fancy one of her dignified later heroines, all self- renunciation and rural sentiment, preaching in vain to that real woman, Emma Bovary. HER we know, her we remember, as we remember few, comparatively, of Balzac's thronging faces, from La Cousine Bette to Seraphitus Seraphita. Many of those are certain to live and keep their hold, but it is by dint of long and elaborate preparation, description, analysis. A stranger intermeddleth not with them, though we can fancy Lucien de Rubempre let loose in a country neighbourhood of George Sand's, and making sonnets and love to some rural chatelaine, while Vautrin might stray among the ruffians of Gaboriau, a giant of crime. Among M. Zola's people, however it may fare with others, I find myself remembering few: the guilty Hippolytus of "La Curee," the poor girl in "La Fortune des Rougon," the Abbe Mouret, the artist in "L'Oeuvre," and the half idiotic girl of the farm house, and Helene in "Un Page d'Amour." They are not amongst M. Zola's most prominent creations,
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