power, but in developing the mind. "What is folly", he asks Valentin, "if not an excess of will and power?" Overcome with the possibilities offered by the skin, however, the young man throws caution to the wind and embraces his desire. Upon grabbing the talisman, he declares: "I want to live with excess." Only when his life force is nearly depleted does he recognize his mistake: "It suddenly struck him that the possession of power, no matter how enormous, did not bring with it the knowledge of how to use it ... [he] had had everything in his power, and he had done nothing." The will, Balzac cautions, is a destructive force that seeks only to acquire power unless tempered by knowledge. The shopkeeper presents a foil for Valentin's future self, offering study and mental development as an alternative to consuming desire. Foedora also serves as a model for resistance to the corruption of will, insofar as she seeks at all times to excite desire in others while never giving in to her own. That Valentin is happiest living in the material squalor of his tiny garret – lost in study and writing, with the good-hearted Pauline giving herself to him – underscores the irony of his misery at the end of the book, when he is surrounded with the fruits of his material desire. Society The novel extrapolates Balzac's analysis of desire from the individual to society; he feared that the world, like Valentin, was losing its way due to material excess and misguided priorities. In the gambling house, the orgiastic feast, the antique shop, and the discussions with men of science, Balzac examines this dilemma in various contexts. The lust for social status to which Valentin is led by Rastignac is emblematic of this excess; the gorgeous but unattainable Foedora symbolizes the pleasures offered by high society. Science offers no panacea. In one scene, a group of doctors offer a range of quickly formulated opinions as to the cause of Valentin's feebleness. In another, a physicist and a chemist admit defeat after employing a range of tactics designed to stretch the skin. All of these scientific approaches lack an understanding of the true crisis, and are therefore doomed to fail. Although it is only shown in glimpses – the image of Christ, for example, painted by Valentin's namesake, the Renaissance artist Raphael – Balzac wished to remind readers