face), but
of it may be said, as in the case of its predecessor, that it makes
better reading than it must have made acting, for the scenes are
loosely constructed and often illogical. Our playwright yet betrays
the amateur touch. It is regrettable, too, for he chose an excellent
theme and setting. The time is near the close of the sixteenth
century, under the rule of Philip II. of Spain and the much-dreaded
Inquisition. An inventor, a pupil of Galileo, barely escapes the Holy
Office because of having discovered the secret of the steamboat.
Referring to the preface again, we find Balzac maintaining, in
apparent candor, that he had historic authority for the statement that
a boat propelled by steam-machinery had been in existence for a short
time in those days. Be that as it may, one can accept the statement
for dramatic purposes; and the story of the early inventor's struggles
and his servant's "resources" is promising enough to leave but one
regret--that the master-romancer did not make a novel instead of a
play out of the material. Though this is called a comedy, it contains
more than one element of tragedy in it, and the tone is moody and
satirical. The climax, with its abortive love episode, is anything but
satisfactory.

_Pamela Giraud_, a drama in five acts, was first presented in the
Gaite Theatre, Paris, September 26, 1843. It was published by Marchand
in a single octavo volume, in the same year. The action takes place at
Paris in 1815-24, during the Napoleonic conspiracies, under Louis
XVIII. The Restoration has brought its strong undertow of subdued
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.

_La Maratre_ (The Stepmother) is characterized as an "intimate" drama
in five