well as his own, to adorn their future home together. As usual, on his
return he found his affairs in utter confusion, was pursued by
creditors, and was absolutely without money. As a last misfortune, his
housekeeper, Madame de Brugnolle, in whose name the habitation at
Passy had been rented, and who generally managed his business affairs,
was busy preparing for her approaching marriage, and had naturally no
time to spare for her supposed lodger's difficulties. Altogether
Balzac felt that the world was a harassing place.

However, his health was admirable, "et le talent! . . . oh! je l'ai
retrouve dans sa fleur!"[*] He was full of hope and confidence; and
although the shares of the railway du Nord continued to fall in value,
he considered that with steady work at his novels, and with the help
of a successful comedy, he would soon have paid off his debts, and
would have a little house of his own, with room for his beautiful
things; which, owing to want of space, and also to fear of his
creditors, were never unpacked. It was necessary to prove that he was
as young, as fresh, and as fertile as ever, and with this object in
view, in June, 1846, he began the two books which were to form the
series entitled "L'Histoire des Parents Pauvres." The first, "La
Cousine Bette," appeared in the _Constitutionnel_ from October to
December, 1846, and is intended to represent "a poor relation
oppressed by humiliations and injuries, living in the midst of three
or four families of her relations, and meditating vengeance for the
bruising of her amour-propre, and for her wounded vanity!"[*] The
second received several names in turn. It was first called "Le Vieux
Musicien," next "Le Bonhomme Pons," and then "Le Parasite," a title on
which Balzac said he had decided definitely. However, Madame Hanska
objected, as she declared that "Le Parasite" was only suitable for an
eighteenth-century comedy, and the book appeared in April, 1847, as
"Le Cousin Pons." Though intensely tragic, it is not as horrible or
revolting as its pendant, the gloomy "Cousine Bette"; and Balzac has
portrayed admirably the simple old man with his fondness for good
dinners; "the poor relation oppressed by humiliations and injuries,
pardoning all, and only revenging himself by doing kindnesses." Side
by side with him is the touching figure of his faithful friend
Schmucke, the childlike German musician, who dies of grief at the
death of Pons. In writing these two remarkable