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Regularly understood through comparison with the alleged deviousness and untrustworthiness of the French, honesty was considered an essential---and indeed perhaps the defining---virtue of the English in the nineteenth century. And yet, as "The Best Policy: Lying and National Character in Victorian and French Novels" argues, several popular Victorian novelists (Gaskell, Dickens, Thackeray, and Trollope) actually advocate distinct forms of lying, while French novelists of the period (Balzac, Maupassant, Daudet, and Zola) depict the same kinds of lies as dangerous, even lethal. In order to explain this peculiar reversal and its ramifications for constructions of British national character, I examine three species of lies that recur in Victorian fiction and culture: the transparent lie, one that listeners agree to accept and perpetuate even though they recognize it as a lie; the speculative lie, which lures investors into ruinous commercial schemes by co-opting the language of religious faith; and the entrepreneurial lie, which exploits stale and uncritical expectations of institutions like marriage, family, and social class. The symbolic level of speech upon which lies depend renders lying a powerful means of pursuing individual agency within tightly regulated Victorian society, whereas the post-Revolutionary focus on individual freedoms within French society relieves some of the urgency of preserving personal agency and encourages novelists to emphasize the selfish and socially corrosive dimensions of telling lies. In order to develop characteristic British individualism, however, one must learn how to lie well, suggesting that for Victorians, honesty is not always the best policy.