five acts, was presented at the Theatre de l'Odeon, Paris, March 19, 1842. Souverain published it in an octavo volume. Balzac was disposed to complain bitterly of the treatment this play received (note his preface), but of it may be said, as in the case of its predecessor, that it makes better reading than it must have made acting, for the scenes are loosely constructed and often illogical. Our playwright yet betrays the amateur touch. It is regrettable, too, for he chose an excellent theme and setting. The time is near the close of the sixteenth century, under the rule of Philip II. of Spain and the much-dreaded Inquisition. An inventor, a pupil of Galileo, barely escapes the Holy Office because of having discovered the secret of the steamboat. Referring to the preface again, we find Balzac maintaining, in apparent candor, that he had historic authority for the statement that a boat propelled by steam-machinery had been in existence for a short time in those days. Be that as it may, one can accept the statement for dramatic purposes; and the story of the early inventor's struggles and his servant's "resources" is promising enough to leave but one regret—that the master-romancer did not make a novel instead of a play out of the material. Though this is called a comedy, it contains more than one element of tragedy in it, and the tone is moody and satirical. The climax, with its abortive love episode, is anything but satisfactory.
Pamela Giraud, a drama in five acts, was first presented in the Gaite Theatre, Paris, September 26, 1843. It was published by Marchand in a single octavo volume, in the same year. The action takes place at Paris in 1815-24, during the Napoleonic conspiracies, under Louis XVIII. The Restoration has brought its strong undertow of subdu
