his readers are unaware that he ever wrote plays, while others have
passed them by with the idea that they were slight, devoid of
interest, and to be classified with the _Works of Youth_. Complete
editions--so-called--of Balzac's works have fostered this belief by
omitting the dramas; and it has remained for the present edition to
include, for the first time, this valuable material, not alone for its
own sake, but also in order to show the many-sided author as he was,
in all his efficiencies and occasional deficiencies.

For those readers who now make the acquaintance of the dramas, we
would say briefly that the Balzac _Theatre_ comprises five plays
--_Vautrin_, _Les Ressources de Quinola_, _Pamela Giraud_, _La Maratre_,
and _Mercadet_. These plays are in prose. They do not belong to the
apprenticeship period of the _Works of Youth_, but were produced in
the heyday of his powers, revealing the mature man and the subtle
analyst of character, not at his best, but at a point far above his
worst. True, their production aroused condemnation on the part of many
contemporary dramatic critics, and were the source of much annoyance
and little financial gain to their creator. But this is certainly no
criterion for their workmanship. Balzac defied many tenets. He even
had the hardihood to dispense with the _claqueurs_ at the first night
of _Les Ressources de Quinola_. Naturally the play proceeded coldly
without the presence of professional applauders. But Balzac declared
himself satisfied with the warm praise of such men as Hugo and
Lamartine, who recognized the strength of the lines.

The five plays were presented at various times, at the best theatres
of Paris, and by the most capable companies. One of them, _Mercadet_,
is still revived perennially; and we are of opinion that this play
would prove attractive to-day upon an American stage. The action and