In the choice of subjects left to her selection, she frequently took characters and scenes from the Old Testament, with which all her writings show that she was especially familiar. The picturesqueness and colour (if I may so express it), the grandeur and breadth of its narrations, impressed her deeply. To use M.
Heger's expression, "Elle etait nourrie de la Bible." After he had read De la Vigne's poem on Joan of Arc, she chose the "Vision and Death of Moses on Mount Nebo" to write about; and, in looking over this DEVOIR, I was much struck with one or two of M. Heger's remarks. After describing, in a quiet and simple manner, the circumstances under which Moses took leave of the Israelites, her imagination becomes warmed, and she launches out into a noble strain, depicting the glorious futurity of the Chosen People, as, looking down upon the Promised Land, he sees their prosperity in prophetic vision. But, before reaching the middle of this glowing description, she interrupts herself to discuss for a moment the doubts that have been thrown on the miraculous relations of the Old Testament. M. Heger remarks, "When you are writing, place your argument first in cool, prosaic language; but when you have thrown the reins on the neck of your imagination, do not pull her up to reason." Again, in the vision of Moses, he sees the maidens leading forth their flocks to the wells at eventide, and they are described as wearing flowery garlands. Here the writer is reminded of the necessity of preserving a certain verisimilitude: