haracter; and also a book variously named the _Brothers of
Consolation_ and the _Reverse Side of Contemporary History_. In the
_Vautrin_ sequels he took up again the fortunes of Lucien de Rubempre,
who, after returning in disgrace to his family, loses courage and is
on the point of drowning himself when he meets with an Abbe Carlos
Herrera; the latter changes the young man's suicidal intentions by
promising to procure him wealth, rank, and honours. Herrera is no
other than Vautrin, who, having escaped from prison, is at the head of
a formidable association of convicts. Carefully hiding his identity
from Lucien, he persuades him to accept monetary help; and gradually
Lucien contrives to enter aristocratic society, becomes the favourite
of the Duchess of Serizy, and will be received as the betrothed of the
nobly born Clotilde de Grandlieu, provided he can show that he
possesses sufficient landed property. It so happens that his mistress
Esther, a Jewess of great beauty, who is as fond of him as Coralie
was, kills herself on learning that she must give him up. And Esther
being in reality an heiress whose father, Gobseck, has just died,
Vautrin forges a will by which the fortune is bequeathed to Lucien.
Unluckily for the ex-convict's plans, some police spies have been on
the track of his proceedings, and an untimely arrest of him and his
protege casts them into prison. These adventures are told in _Whither
Bad Ways Lead_ and two other volumes. A concluding book, entitled
_Vautrin's Last Incarnation_, relates the outlaw's duel with justice
in his confinement, the suicide of his disciple, and his own pardon at
the price of entering into the Government's secret police. The later
portions of this drawn-out piece of fiction are written in the
melodramatic style, and the characterization is distinctly inferior.
The author loses himself in the various imbroglios, and the actors
degenerate into creatures of romance, lacking consistency.

The _Reverse Side of Contemporary History_ has similar defects. It was
commenced in the _Musee des Familles_ in 1842, was continued in 1844,
and was completed only in 1848 in the _Spectateur Republicain_. We
meet at first with a certain Godefroi who reaches middle age without
obtaining any permanent satisfaction out of his life, and who thinks
of burying himself in some quiet quarter of Paris where he can dwell
unknowing and unknown. An accident introduces him to a kind of lay
community whose presi