It is, however, beyond all doubt in the very subordination of these other characters to Benassis, and in the skilful grouping of the whole as background and adjunct to him, that the appeal of the book as art consists. From that point of view there are grounds for regarding it as the finest of the author’s work in the simple style, the least indebted to super-added ornament or to mere variety. The dangerous expedient of a _recit_, of which the eighteenth-century novelists were so fond, has never been employed with more successful effect than in the confession of Benassis, at once the climax and the centre of the story. And one thing which strikes us immediately about this confession is the universality of its humanity and its strange freedom from merely national limitations. To very few French novelists--to few even of those who are generally credited with a much softer mould and a much purer morality than Balzac is popularly supposed to have been able to boast--would inconstancy to a mistress have seemed a fault which could be reasonably punished, which could be even reasonably represented as having been punished in fact, by the refusal of an honest girl’s love in the first place. Nor would many have conceived as possible, or have been able to represent in lifelike colors, the lifelong penance which Benassis imposes on himself. The tragic end, indeed, is more in their general way, but they would seldom have known how to lead up to it. In almost all ways Balzac has saved himself from the dangers incident to his plan in this book after a rather miraculous fashion. The Goguelat myth may seem disconnected, and he did as a matter of fact once publish it separately; yet it sets off (in the same sort of felicitous manner of which Shakespeare’s clown-scenes and others are the capital examples in literature) both the slightly matter-of-fact details of the beatification of the valley and the various minute sketches of places and folk, and the almost superhuman goodness of Benassis, and his intensely and piteously human suffering and remorse. It is like the red cloak in a group; it lights, warms, inspirits the whole picture.