Perhaps this limitation is kin to another: that as novelist Beyle painted with success only himself. Much the solidest of his characters is Julien Sorel, a copy trait for trait of the author, reduced, so to speak, to his essential elements. Both Julien and Beyle were men of restless ambition, clear, colourless minds, and constant activity. Julien turned this activity to one thing, the study of the art of dominating women, and Beyle to three, of which this was the principal, and the other two were the comprehension of art principles and the expression of them. In his earlier days he had followed the army of Napoleon, until he became disgusted with the grossness of the life he saw. What renown he won in the army was for making his toilet with complete care on the eve of battle. From the Moscow army he wrote to one of his friends that everything was lacking which he needed, "friendship, love (or the semblance of it), and the arts." For simplicity, friendship may be left out in summing up Beyle's interests, for while his friendships were genuine they did not interest him much, except as an opportunity to work up his ideas. Of the two interests that remain, the one expressed in Julien, the psychology of love, illustrated by practice, is much the more essential. Julien too had Napoleon for an ideal, and when he found he could not imitate him in the letter he resigned himself to making in his spirit the conquests that were open to him. The genius that Napoleon put into political relations he would put into social ones. All the principles of war should live again in his intrigues with women.
This spirit is well enough known in its outlines. Perhaps the most perfect sketch of it in its unmixed form is in Les Liaisons Dangereuses, a book which Beyle knew and must have loved. He must have admired and envied the Comte de Valmont and the Marquise de Merteuil. There is here none of the grossness of the
