before she dies. She is not the only perverted nature delineated.
There is the Baron Hulot, whose odious licentiousness brings him to a
veritable cretinism. There is Crevel, a grotesque, contemptible dupe;
there are the Marneffes, sinks of corruption; and, with these, other
minor characters--the vindictive Brazilian who wreaks his wrath on
Madame Marneffe and on Crevel by his mysterious death-causing gift.
The ideally virtuous Adeline Hulot also the novelist belittles, making
her offer herself to Crevel to save her husband from the consequences
of his degrading passions. Nearly all the book is harrowing, and even
the atmosphere of the bohemian circles, where conversation is one
sparkle of satire, is heavily tainted with vice.

George Sand protested against Madame Hulot's portrait as unnatural;
and, herself being the contrary of prudish in sexual relations, the
opinion cannot be called prejudiced. Balzac defended his treatment,
while admitting there was force in what she said. Arguing with her on
their respective methods, he replied: "You seek to paint man as he
ought to be. I take him as he is. Believe me, we are both right. Both
ways lead to the same goal. I am fond of exceptional beings. I am one
myself. Moreover, I need them to give relief to my common characters;
and I never sacrifice them without necessity. But these common
characters interest me more than they interest you. I aggrandize them;
I idealize them in an inverse direction, in their ugliness or their
stupidity. I give to their deformity terrifying or grotesque
proportions. You could not do this. You are wise not to look at people
and things that would cause you nightmare. Idealize in that which is
pretty and beautiful. This is woman's task."

In spite of sheriff's summonses and stormy discussions with those to
whom he still had indebtedness, and in spite, too, of a tropical