As it is part of M. Zola's art to linger lovingly over each little horror of some slaughter-house scene, until the whole lives for us again as in a cinematograph, so M. Huysman, engaged in the portrayal of a spiritual conflict, spares us no link in the chain of causes by which the final result is produced; he bares the brain, and exposes its workings with all the scientific calmness of the vivisector.

Meantime, she could and did stem the flood of character portrayal by a suggestion of tennis.