in the midst
of magnificence, and that it should have been impossible for him to
find a purchaser for some small curiosity, if he had wished to sell it
to buy bread. Part of the cost of the house had been defrayed by Madame
Hanska, but Balzac had evidently overstepped her limits, and had
involved himself seriously in debt. One of the alleged reasons given
by the lady for the further deferment of her promise to become Madame
Honore de Balzac, was the state of embarrassment to which Balzac had
reduced himself by his expenditure in decoration; and, in his despair
and disgust, the home he had been so happily proud of, and which
seemed destined never to be occupied, soon became to him "that
rascally plum box."

At this time, however, he was still tasting the joys of ownership, and
was, as usual, hopeful about the future. His dreams of theatrical
success seemed at last destined to come true.[*] Hostein, who had
rushed to the Rue Fortunee as soon as he heard of the arrival of the
great man, to ask for the play promised him in place of "Pierre et
Catherine," found Balzac as usual at his desk, and was presented with
a copy-book on which was written in large characters, "Gertrude,
tragedie bourgeoise." The play was read next day in Balzac's
drawing-room to Hostein, Madame Dorval, and Melingue; and Hostein
accepted it under the name of "La Maratre," Madame Dorval expressing
much objection to its first title. Eventually, to Madame Dorval's and
Balzac's disappointment, Madame Lacressoniere, who had much influence
with Hostein, was entrusted with the heroine's part; and the tragedy
was produced at the Theatre-Historique on May 25th, 1848. In spite of
the disturbed state of the political atmosphere, which was ruinous to
the theatres, the play met with considerable success; and the critics
began to realise that when once Balzac had mastered the _metier_ of
the theatre, he might become a great dramatist. About this time,
Cogniard, the director of the Porte-Saint-Martin, received a letter
with fifty signatures, asking for a second performance of "Vautrin."
He communicated this request to Balzac, who stipulated that if
"Vautrin" were again put on the stage, all caricature of Louis
Philippe should be avoided by the actor who played the principal part.
He added that when he wrote the play he had never intended any
political allusion. However, "Vautrin" was not acted till April, 1850,
when, without Balzac's knowledge, it was produced at the