play is, however, ingenious, powerful and interesting in many passages.
Pamela Giraud is fantastic and painful in its plot. Balzac's ideal woman, the Pauline of the Peau de Chagrin, is here placed in a situation revolting even to a Parisian audience; but the selfish worldliness of the rich and noble is contrasted with the pure disinterestedness of a poor working girl in all of Balzac's strongest, most searching style. The denouement is well brought about and satisfactory, but scarcely atones for the outrageous nature of the principal situation.
Balzac was especially a novelist of his own period, and the life of his romances is the life he saw going on around him. The principal character in The Stepmother is a Napoleonist general typical of many who must have lived in the first half of the nineteenth century. The ruling passion of General de Grandchamp is hatred for those who deserted the cause or forsook the standard of the First Consul. This antipathy is exaggerated by Balzac into murderous hatred, and is the indirect cause of death to the General's daughter, Pauline, and her lover, the son of a soldier of the First Empire, who, by deserting Napoleon, had fallen under the Comte de Grandchamp's ban. The situation is, however, complicated by the guilty passion which Gertrude, the stepmother of Pauline and wife of the General's old age, feels for the lover of Pauline. The main interest of the drama lies in the struggle between these two women, every detail of which is elaborated with true Balzacian gusto and insight. We expect to see virtue triumphant, and Pauline united to the excellent Ferdinand. When they both die of poison, and Gertrude becomes repentant, we feel that the denouement is not satisfactory.
