_En Menage_ is the story of '_Monsieur Tout-le-monde_, an insignificant personality, one of those poor creatures who have not even the supreme consolation of being able to complain of any injustice in their fate, for an injustice supposes at all events a misunderstood merit, a force.' Andre is the reduction to the bourgeois formula of the invariable hero of Huysmans. He is just enough removed from the commonplace to suffer from it with acuteness. He cannot get on either with or without a woman in his establishment. Betrayed by his wife, he consoles himself with a mistress, and finally goes back to the wife. And the moral of it all is: 'Let us be stupidly comfortable, if we can, in any way we can: but it is almost certain that we cannot.' In _A Vau-l'Eau_, a less interesting story which followed _En Menage_, the daily misery of the respectable M. Folantin, the government employe, consists in the impossible search for a decent restaurant, a satisfactory dinner: for M. Folantin, too, there is only the same counsel of a desperate, an inevitable resignation. Never has the intolerable monotony of small inconveniences been so scrupulously, so unsparingly chronicled, as in these two studies in the heroic degree of the commonplace. It happens to Andre, at a certain epoch in his life, to take back an old servant who had left him many years before. He finds that she has exactly the same defects as before, and 'to find them there again,' comments the author, 'did not displease him. He had been expecting them all the time, he saluted them as old acquaintances, yet with a certain surprise, notwithstanding, to see them neither grown nor diminished. He noted for himself with satisfaction that the stupidity of his servant had remained stationary.' On another page, referring to the inventor of cards, Huysmans defines him as one who 'did something towards suppressing the free exchange of human imbecility.' Having to say in passing that a girl has returned from a ball, 'she was at home again,' he observes, 'after the half-dried sweat of the waltzes.' In this invariably sarcastic turn of the phrase, this absoluteness of contempt, this insistence on the disagreeable, we find the note of Huysmans, particularly at this point in his career, when, like Flaubert, he forced himself to contemplate and to analyse the more mediocre manifestations of _la betise humaine_.