneaire—bathing resort.

419, 25. utile dulci—the useful with the pleasant.

420, 9. la chasse aux souvenirs—the hunt after remembrances.

420, 25, s'est encanaille—keeps low company.

422, 25. porte-cochere—carriage entrance.

423, 1. "Ah, ma foi!... la balle au camp"—"Ah, my word, I understand that, gentlemen—I, too, was a school-boy once, and was fond of rounders."

423, 11. Le Fils de la Vierge—The Virgin's Son.

423, 12. mutatis mutandis—the necessary changes being made.

423, 34. "Moi aussi, je fumais ... n'est ce pas?"—"I too smoked when it was forbidden; what do you expect? Youth must have its day, musn't it?"

424, 3. dame—indeed.

425, 30. cour des miracles—the court of miracles. (A meeting-place of beggars described in Hugo's "Notre Dame de Paris." So called on account of the sudden change in the appearance of the pretended cripples who came there.)

426, 16. "O dis-donc, Hortense," etc.—"Oh say, Hortense, how cold it is! whenever will it be eleven o'clock, so that we can go to bed?"

428, 5. nous autres—we others.

428, 22. Numero Deus impare gaudet—The god delights in uneven numbers.

430, 22. "Aus meinen Thraenen spriessen," etc. "Out of my tear-drops springeth A harvest of beautiful flowers; And my sighing turneth To a choir of nightingales." Heine.

435, 24. Ah, mon Dieu!—Ah, my God!

437, 34. Etablissement—establishment.

439, 31. Pandore et sa Boite—Pandore and her Box.

441, 12. "C'est papa qui paie et maman qui regale"—"Papa pays and mamma treats."

445, 8. au grande trot—at a full trot.

447, 12. Nous etions bien, la—We were well, there.

447, 21. l'homme propose—man proposes.

448, 1. "O tempo passato, perche non ritorni?"—"O bygone days, why do you not return?"

448, 7. "Et je m'en vais," etc. "And off I go On the evil wind Which carries me Here and there Like the Leaf that is dead."

448. 13. rossignolet de mon ame—little nightingale of my soul.

448, 23. Da capo, e da capo—Over and over again.

449, 4. medio de fonte leporum (surgit amari aliquid)—from the midst of the fountain of delights something bitter arises.



By GEORGE DU MAURIER

* * * * *



TRILBY

Written and Illustrated by George du Maurier. Post 8vo, Cloth, Ornamental, $1 75; Three-quarter Calf, $3 50; Three-quarter Levant, $4 50.

It is the secret of the extraordinary charm of this story that it does not appear to be a story; it has almost no marks of artifice; it hardly appears to have been planned; it affects us as a record, kept in the simplest and most informal way, of certain very interesting events and persons.—Outlook, N. Y.

A book that every one will like because it has the essential qualities of wit, passion, character, and human nature; a book that has the grace and charm of a finely artistic style all through, and that is likely to rest on our shelves long after most of the novels of this year of grace have passed out of our remembrance.—St. James's Gazette, London.



PETER IBBETSON

With an Introduction by his Cousin, Lady ***** ("Madge Plunket"). Edited and Illustrated by George du Maurier. Post 8vo, Cloth, Ornamental, $1 50; Three-quarter Calf, $3 25; Three-quarter Levant, $4 25.

There are so many beauties, so many singularities, so much that is fresh and original in Mr. Du Maurier's story that it is difficult to treat it at all adequately from the point of view of criticism. That it is one of the most remarkable books that have appeared for a long time is, however, indisputable.—N. Y. Tribune.



ENGLISH SOCIETY

Sketched by George du Maurier. 4to, Oblong, Cloth, $2 50.

In it a searching observer of many phases of humanity, charming in his wit and without the blemish of malice, presents with his pencil as much of his social philosophy as he could give with his pen in a hundred novels. In spite of its title and origin, a collection of Mr. Du Maurier's sketches covers any society; and in looking it over one is only too content that the artist chose to exploit a society which affords the beauty and elegance of the Du Maurier type.—N. Y. Sun.

The kindly humor of Du Maurier, the quiet incisiveness of his satire, and his inimitable skill at the portrayal of social types are delightfully manifested in this series of one hundred plates, ending up with the melodramatic death-bed scene of Trilby.—Boston Beacon.



IN BOHEMIA WITH DU MAURIER

By Felix Moscheles. With Sixty-three Illustrations by George du Maurier. 8vo, Cloth, Gilt Tops and Uncut Edges, $2 50.

For these, and for a few references to the originals of the characters in the novel, and to the hypnotic experiments in which Du Maurier was interested in his youth, the book will doubtless be bought. But he must be a dull person who does not find another charm in Mr. Moscheles's artless narrative, mostly about nothing at all, or about the nothings that make up the joy of living to madcap boys.—N. Y. Mail and Express.

It possesses the literary quality that marked his more mature illustrations, and evinces the quality of reticence that preserved his humor from becoming caricature. He has often been compared to Thackeray; this work suggests Hood, and it would be interesting to know how much he cared for his English predecessors and assimilated.—Philadelphia Press.



Published by HARPER & BROTHERS, New York

The above works are for sale by all booksellers, or will be sent by the publishers by mail, postage prepaid, on receipt of the price.

THE END