As the earliest “paysan de Paris,” or Parisian peasant, Balzac’s resentment towards Paris is the driving force of his exact imagination. “People are character masks” is his important discovery and the prerequisite for his characters to be endowed with puppet characteristics. There is something musical about his work as a whole, while romanticism and realism constitute his complex of history. Avarice, lust for money or promotion mania enter the service of capitalism, which needs the additional energy of the Gobsecks, Rastignacs and Vautrins in Balzac’s novels until it is completely in place. Balzac reconstructs the world from the suspicions of the outsider rather than “reflect” it, hence his realism on the basis of a loss of reality. Marx thought that “Balzac had thoroughly studied every shade of avarice.” However, Balzac’s profound conception of real condition was just the opposite of Marx’s economic analysis. He grasped the central tendency of capitalist society through this kind of blind physiognomy. When Engels said that he prefers Balzac to “all the Zola past, present and future,” he can only mean that Balzac is less realistic than Zola. In Lost Illusions, Rubempré changes from an enthusiastic youth with high literary ambitions to a gigolo, which is worth our thoughts. One of Balzac’s discoveries is the non-identity between the author and what he wrote.