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THE GOSPEL OF INFINITE PAINS

paper might have been taken for a drawing of fireworks by a child. Rockets, darting from the original text, exploded on all sides. Then there were crosses: simple crosses, crosses re-crossed, like those of a blazon, stars, suns, Arabic figures, letters, Greek, Roman or French, all imaginable signs, mingled with erasures. Strips of paper, fastened on by wafers or pins, were added to the insufficient margins, and were rayed with lines of writing, very fine to save room, and full themselves of erasures; for a correction was hardly made before that again was corrected.…

The following day, the proofs came back … the bulk of course doubled. Balzac set to work again, always amplifying.… Often this tremendous labour ended with an intensity of attention, a clearness of perception of which he alone was capable. He would see that the thought was warped by the execution, that an episode predominated; that a figure which he meant should be secondary for the general effect was projecting out of its plan. Then, with one

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