Still, with this noble falsity, romance would be nothing if it were not true in detail. Walter Scott, obliged as he was to conform to the ideas of an essentially hypocritical nation, was false to humanity in his picture of woman, because his models were schismatics. The Protestant woman has no ideal. She may be chaste, pure, virtuous; but her unexpansive love will always be as calm and methodical as the fulfilment of a duty. It might seem as though the Virgin Mary had chilled the hearts of those sophists who have banished her from heaven with her treasures of loving kindness. In Protestantism there is no possible future for the woman who has sinned; while, in the Catholic Church, the hope of forgiveness makes her sublime. Hence, for the Protestant writer there is but one Woman, while the Catholic writer finds a new woman in each new situation. If Walter Scott had been a Catholic, if he had set himself the task of describing truly the various phases of society which have successively existed in Scotland, perhaps the painter of Effie and Alice—the two figures for which he blamed himself in his later years—might have admitted passion with its sins and punishments, and the virtues revealed by repentance. Passion is the sum-total of humanity. Without passion, religion, history, romance, art, would all be useless.
Some persons, seeing me collect such a mass of facts and paint them as they are, with passion for their motive power, have supposed, but wrongly, that I must belong to the school of Sensualism and Materialism—two aspects of the same thing—Pantheism. But their misapprehension was perhaps justified—or inevitable. I do not share the belief in indefinite progress for society as a whole; I believe in man's improvement in himself. Those who insist on reading in me the intention to consider man as a finished creation are strangely mistaken. Seraphita, the doctrine in action of the Christian Buddha, seems to me an ample answer to this rather heedless accusation.
In certain fragments of this long work I have tried to popularize the amazing facts, I may say the marvels, of electricity, which in man is metamorphosed into an incalculable force; but in what way do the phenomena of brain and nerves, which prove the existence of an undiscovered world of psychology, modify the necessary and undoubted relations of the worlds to God? In what way can they shake the Catholic dogma? Though irrefutable facts should some day place thought in the class of fluids which are discerned only by their effects while their substance evades our senses, even when aided by so many mechanical means, the result will be the same as when Christopher Columbus detected that the earth is a sphere, and Galileo demonstrated its rotation. Our future will be unchanged. The wonders of animal magnetism, with which I have been familiar since 1820; the beautiful experiments of Gall, Lavater's successor; all the men who have studied mind as opticians have studied light—two not dissimilar things—point to a conclusion in favor of the mystics, the disciples of St. John, and of those great thinkers who have established the spiritual world—the sphere in which are revealed the relations of God and man.
A sure grasp of the purport of this work will make it clear that I attach to common, daily facts, hidden or patent to the eye, to the acts of individual lives, and to their causes and principles, the importance which historians have hitherto ascribed to the events of public national life. The unknown struggle which goes on in a valley of the Indre between Mme. de Mortsauf and her passion is perhaps as great as the most famous of battles (Le Lys dans la Vallee). In one the glory of the victor is at stake; in the other it is heaven. The misfortunes of the two Birotteaus, the priest and the perfumer, to me are those of mankind. La Fosseuse (Medecin de Campagne) and Mme. Graslin (Cure de Village) are almost the sum-total of woman. We all suffer thus every day. I have had to do a hundred times what Richardson did but once. Lovelace has a thousand forms, for social corruption takes the hues of the medium in which it lives. Clarissa, on the contrary, the lovely image of impassioned virtue, is drawn in lines of distracting purity. To create a variety of Virgins it needs a Raphael. In this respect, perhaps literature must yield to painting.
Still, I may be allowed to point out how many irreproachable figures—as regards their virtue—are to be found in the portions of this work already published: Pierrette Lorrain, Ursule Mirouet, Constance Birotteau, La Fosseuse, Eugenie Grandet, Marguerite Claes, Pauline de Villenoix, Madame Jules, Madame de la Chanterie, Eve Chardon, Mademoiselle d'Esgrignon, Madame Firmiani, Agathe Rouget, Renee de Maucombe; besides several figures in the middle-distance, who, though less conspicuous than these, nevertheless, offer the reader an example of domestic virtue: Joseph Lebas, Genestas, Benassis, Bonnet the cure, Minoret the doctor, Pillerault, David Sechard, the two Birotteaus, Chaperon the priest, Judge Popinot, Bourgeat, the Sauviats, the Tascherons, and many more. Do not all these solve the difficult literary problem which consists in making a virtuous person interesting?
It was no small task to depict the two or three thousand conspicuous types of a period; for this is, in fact, the number presented to us by each generation, and which the Human Comedy will require. This crowd of actors, of characters, this multitude of lives, needed a setting—if I may be pardoned the expression, a gallery. Hence the very natural division, as already known, into the Scenes of Private Life, of Provincial Life, of Parisian, Political, Military, and Country Life. Under these six heads are classified all the studies of manners which form the history of society at large, of all its faits et gestes, as our ancestors would have said. These six classes correspond, indeed, to familiar conceptions. Each has its own sense and meaning, and answers to an epoch in the life of man. I may repeat here, but very briefly, what was written by Felix Davin—a young genius snatched from literature by an early death. After being informed of my plan, he said that the Scenes of Private Life represented childhood and youth and their errors, as the Scenes of Provincial Life represented the age of passion, scheming, self-interest, and ambition. Then the Scenes of Parisian Life give a picture of the tastes and vice and unbridled powers which conduce to the habits peculiar to great cities, where the extremes of good and evil meet. Each of these divisions has its local color—Paris and the Provinces—a great social antithesis which held for me immense resources.
And not man alone, but the principal events of life, fall into classes by types. There are situations which occur in every life, typical phases, and this is one of the details I most sought after. I have tried to give an idea of the different districts of our fine country. My work has its geography, as it has its genealogy and its families, its places and things, its persons and their deeds; as it has its heraldry, its nobles and commonalty, its artisans and peasants, its politicians and dandies, its army—in short, a whole world of its own.
After describing social life in these three portions, I had to delineate certain exceptional lives, which comprehend the interests of many people, or of everybody, and are in a degree outside the general law. Hence we have Scenes of Political Life. This vast picture of society being finished and complete, was it not needful to display it in its most violent phase, beside itself, as it were, either in self-defence or for the sake of conquest? Hence the Scenes of Military Life, as yet the most incomplete portion of my work, but for which room will be allowed in this edition, that it may form part of it when done. Finally, the Scenes of Country Life are, in a way, the evening of this long day, if I may so call the social drama. In that part are to be found the purest natures, and the application of the great principles of order, politics, and morality.
Such is the foundation, full of actors, full of comedies and tragedies, on which are raised the Philosophical Studies—the second part of my work, in which the