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It does not copy it, but moulds it to its purpose. The nineteenth century, as we know it, is largely an invention of Balzac. Our Luciens de Rubempre, our Rastignacs, and De Marsays made their first appearance on the stage of the Comedie Humaine. We are merely carrying out, with footnotes and unnecessary additions, the whim or fancy or creative vision of a great novelist.
In the fire-lighted woods and on the ground yet stained by the red of battle, it played quaint old tunes, waltzes and polkas and roundelays, and once more the stalwart Pierres and Raouls and Luciens and Etiennes, clasping one another in their arms, whirled in wild dances before the fires. The heavy clouds opened bye and bye, and then all save the sentinels fled to shelter.
Whether, as at a late period a very well-informed, well-affected, and well-equipped critic hinted, his picture of the Luciens and the Lousteaus did not a little to propagate both is another matter. The seriousness with which Balzac took the accusation perhaps shows a little sense of galling.
While making his arrangements to die, he wondered how this marvel of architecture could exist in Paris so utterly unknown. He was two Luciens one Lucien the poet, wandering through the Middle Ages under the vaults and the turrets of Saint-Louis, the other Lucien ready for suicide.
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