ed loyalty for the Corsican—an undertow of plots, among the old soldiers particularly, which for several years were of concern to more than one throne outside of France. The hero of this play becomes involved in one of the conspiracies, and it is only by the public sacrifice of the young girl Pamela's honor, that he is rescued. Then ensues a clash between policy and duty—a theme so congenial to Balzac, and here handled with characteristic deftness. We notice, also, a distinct improvement in workmanship. Scenes move more easily; dramatic values become coherent; characters stand out from the "chorus" on the stage. Pamela is a flesh-and-blood girl; Jules is real; Joseph is comically individual; Dupre is almost a strong creation, and nearly every one of the other principals is individual.
The discussion of the other two plays is reserved for the succeeding volume, in which they appear. We shall there notice still greater evidences of the evolution of the play- wright.
