Restoration comedy in England. It is the art of satisfying vanity in a particular way, in its most delicate form. It is an occupation and an art as imperative, one might almost say as impersonal, were not the paradox so violent, as any other. What makes Stendhal's account of this art differ from that of Delaclos and the other masters is the fact that, deeply as he is in it, he is half outside of it: he is the psychologist every moment, seeing his own attitude as coldly as he sees the facts on which he is forming his campaign. Read the scene, for instance, where Julien first takes the hand of the object of his designs, absolutely as a matter of duty, a disagreeable move necessary to the success of the game. The cold, forced spirit of so much of intrigue is clearly seen by Beyle and accepted by him as a necessity. He used to tell young men that if they were alone in a room five minutes with a beautiful woman without declaring they loved her, it proved them poltroons. Two sides of him, however, are always present; for this is the same man who repeats for ever in his book the cry that there is no love in France. He means that this science, better than no love at all, is inferior to the abandon of the Italians. The love of 1770, for which he often longs, with its gaiety, its tact, its discretion, "with the thousand qualities of savoir-vivre" is after all only second. Amour-gout, to point out the distinction in two famous phrases of his own, is for ever inferior to amour-passion. Stendhal, admiring the latter, must have been confined to the former, though not in its baldest form, for to some of the skill and irony of Valmont he added the softness, the sensibility, of a later generation, and he added also the will to feel, so that his study of feeling and his practice of it grew more successful together. Psychology and sensibility are mutual aids in him, as they not infrequently are in "observers of the human heart," to quote his description of his profession. "What
