It is due to this analysis that this dreamer has defined almost all the great principles of the psychological changes incident to our time.  He saw clearly, while democracy was establishing itself with us on the ruins of the ancient regime, the novelty of the sentiments which these transfers from class to class were certain to produce.  He fathomed every complication of heart and mind in the modern woman by an intuition of the laws which control her development.  He divined the transformation in the lives of artists, keeping pace with the change in the national situation; and to this day the picture he has drawn of journalism in Lost Illusions ("A Distinguished Provincial at Paris”) remains strictly true.  It seems to me that this same power of locating causes, which has brought about such a wealth of ideas in his work, has also brought about the magic of it all.  While other novelists describe humanity from the outside, he has shown man to us both from within and without.  The characters which crowd forth from his brain are sustained and impelled by the same social waves which sustain and impel us.  The generative facts which created them are the same which are always in operation about us.  If many young men have taken as a model a Rastignac, for instance, it is because the passions by which this ambitious pauper was consumed are the same which our age of unbridled greed multiplies around disinherited youth.  Add to this that Balzac was not content merely to display the fruitful sources of a modern intellect, but that he cast upon them the glare of the most ardent imagination the world has ever known.  By a rare combination this philosopher was also a man, like the story-tellers of the Orient, to whom solitude and the over-excitement of night-work had communicated a brilliant and unbroken hallucination.  He was able to impart this fever to his readers, and to plunge them into a sort of Arabian Nights country, where all the passions, all the desires of real life appear, but expanded to the point of fantasy, like the dreams brought on by laudanum or hasheesh.  Why, then, should we not understand the reason that, for certain readers, this world of Balzac’s is more real than the actual world, and that they devoted their energies to imitating it?

It is possible that to-day the phenomenon is becoming rarer, and that Balzac, while no less admired, does not exercise the same fascinating influence.  The cause for this is that the great social forces which he defined have almost ended their work.  Other forces now shape the oncoming generations and prepare them for further sensitive influences.  It is none the less a fact that, to penetrate the central portions of the nineteenth century in France, one must read and reread the Comedie Humaine.  And we owe sincere thanks to Messieurs Cerfberr and Christophe for this Repertory.  Thanks to them, we shall the more easily traverse the long galleries, painted and frescoed, of this enormous palace,—­a palace still unfinished, inasmuch as it lacks those Scenes of Military Life whose titles awaken dreams within us:  Forced Marches; The Battle of Austerlitz; After Dresden.  Incontestably, Tolstoy’s War and Peace is an admirable book, but how can we help regretting the loss of the painting of the Grand Army and of our Great Emperor, by Balzac, our Napoleon of letters?