fe.
The art of characterization exhibited by the author fascinates us; we gaze and examine as if we were face to face with real personages, whose passions are laid bare, whose life is traced, whose countenance is portrayed with miraculousness, distinctness and verisimilitude. All the phenomena of life in the camp, the court, the boudoir, the low faubourg, or the country chateau are ranged in order, and catalogued. This is done with relentless audacity, often with a touch of grotesque exaggeration, but always with almost wearying minuteness. Sometimes this great writer finds that a description of actuality fails to give the true spiritual key to a situation, and he overflows into allegory, or Swendenborgian mysticism, just as Bastien-Lepage resorts to a coating of actual gilt, in depicting that radiant light in his Jeanne d'Arc which flat pigment could not adequately represent.
But this very effort of Balzac to attain realistic characterization has resulted in producing what the ordinary reader will look upon as a defect in his stories. When we compared above the stories of this writer to a painting, we had been as near the truth, if we had likened them to a reflection or photograph of a scene. For in a painting, the artist at his own will arranges the light and shade and groups, and combines according to his own fancy the figures and objects which he finds in nature. He represents not what is, but what might be, an actual scene. He aims at a specific effect. To this effect everything is sacrificed, for his work is a synthesis, not a mere analysis. Balzac does not aim at an effect, above and independent of his analysis. His sole effort is to emphasize the facts which his analysis brings to light, and when he has succeeded in this, the sole end he aims at is attained. Thus action is less important in his estimation than impression. His stories are therefore often quite unsymmetrical,
