Beuve, who can scarcely be suspected of fondness towards the editor-in-chief of the Revue Parisienne, tells a story stranger and more significant than every other. At one time an entire social set in Venice, and the most aristocratic, decided to give out among its members different characters drawn from the Comedie Humaine; and some of these roles, the critic adds, mysteriously, were artistically carried out to the very end;—a dangerous experiment, for we are well aware that the heroes and heroines of Balzac often skirt the most treacherous abysses of the social Hell.
All this happened about 1840. The present year is 1887, and there seems no prospect of the sorcery weakening. The work to which these notes serve as an introduction may be taken as proof. Indeed, somebody has said that the men of Balzac have appeared as much in literature as in life, especially since the death of the novelist. Balzac seems to have observed the society of his day less than he contributed to form a new one. Such and such personages are truer to life in 1860 than in 1835. When one considers a phenomenon of such range and intensity, it does not suffice to employ words like infatuation, fashion, mania. The attraction of an author becomes a psychological fact of prime importance and subject to analysis. I think I can see two reasons for this particular strength of Balzac's genius. One dwells in the special character of his vision, the other in the philosophical trend which he succeeded in giving to all his writing.
As to the scope of his vision, this Repertory alone will suffice to show. Turn over the leaves at random and estimate the number of fictitious deeds going to make up these two thousand biographies, each individual, each distinct, and
