The effort is admirably honest, the tug at his subject splendidly strong; but the consequences remain of the strangest, and we get the impression that—as representing discriminations unattainable—they are somehow the price he paid. “Le Docteur Pascal,” for instance, which winds up the long chronicle on the romantic note, on the note of invoked beauty, in order to sweeten, as it were, the total draught—“Le Docteur Pascal,” treating of the erotic ardour entertained for each other by an uncle and his niece, leaves us amazed at such a conception of beauty, such an application of romance, such an estimate of sweetness, a sacrifice to poetry and passion so little in order. Of course, we definitely remind ourselves, the whole long chronicle is explicitly a scheme, solidly set up and intricately worked out, lighted, according to the author’s pretension, by “science,” high, dry and clear, and with each part involved and necessitated in all the other parts, each block of the edifice, each “morceau de vie,” _physiologically_ determined by previous combinations. “How can I help it,” we hear the builder of the pyramid ask, “if experience (by which alone I proceed) shows me certain plain results—if, holding up the torch of my famous ‘experimental method,’ I find it stare me in the face that the union of certain types, the conflux of certain strains of blood, the intermarriage, in a word, of certain families, produces nervous conditions, conditions temperamental, psychical and pathological, in which nieces _have_ to fall in love with uncles and uncles with nieces? Observation and imagination, for any picture of life,” he as audibly adds, “know no light but science, and are false to all intellectual decency, false to their own honour, when they fear it, dodge it, darken it. To pretend to any other guide or law is mere base humbug.”