Alfred Dreyfus saw himself caught in a phantasmagoria, a great complex enigma that needed to be solved, but all the clues seemed to be an hallucination, a will-o’-th’-wisp, or what George Sand called orblutes . This book examines how Dreyfus and his wife found a powerful new kind of love through Jewish themes at the same time as they were forced to conceal their true identities. To see how Jewish Dreyfus was, the book explores his background in Alsatian culture, in the cosmopolitan Judaism of Paris, and in the customs of Mediterranean Jewry. A close reading of the Court Martial in Rennes shows Dreyfus as more than the zinc puppet he was called; the scenario emerging as a variation of horror fantasies popular in the fin de siecle. The book asks two questions: why did Dreyfus prefer Meissonier’s paintings to the Impressionists and Post-Impressionists we admire so much; and, why, although he appreciated Zola’s efforts on his behalf, did he not refer to his novels?