terdiction on
the ground that expressions struck out by the Censor had been inserted
again by the actors. Prudently, Monsieur Montigny ordered a few more
excisions, and the prohibition was raised. Seventeen years elapsed
before the Comedie Francaise at last placed _Mercadet_ on its
repertory and inaugurated the event by a special performance with Got
as the _Jobber_.

The hero of the piece is a financier who has very little cash, but
innumerable projects for gaining money. These involve methods which
are not always straight-forward; yet, since he believes in the success
of what he advocates, he is not absolutely unprincipled, though he
does not mind to some extent gulling the gullible. His chief aim is to
trick his creditors--themselves, as it happens, not worthy of much
pity; and, himself kind-hearted, loving his wife and daughter, and not
a libertine, he appeals to the sympathies of the reader or the
audience. Most of the amusement of the play--and it is very amusing
--is derived from the metamorphoses adopted by the _Jobber_ in dealing
with each sort of creditor. Moreover, the love-passages between Julie,
the daughter, and a poor clerk who thinks her an heiress, are so
managed as to strengthen the comic side of certain situations. The
unexpected arrival of a rich uncle from America releases the _Jobber_
ultimately from the tangle into which he has twisted himself. It is
the least original part of the comedy; but was suggested, like the
rest of the play, by Balzac's own circumstances. Was he not always
expecting a windfall; and was not Eve a kind of rich--relative? To add
one more detail concerning _Mercadet_, it was revived at the Comedie
Francaise in 1879, and again in 1890, there being as many as 107
performances. Its indisputable qualities have caused some writers to
conclude that, if Balzac had lived longer, he would have become as
great a dramatist as he was a novelist. This is very doubtful.
Notwithstanding its long incubation of nearly a decade, and the
advantage it possessed in embodying so much personal experience,
_Mercadet_ was still weak in construction and was largely wanting in
dramatic compression. And, at fifty years of age, with failing powers,
Balzac would have found the task increasingly hard to acquire an art
for which, by his own confession, he had no born aptitude.

The temporary government which was set up, in consequence of the
February Revolution of 1848, conceived the curious idea of summo