most of them complete—that is to say, taking the character at his birth and leaving him only at his death. Balzac not only knows the date of birth or of death, he knows as well the local coloring of the time and the country and profession to which the man belongs. He is thoroughly conversant with questions of taxation and income and the agricultural conditions. He is not ignorant of the fact that Grandet cannot make his fortune by the same methods employed by Gobseck, his rival in avarice; nor Ferdinand du Tillet, that jackal, with the same magnitude of operations worked out by that elephant of a Nucingen. He has outlined and measured the exact relation of each character to his environment in the same way he has outlined and measured the bonds uniting the various characters; so well that each individual is defined separately as to his personal and his social side, and in the same manner each family is defined. It is the skeleton of these individuals and of these families that is laid bare for your contemplation in these notes of Messieurs Cerfberr and Christophe. But this structure of facts, dependent one upon another by a logic equal to that of life itself, is the smallest effort of Balzac's genius. Does a birth-certificate, a marriage-contract or an inventory of wealth represent a person? Certainly not. There is still lacking, for a bone covering, the flesh, the blood, the muscles and the nerves. A glance from Balzac, and all these tabulated facts become imbued with life; to this circumstantial view of the conditions of existence with certain beings is added as full a view of the beings themselves.
And first of all he knows them physiologically. The inner workings of their corporeal mechanism is no mystery for him. Whether it is Birotteau's gout, or Mortsauf's nervousness, or Fraisier's skin trouble, or the secret reason for Rouget's subjugation by Flore, or Louis Lambert's catalep
