even anecdotic, in construction; some of them are mere episodes, in which the action is irrelevant, and sometimes he boldly ends an elaborate romance without any dramatic denouement at all. We believe that Honore de Balzac was the first of European writers to inaugurate the novel without denouement, and to give the world examples of the literary torso whose beauty and charm consist not in its completeness, but in the vigor and life-like animation of the lines, features, and contours of a detached trunk.
It is not surprising, therefore, that when we come to study the dramas of Balzac we find that the very qualities that give effectiveness to a stage representation are wanting in them. For the qualities which make a realistic tale impressive render a play intolerable. Thus Balzac's stage pieces are interesting, exciting and vivid in many passages, but they cannot stand the searching glare of the footlights. Balzac, in the first place, looked upon the drama as a department of literature inferior to that of romance, and somewhat cavalierly condescended to the stage without reckoning on either its possibilities or its limitations. He did not take to play-writing because he had exhausted his vein of fiction, but because he was in need of money. This was during the last years of his life. In this period he wrote the five plays which are included in the authorized edition of his works.
Balzac's first play was Vautrin, and Vautrin appears as the name of the most astonishing and most original character which Balzac has created and introduced in the five or six greatest novels of the Comedy. So transcendent, super-human and satanic is Vautrin, Herrera, or Jacques Collin, as he is indifferently called, that a French critic has interpreted this personage as a mere allegorical embodiment of the seductions of Parisian life, as they exist side by side with
