biography, which shows him to us, during his college days at Vendome, plunged into a whirl of abstract reading. The entire theological and occult library which he discovered in the old Oratorian institution was absorbed by the child, till he had to quit school sick, his brain benumbed by this strange opium. The story of Louis Lambert is a monograph of his own mind. During his youth and in the moments snatched from his profession, to what did he turn his attention? Still to general ideas. We find him an interested onlooker at the quarrel of Geoffroy Saint-Hilaire and Cuvier, troubling himself about the hypothesis of the unity of creation, and still dealing with mysticism; and, in fact, his romances abound in theories. There is not one of his works from which you cannot obtain abstract thoughts by the hundreds. If he describes, as in /The Vicar of Tours/, the woes of an old priest, he profits by the opportunity to exploit a theory concerning the development of sensibility, and a treatise on the future of Catholicism. If he describes, as in /The Firm of Nucingen/, a supper given to Parisian /blases/, he introduces a system of credit, reports of the Bank and Bureau of Finance, and—any number of other things! Speaking of Daniel d'Arthez, that one of his heroes who, with Albert Savarus and Raphael, most nearly resembles himself, he writes: "Daniel would not admit the existence of talent without profound metaphysical knowledge. At this moment he was in the act of despoiling both ancient and modern philosophy of all their wealth in order to assimilate it. He desired, like Moliere, to become a profound philosopher first of all, a writer of comedies afterwards." Some readers there are, indeed, who think that philosophy superabounds with Balzac, that the surplus of general hypotheses overflows at times, and that the novels are too prone to digressions. Be that as it may, it seems incontestible that this was his master faculty, the virtue and vice of his thought. Let us see, however, by what singular detour this power of generalization—the antithesis, one might say, of the creative power—increased in him the faculty of the poetic visionary.

It is important, first of all, to note that this power of the visionary could not be put directly into play. Balzac had not long enough to live. The list of his works, year by year, prepared by his sister, shows that from the moment he achieved his reputation till the day of his death he never took time for rest or observation or the study of mankind by daily and close contact, like Moliere or Saint- Simon. He cut his life in two, writing by night, sleeping by day, and after sparing not a single hour for calling, promenades or sentiment. Indeed, he would not admit this troublesome factor of sentiment, except at a distance and through letters—"because it forms one's style"! At any rate, that is the kind of love he most willingly admitted—unless an exception be made of the mysterious intimacies of which his correspondence has left traces. During his youth he had followed this same habit of heavy labor, and as a result the experience of this master of exact literature was reduced to a minimum; but this minimum sufficed for him, precisely because of the philosophical insight which he possessed to so high a degree. To this meagre number of positive faculties furnished by observation, he applied an analysis so intuitive that he discovered, behind the small facts amassed by him in no unusual quantity, the profound forces, the generative influences, so to speak.

He himself describes—once more in connection with Daniel d'Arthez— the method pursued in this analytical and generalizing work. He calls it a "retrospective penetration." Probably he lays hold of the elements of experience and casts them into a seeming retort of reveries. Thanks to an alchemy somewhat analogous to that of Cuvier, he was enabled to reconstruct an entire temperament from the smallest detail, and an entire class from a single individual; but that which guided him in his work of reconstruction was always and everywhere the habitual process of philosophers: the quest and investigation of causes.

It is due to this analysis that this dreamer has defined almost all the great principles of the psychological changes incident to our time. He saw clearly, while democracy was establishing itself with us on the ruins of the ancient regime, the novelty of the sentiments which these transfers from class to class were certain to produce. He fathomed every complication of heart and mind in the modern woman by an intuition of the laws which control her development. He divined the transformation in the lives of artists, keeping pace with the change in the national situation; and to this day the picture he has drawn of journalism in /Lost Illusions/ ("A Distinguished Provincial at Paris") remains strictly true. It seems to me that this same power of locating causes, which has brought about such a wealth of ideas in his work, has also brought about the magic of it all. While other novelists describe humanity from the outside, he has shown man to us both from within and without. The characters which crowd forth from his brain are sustained and impelled by the same social waves which sustain and impel us. The generative facts which created them are the same which are always in operation about us. If many young men have taken as a model a Rastignac, for instance, it is because the passions by which this ambitious pauper was consumed are the same which our age of unbridled greed multiplies around disinherited youth. Add to this that Balzac was not content merely to display the fruitful sources of a modern intellect, but that he cast upon them the glare of the most ardent imagination the world has ever known. By a rare combination this philosopher was also a man, like the story-tellers of the Orient, to whom solitude and the over-excitement of night-work had communicated a brilliant and unbroken hallucination. He was able to impart this fever to his readers, and to plunge them into a sort of /Arabian Nights/ country, where all the passions, all the desires of real life appear, but expanded to the point of fantasy, like the dreams brought on by laudanum or hasheesh. Why, then, should we not understand the reason that, for certain readers, this world of Balzac's is more real than the actual world, and that they devoted their energies to imitating it?

It is possible that to-day the phenomenon is becoming rarer, and that Balzac, while no less admired, does not exercise the same fascinating influence. The cause for this is that the great social forces which he defined have almost ended their work. Other forces now shape the oncoming generations and prepare them for further sensitive influences. It is none the less a fact that, to penetrate the central portions of the nineteenth century in France, one must read and reread the /Comedie Humaine/. And we owe sincere thanks to Messieurs Cerfberr and Christophe for this /Repertory/. Thanks to them, we shall the more easily traverse the long galleries, painted and frescoed, of this enormous palace,—a palace still unfinished, inasmuch as it lacks those Scenes of Military Life whose titles awaken dreams within us: /Forced Marches/; /The Battle of Austerlitz/; /After Dresden/. Incontestably, Tolstoy's /War and Peace/ is an admirable book, but how can we help regretting the loss of the painting of the Grand Army and of our Great Emperor, by Balzac, our Napoleon of letters?

PAUL BOURGET.

REPERTORY OF THE COMEDIE HUMAINE

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ABRAMKO, Polish Jew of gigantic strength, thoroughly devoted to the broker, Elie Magus, whose porter he was, and whose daughter and treasures he guarded with the aid of three fierce dogs, in 1844, in a old house on the Minimes road hard by the Palais Royale, Paris. Abramko had allowed himself to be compromised in the Polish insurrection and Magus was interested in saving him. [Cousin