the tabernacle, and from that remoteness which is infinite nearness looks unmoved upon all efforts to lay hold upon and bind it? Is it the seat of that power driving the machinery of the human body which, on its other side, is belted to the Supreme? Does it know that it is not of dust, and does this innate wisdom kindle and renew the light which shines in the human eye, tiny spark in measurement, yet immeasurable in power?

As we had with Raphael the lower human soul which includes the animal soul that is exalted above its natural level by the addition of intellectuality, we have in Louis Lambert the higher human which intellectuality lifts up from the animal, transforming it, absorbing its life or essence into the higher life, and casting away the grosser parts as soul growth pushes onward. This idea, already assuming new prominence in the present day, is accentuated by Balzac in his story, and withal so subtly, yet so cleverly, as perhaps to escape the notice of the aforementioned reader, who is not looking for the metaphysics within and above the story. The bend in the line of continuity illustrating the soul, that directs it toward the divine, and therefore away from the animal, giving in the second triangle the line parallel to the base of the first, is that quality of soul illustrated by Balzac in Louis Lambert, whose higher intellectuality begins to be illumined by the radiance of the divine toward which it is traveling.