the potency and resourcefulness of crime in the French metropolis.
Vautrin is described in the Comedie Humaine as the tempter and benefactor of Lucien de Rubempre, whom he loves with an intense devotion, and would exploit as a power and influence in the social, literary and political world. The deep-dyed criminal seems to live a life of pleasure, fashion and social rank in the person of this protege. The abnormal, and in some degree quixotic, nature of this attachment is a purely Balzacian conception, and the contradictions involved in this character, with all the intellectual and physical endowments which pertain to it, are sometimes such as to bring the sublime in perilous proximity to the ridiculous. How such a fantastic creation can be so treated as to do less violence to the laws of artistic harmony and reserve may be seen in Hugo's Valjean, which was undoubtedly suggested by Balzac's Vautrin. In the play of Vautrin, the main character, instead of appearing sublime, becomes absurd, and the action is utterly destitute of that plausibility and coherence which should make the most improbable incidents of a play hang together with logical sequence.
Balzac in the Resources of Quinola merely reproduces David Sechard, though he places him in the reign of Philip the Second of Spain. He went far out of his way to make Fontanares the first inventor of the steamboat; the improbability of such a supposition quite forfeits the interest of the spectators and, in attempting to effect a love denouement, he disgusts us by uniting the noble discoverer with the vile Faustine. Even the element of humor is wanting in his portrayal of Quinola—who is a combination of the slave in a Latin comedy and the fool, or Touchstone of Shakespeare. This
