secure wealth and position, abases his pen to vile uses, and would gladly abandon his mistress for a profitable marriage. At length a duel, in which he is dangerously wounded, lays him on a sick-bed, and Coralie, who has sacrificed her situation on the stage to her love for him, and is herself ill, rises to nurse him back to health, and dies under the strain. The further history of Lucien de Rubempre belongs to the _Splendour and Wretchedness of Courtezans_. Both the beginning and the middle and the end exhibit the strong and the weak points of the novelist. The defects were dwelt upon in the _Revue de Paris_, soon after the book's first part came out, in probably the longest critical article devoted to any single one of Balzac's writings. By the irony of events, Jules Janin, who was the author of it, praised, some dozen years later, where now he cursed. There was exaggeration in his panegyric, pronounced in 1850 under the impulse dictating generosity to the memory of a dead foe; and there was exaggeration also in his polemic indited under the smart of Balzac's gibes against the press. However, the closing words of the article, save for the tone, can hardly be gainsaid: "Never," asserted Janin, "has Monsieur de Balzac's talent been more diffuse, never has his invention been more languishing, never has his style been more incorrect, even if we include the days when the illustrious novelist had nothing to fear from serious criticism, days when he was too unknown to be noticed by the small newspapers, days when Monsieur Honore de Balzac was as yet only Monsieur Horace de Saint-Aubin."[*] [*] A _nom de guerre_ of Balzac in his apprenticeship days.