@inbook{10.2307/j.ctt7zvwn4.8,
 URL = {http://www.jstor.org/stable/j.ctt7zvwn4.8},
 abstract = {Nodier, if we can believe the expansively unreliable Dumaspère, “adored” three actors: Talma, Potier, and Deburau. “When I became acquainted with Nodier,” Dumas recalls in hisMémoires, “Talma had been dead for three years; Potier had been retired for two; there remained to him then, as an irresistible attraction, only Debureau [sic].”¹ The attraction, at least, is no invention. Indeed, so irresistible was the mime’s appeal that Nodier rented alogefor the year at the Funambules after his daughter had persuaded him to spend his first evening there;² he returned to assist atLe Boeuf enragé—according to},
 bookauthor = {ROBERT F. STOREY},
 booktitle = {Pierrots on the Stage of Desire: Nineteenth-Century French Literary Artists and the Comic Pantomime},
 pages = {74--104},
 publisher = {Princeton University Press},
 title = {In Pursuit of Colombine: Charles Nodier and Charles Baudelaire},
 year = {1985}
}