reasonably wicked, disagreeable, egoistic; we must have a lurid villain
of melodrama, a disguised convict, with a vast criminal organization at
his command, and

"So dyed double red"

indeed and purpose that he lights up the faces of the horrified
spectators with his glare. A father fond of unworthy children, and
leading a life of self-denial for their sake, as may probably and
pathetically be, is not enough; there must be an imbecile, trembling
dotard, willing to promote even the liaisons of his daughters to give
them happiness and to teach the sublimity of the paternal instinct.
The hero cannot sufficiently be a selfish young fellow, with alternating
impulses of greed and generosity; he must superfluously intend a career
of iniquitous splendor, and be swerved from it by nothing but the most
cataclysmal interpositions. It can be said that without such personages
the plot could not be transacted; but so much the worse for the plot.
Such a plot had no business to be; and while actions so unnatural are
imagined, no mastery can save fiction from contempt with those who really
think about it. To Balzac it can be forgiven, not only because in his
better mood he gave us such biographies as 'Eugenie Grandet,' but because
he wrote at a time when fiction was just beginning to verify the
externals of life, to portray faithfully the outside of men and things.
It was still held that in order to interest the reader the characters
must be moved by the old romantic ideals; we were to be taught that
"heroes" and "heroines" existed all around us, and that these abnormal
beings needed only to be discovered in their several humble disguises,
and then we should see every-day people actuated by the fine frenzy of
the creatures of the poets. How false that notion was, few but the
critics, who are apt to be rather belated, need now be told. Some of