Such a man deserved such
treatment. And, again, even if French justice was, and perhaps is, as
much influenced by secret considerations as Balzac loves to represent
it, we must agree with that member of the Listomere society who
pointed out that no tribunal could possibly uphold such an obviously
iniquitous bargain. As for Troubert, the idea of the Jesuitical
ecclesiastic (though Balzac was not personally hostile to the Jesuits)
was a common one at the time, and no doubt popular, but the actual
personage seems to me nearer to Eugene Sue's Rodin in some ways than I
could have desired.
These things, however, are very much a case of "As You Like It" or "As
It Strikes You," and I have said that _Le Cure de Tours_ strikes some
good judges as of exceptional merit, while no one can refuse it merit
in a high degree. I should not, except for the opening, place it in
the very highest class of the _Comedie_, but it is high beyond all
doubt in the second.
The third part (The Two Brothers/A Bachelor's Establishment) of _Les
Celibataires_ takes very high rank among its companions. As in most of
his best books, Balzac has set at work divers favorite springs of
action, and has introduced personages of whom he has elsewhere given,
not exactly replicas--he never did that--but companion portraits. And
he has once more justified the proceeding amply. Whether he has not
also justified the reproach, such as it is, of those who say that to
see the most congenial expression of his fullest genius, you must go
to his bad characters and not to his good, readers shall determine for
themselves after reading the book.
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