the latter still a young, handsome woman, with a ten-year-old son, the
little Napoleon. Though they are outwardly on good terms, the
stepmother and stepdaughter nevertheless hate each other. They are in
love with the same man, Ferdinand, the manager of the general's works.
On this hatred the entire interest of the play turns. Ferdinand really
loves Pauline; but he has formerly been engaged to Gertrude, who
jilted him to marry the general, and this fact somewhat embarrasses
him in his wooing. Moreover, his father was an officer under the
Revolution Government, and, if the general should learn that, it would
ruin his chances of obtaining the old gentleman's consent. The plot
arising out of these relations is, at first, cleverly dealt with by
the author, who involves matters further by a second suitor for
Pauline, to whom Gertrude tries to marry her, in order that she
herself may regain Ferdinand's affection. In the second act, a
word-duel is fought between the two women, during a whist-party, each
seeking to surprise the opponent's true sentiments towards Ferdinand.
This scene is exceedingly original; and, subsequently, a bold
employment is made by the author of the _enfant terrible_--the young
Napoleon--for the purpose of helping on the unravelling of the plot.
The concluding portion of the piece and its sombre tragedy--the deaths
of Pauline and Ferdinand--is heavier in dialogue and cumbrous in
construction, with its officers of justice who supply a useless
episode. One might sum up the _Stepmother_ as a weak ending to a
strong beginning. None the less it shows progress on _Vautrin_ and
_Pamela Giraud_.

A few days after the Revolution, Theodore Cogniard, manager of the
Porte-Saint-Martin Theater, wrote to Balzac and proposed to reproduce
_Vautrin_. Balzac, in replying, referred to Lemaitre's _toupet_, and
explained that, when disguising Vautrin as a Mexican general, he had