In this scene Eugene Sue presents his hero, the Prince Rodolphe, as a man who is intent on serving the ends of social justice (in this particular case by rescuing Fleur-de-Marie) but not so intent on such a noble end that he cannot indulge in most than a spot of melodramatic grandstanding. We can see the beginning of this scene being played with the prince surreptitiously checking around to see if there is some shiny surface in which he can admire his reflection as he speaks. His tendency to get carried away with the wonder of his own emotion is reflected in both the substance and the syntax of a clause like the following. What is also notable is the repeated use of the first person pronouns (ma, mon, la mienne) as a way of emphasizing the prince's central role in the action. (He uses "my" even when speaking for Fleur-de-Marie.)
Faites que moi, qui tout a l'heure etait sans famille, je puisse maintenant dire ma femme, ma fille; faites enfin que cette pauvre enfant qui, elle aussi, etait sans famille, puisse dire à mon pere, ma mere, ma soeur, car vous avez une fille qui deviendra la mienne.
This same level of melodrama is maintained in Fleur-de-Marie's response to Rodolphe as "son bienfaiteur, de son sauveur, de son dieu" who drives her to a state of speechless extasy.
Set against the genuine and profound (if just a tad overwrought) emotions of Rodolphe and Fleur-de-Marie is the artificiality of the setting in which they meet, a world in which social protocol might be expected to overwhelm all honest emotion. It may well be that Sue has Rodolphe react as dramatically as he does because the world in which he lives is one in which sincerity and authenticity is in short supply. Fleur-de-Marie must run the gamut of the symbols of this world as she comes to meet Prince Rodolphe as she:
Avait traverse une premiere anti-chambre remplie de valets de pied en grande livree, une sale d'attente ou se tenaient des valets de chamber, ...