Becky, Taine finds incomprehensible. He complains that Thackeray "degrades her" when he laughingly reveals her secret vulgar shifts. Also he is resentful because her carefully built schemes crumble one by one like houses of cards, being ignorant, apparently, of that choice old utilitarian proverb as to Honesty being the best policy, founded upon a very general observation that the same cleverness and energy employed by adventurers in their nefarious schemes pays a far higher rate of interest when turned to legitimate pursuits. The half affectionate, half contemptuous humour with which her creator regards Becky shocks Taine. With his French passion for logical completeness he cannot comprehend that Thackeray's vision for truth should make him capable of admitting and admiring that arch-adventuress's good qualities,--the very qualities of her defects which made her career of deception possible. The consistent monster Valerie could delude no one, while Becky's patience, gaiety, and good nature made Rawdon Crawley's devotion plausible, and forced even Lord Steyne, who recognized her baseness, after a fashion to respect and like her, and consent to be used by her, until--by a fundamental impulse of womanliness--"she admired her husband standing there, grand, brave, victorious," above the prostrate body of her seducer. It is that same underlying womanliness in Becky--of which Valerie lacked even an intimation--which makes her human and real. Its absence leaves Valerie incredible and shadowy. Take again Lear and Goriot. The latter's children have no excuse whatever for their crimes of greed and selfishness. They are grotesque succubi, while the astounding wickedness of Regan and Goneril is made credible by Lear's own violent foolishness and vanity. His tempestuous senility is of the sort that wakes the blindest revolt of youth, which is always restless under the dominance of age, a restlessness likely to deepen to cruelty when age is unrestrained by wisdom or dignity. A Frenchman once complained to me bitterly of the comic porter in Macbeth, who comes grumbling to unlock the gate so soon after the horror of the murder of Duncan. To him the touch of comedy seemed vulgar and inept. It was impossible to make him understand how to the Anglo-Saxon mind this veracious touch of comedy jostling tragedy but heightened the dramatic poignancy of the play. This incapacity to see the humorous contrasts of life and character is generally characteristic of youth with its narrow inexperience of realities, and the French and the unhumorous of our own race seem never to outgrow this juvenility. October 15. The Value of a Soul.