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The French Criminal Hero Of Fiction

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xne criminal nero oí nction among rogues in London is the brutal Blueskin, without nny extenuating wit or niauuer; in Paris it is Robert Macairo, who, it is true, stops at nothing in swiudling or robbery, but attaches muoh importance to the form. Blueskin kills withan oath; Macairo sends his vifetim into the ncxt wor'd, poliMy apoiogizing for the'necessity of the net. When M. Macaire takes the property of another he borrows it with polite speech and profound bow: His conversation is f uil of highliown sentiment, accompanied with maestic attitudes. The artistic get-up of tds dandy rogue of reats and patches, with his creaking snuff-box and clubstick, liis blaud imperturbabilityandunscrupulous philosophy, his düapidated hat gayly cocked on one side, is so impressed on the miad thafc one is almost oonstrained tobelieve that tlionirnircally existo I. To kindrod souls in Faubourg 'ét. Antoine thcre never was such a taking roguo as this; ana botter peoplo were never tired of his danditíed airs and rags, as represonted on the stage by Frederic Lcmaitre, or portrayed by the pencils of clever artists like Philipcn and Daumier, ono of whoso happiest efforts was where M. Maoaire, arrayed in kingly garments, gives royal opinions of a pernicious ch'iracter to iiis foliover, Bertraud, who reeeives them with the oommentary of "Ah, vieux blaguouer, va." The Faubourg St Autoino laxighcd over theso oddities until the tears ran down its cheeks; but it would liave turned away from the brutalitics of


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Michigan Argus