But Madame will not wed — not yet — she is afraid that marriage will dissolve her beautiful dream. In the meantime, she advances Balzac a large amount of money, several hundred thousand francs, to show her sincerity, and the money Balzac is to use in furnishing a house in Paris, where they will live as soon as they are married.
Balzac buys a snug little house and furnishes it with costly carved furniture, bronzes, rugs and old masters.
He waits patiently, or not, according to his mood, amid his beautiful treasures. And still Madame would not relinquish the sweet joys of widowhood.
In a year Madame Hanska arrives with her daughter. They are delighted with the house, and remain for a month, when pressing business in Poland calls them hence. Balzac accompanies them a hundred miles, and then goes back home to his “Human Comedy.”
The years pass very much as they did when Monsieur Hanska was alive, only they miss that gentleman, having nobody now but the public to bamboozle, and the public having properly sized up the situation has become very apathetic — busy looking for morsels more highly spiced. Who in the world cares about what stout, middle-aged widows do, anyway!
Occasionally, in letters to Madame Hanska, Balzac referred to Madame De Berney. This seems to have caused Madame Hanska once to say, “Why do you so often refer to ancient history and tell me of that motherly body who once acted as your nurse, comparing me with her?”
To this Balzac replies: “I apologize for comparing you with Madame De Berney — she was what she was, and you are what you are. Great souls are always individual — Madame De Berney was a great and lofty spirit, and no one can ever take her place. I apologize for comparing you with her.”
Madame De Berney led Balzac; Madame Hanska ruled him. Madame Hanska was one who alternately beckoned and pursued. Without her Balzac could not have gone on. She held him true to his literary course, and without her he must surely have fallen a victim of arrested energy. She demanded a daily accounting from the mill of his mind. She supplied both goad and greens.
And more than that she sapped his life-forces and robbed him of his red corpuscles; so that, before he was fifty, he was old, worn-out, undone, with an excess of lime in his bones.
Literary creation makes a terrific tax on vitality. Ideas do not flow until the pulse goes above eighty, and this means the rapid breaking down of tissue. The man who writes two hours daily, and writes well, can not do much else. He is like the racehorse — do not expect the record-breaker to pull a plow all day, and go fast heats in the evening. Balzac was the most tremendous worker in a literary way the world has ever seen. He doubtless made mistakes in his life’s course, but the wonder is, that he did not make more. He was constantly absorbed in what Theophile Gautier has called “the Balzac Universe,” looking after the characters he had created, seeing to it that they acted consistently, pulling the wires, supplying them conversation, dialogue, plot and counterplot, and amid all this bustle and confusion bringing out a perfect story. And still sanely to do the work of the workaday world was a miracle indeed! The man had the strength of Hercules, but even physical strength has its penalty — it seduces one to over-exertion. The midnight brain is a bad thing to cultivate, especially when reinforced with much coffee. Balzac was growing stout; physical exercise was difficult. Dark lines were growing under his eyes. In his letters to Madame Hanska he tells how he is taking treatment from the doctor, and that he suffers from asthma and aneurism of the heart.
His eyes are failing him so he can not see to write by lamplight.
Madame Hanska now becomes alarmed. She thinks she can win him back to life. She begs him to come to Poland at once, and they will be married.
Balzac at once begins the journey to the Hanska country home. The excitement and change of scene evidently benefited him. Great plans were being made for the future.
The wedding occurred on March Fourteenth, Eighteen Hundred Fifty.
Balzac was a sick man. The couple arrived back in Paris, with Balzac leaning heavily on his wife’s arm. Chaos thundered in his ears; his brain reeled with vertigo; dazzling lights appeared in the darkness; and in the sunshine he saw only confused darkness.
Balzac died August Seventeenth, Eighteen Hundred Fifty, aged fifty-one, and Pere-la-Chaise tells the rest.
Said Victor Hugo:
The candle scarcely illumined the magnificent Pourbus, the magnificent Holbein, on the walls. The bust of marble was like the ghost of the man who was to die. I asked to see Monsieur De Balzac. We crossed a corridor and mounted a staircase crowded with vases, statues and enamels. Another corridor — I saw a door that was open. I heard a sinister noise — a rough and loud breathing. I was in Balzac’s bedchamber. The bed was in the middle of the room: Balzac, supported on it, as best he might be, by pillows and cushions taken from the sofa. I saw his profile, which was like that of Napoleon. An old sick-nurse and a servant of the house stood on either side of the bed. I lifted the counterpane and took the hand of Balzac. The nurse said to me, “He will die about dawn.”
His death has smitten Paris. Some months ago he came back into France. Feeling that he was dying, he wished to see again his native land — as on the eve of a long journey, one goes to one’s mother to kiss her. Sometimes, in the presence of the dead — when the dead are illustrious — one feels, with especial distinctness, the heavenly destiny of that Intelligence which is called Man. It passes over the Earth to suffer and be purified.
BALZAC by Frederick Lawton
CONTENTS
PREFACE
CHAPTER I. INTRODUCTION
CHAPTER II. BOYHOOD
CHAPTER III. EXPERIMENTS IN LITERATURE AND BUSINESS
CHAPTER IV. FIRST SUCCESSES AND FAME
CHAPTER V. LETTERS TO “THE STRANGER,” 1831, 1832
CHAPTER VI. LETTERS TO “THE STRANGER,” 1833, 1834
CHAPTER VII. LETTERS TO “THE STRANGER,” 1835, 1836
CHAPTER VIII. LETTERS TO “THE STRANGER,” 1837, 1838
CHAPTER IX. LETTERS TO “THE STRANGER,” 1839, 1840
CHAPTER X. LETTERS TO “THE STRANGER,” 1841, 1842
CHAPTER XI. LETTERS TO “THE STRANGER,” 1843, 1844
CHAPTER XII. LETTERS TO “THE STRANGER,” 1845, 1846
CHAPTER XIII. LAST YEARS: MARRIAGE AND DEATH
CHAPTER XIV. THE COMEDIE HUMAINE
CHAPTER XV. VALUE OF THE WORK
CHAPTER XVI. THE INFLUENCE
CHAPTER XVII. CONCLUSION: THE MAN AND HIS PORTRAITS
DEDICATED,
In remembrance of many pleasant and instructive hours spent in his society, to the sculptor
AUGUSTE RODIN,
whose statue of Balzac, with its fine, synthetic portraiture, first tempted the author to write this book.
PASSY, PARIS, 1910.
PREFACE
Excusing himself for not undertaking to write a life of Balzac, Monsieur Brunetiere, in his study of the novelist published shortly before his death, refused somewhat disdainfully to admit that acquaintance with a celebrated man’s biography has necessarily any value. “What do we know of the life of Shakespeare?” he says, “and of the circumstances in which Hamlet or Othello was produced? If these circumstances were better known to us, is it to be believed and will it be seriously asserted that our admiration for one or the other play would be augmented?” In penning this quirk, the eminent critic would seem to have wilfully overlooked the fact that a writer’s life may have much or may have little to do with his works. In the case of Shakespeare it was comparatively little — and yet we should be glad to learn more of this little. In the case of Balzac it was much. His novels are literally his life; and his life is quite as full as his books of all that makes the good novel at once profitable and agreeable to read. It is not too much to affirm that any one who is acquainted with what is known to-day of the strangely chequered career of the author of the Comedie Humaine is in a better position to understand and appreciate the different parts which constitute it. Moreover, the steady rise of Balzac�
�s reputation, during the last fifty years, has been in some degree owing to the various patient investigators who have gathered information about him whom Taine pronounced to be, with Shakespeare and Saint-Simon, the greatest storehouse of documents we possess concerning human nature.
The following chapters are an attempt to put this information into sequence and shape, and to insert such notice of the novels as their relative importance requires. The author wishes here to thank certain French publishers who have facilitated his task by placing books for reference at his disposal, Messrs. Calmann-Levy, Armand Colin, and Hetzel, in particular, and also the Curator of the Musee Balzac, Monsieur de Royaumont who has rendered him service on several occasions.
CHAPTER I. INTRODUCTION
The condition of French society in the early half of the nineteenth century — the period covered by Balzac’s novels — may be compared to that of a people endeavouring to recover themselves after an earthquake. Everything had been overthrown, or at least loosened from its base — religion, laws, customs, traditions, castes. Nothing had withstood the shock. When the upheaval finally ceased, there were timid attempts to find out what had been spared and was susceptible of being raised from the ruins. Gradually the process of selection went on, portions of the ancient system of things being joined to the larger modern creation. The two did not work in very well together, however, and the edifice was far from stable.
During the Consulate and First Empire, the Emperor’s will, so sternly imposed, retarded any movement of natural reconstruction. Outside the military organization, things were stiff and starched and solemn. High and low were situated in circumstances that were different and strange. The new soldier aristocracy reeked of the camp and battle-field; the washer-woman, become a duchess, was ill at ease in the Imperial drawing-room; while those who had thriven and amassed wealth rapidly in trade were equally uncomfortable amidst the vulgar luxury with which they surrounded themselves. Even the common people, whether of capital or province, for whose benefit the Revolution had been made, were silent and afraid. Of the ladies’ salons — once numerous and remarkable for their wit, good taste, and conversation — two or three only subsisted, those of Mesdames de Beaumont, Recamier and de Stael; and, since the last was regarded by Napoleon with an unfriendly eye, its guests must have felt constrained.
At reunions, eating rather than talking was fashionable, and the eating lacked its intimacy and privacy of the past. The lighter side of life was seen more in restaurants, theatres, and fetes. It was modish to dine at Frascati’s, to drink ices at the Pavillon de Hanovre, to go and admire the actors Talma, Picard, and Lemercier, whose stage performance was better than many of the pieces they interpreted. Fireworks could be enjoyed at the Tivoli Gardens; the great concerts were the rage for a while, as also the practice for a hostess to carry off her visitors after dinner for a promenade in the Bois de Boulogne.
Literature was obstinately classical. After the daring flights of the previous century, writers contented themselves with marking time. Chenedolle, whose verse Madame de Stael said to be as lofty as Lebanon, and whose fame is lilliputian to-day, was, with Ducis, the representative of their advance-guard. In painting, with Fragonard, Greuze and Gros, there was a greater stir of genius, yet without anything corresponding in the sister art.
On the contrary, in the practical aspects of life there was large activity, though Paris almost alone profited by it. Napoleon’s reconstruction in the provinces was administrative chiefly. A complete programme was first started on in the capital, which the Emperor wished to exalt into the premier city of Europe. Gas-lighting, sewerage, paving and road improvements, quays, and bridges were his gifts to the city, whose general appearance, however, remained much the same. The Palais-Royal served still as a principal rendezvous. The busy streets were the Rues Saint-Denis and Saint-Honore on the right bank, the Rue Saint-Jacques on the left; and the most important shops were to be found in the Rue de la Loi, at present the Rue de Richelieu.
The fall of the Empire was less a restoration of the Monarchy than the definite disaggregation of the ancient aristocracy, which had been centralized round the court since the days of Richelieu. The Court of Louis XVIII. was no more like that of Louis XVI. than it was like the noisy one of Napoleon. Receiving only a few personal friends, the King allowed his drawing-rooms to remain deserted by the nobles that had returned from exile; and the two or three who were regular visitors were compelled to rub elbows with certain parvenus, magistrates, financiers, generals of the Empire whom it would not have been prudent to eliminate.
In this initial stage of society-decentralization, the diminished band of the Boulevard Saint-Germain — descendants of the eighteenth-century dukes and marquises — tried to close up their ranks and to differentiate themselves from the plutocracy of the Chaussee d’Antin, who copied their manners, with an added magnificence of display which those they imitated could not afford. In the one camp the antique bronzes, gildings, and carvings of a bygone art were retained with pious veneration; in the other, pictures, carpets, Jacob chairs and sofas, mirrors, and time-pieces, and the gold and silver plate were all in lavish style, indicative of their owner’s ampler means. One feature of the pre-Revolution era was revived in the feminine salons, which regained most, if not the whole, of their pristine renown. The Hotel de la Rochefoucauld of Madame Ancelot became a second Hotel de Rambouillet, where the classical Parseval-Grandmaison, who spent twenty years over his poem Philippe-Auguste, held armistice with the young champion of the Romantic school, Victor Hugo. The Princess de Vaudemont received her guests in Paris during the winter, and at Suresnes during the summer; and her friend the Duchess de Duras’ causeries were frequented by such men as Cuvier, Humboldt, Talleyrand, Mole, de Villele, Chateaubriand, and Villemain. Other circles existed in the houses of the Dukes Pasquier and de Broglie, the countess Merlin, and Madame de Mirbel.
With the re-establishment of peace, literary and toilet pre-occupations began to assert their claims. The Ourika of the Duchess de Duras took Paris by storm. Her heroine, the young Senegal negress, gave her name to dresses, hats, and bonnets. Everything was Ourika. The prettiest Parisian woman yearned to be black, and regretted not having been born in darkest Africa. Anglomania in men’s clothes prevailed throughout the reign of Louis XVIII., yet mixed with other modes. “Behold an up-to-date dandy,” says a writer of the epoch; “all extremes meet in him. You shall see him Prussian by the stomach, Russian by his waist, English in his coat-tails and collar, Cossack by the sack that serves him as trousers, and by his fur. Add to these things Bolivar hats and spurs, and the moustaches of a counter-skipper, and you have the most singular harlequin to be met with on the face of the globe.”
Among the masses there were changes just as striking. For the moment militarism had disappeared, to the people’s unfeigned content, and the Garde Nationale, composed of pot-bellied tradesmen, alone recalled the bright uniforms of the Empire. To make up for the soldier excitements of the Petit Caporal, attractions of all kinds tempted the citizen to enjoy himself after his day’s toil was finished — menagerie, mountebanks, Franconi circus, Robertson the conjurer in the Jardin des Capucines. At the other end of the city, in the Boulevard du Temple, were Belle Madeleine, the seller of Nanterre cakes, famous throughout Europe, the face contortionist Valsuani, Miette in his egg-dance, Curtius’ waxworks. By each street corner were charlatans of one or another sort exchanging jests with the passers-by. It was the period when the Prudhomme type was created, so common in all the skits and caricatures of the day. One of the greatest pleasures of the citizen under the Restoration was to mock at the English. Revenge for Waterloo was found in written and spoken satires. Huge was the success of Sewrin’s and Dumersan’s Anglaises pour rire, with Brunet and Potier travestied as grandes dames, dancing a jig so vigorously that they lost their skirts. The same species of revanche was indulged in when Lady Morgan, the novelist, came to France, seeking material for a popular book describing French customs. Henri Beyle (Stendhal) hoaxe
d her by acting as her cicerone and filling her note-books with absurd information, which she accepted in good faith and carried off as fact. On Sundays the most respectable families used to resort to the guinguettes, or bastringues, of the suburbs. Belleville had its celebrated Desnoyers establishment. At the Maine gate Mother Sagnet’s was the meeting-place of budding artists and grisettes. At La Villette, Mother Radig, a former canteen woman, long enjoyed popularity among her patrons of both sexes. All these scenes are depicted in certain of Victor Ducange’s novels, written between 1815 and 1830, as also in the pencil sketches of the two artists Pigal and Marlet.
The political society of the Restoration was characterized by a good deal of cynicism. Those who were affected by the change of regime, partisans and functionaries of the Empire, hastened in many cases to trim their sails to the turn of the tide. However, there was a relative liberty of the press which permitted the honest expression of party opinion, and polemics were keen. At the Sorbonne, Guizot, Cousin, and Villemain were the orators of the day. Frayssinous lectured at Saint-Sulpice, and de Lamennais, attacking young Liberalism, denounced its tenets in an essay which de Maistre called a heaving of the earth under a leaden sky.
The country’s material prosperity at the time was considerable, and reacted upon literature of every kind by furnishing a more leisured public. In 1816 Emile Deschamps preluded to the after-triumphs of the Romantic School with his play the Tour de faveur, the latter being followed in 1820 by Lebrun’s Marie Stuart. Alfred de Vigny was preparing his Eloa; Nodier was delighting everybody by his talents as a philologian, novelist, poet, and chemist. Beranger was continuing his songs, and paying for his boldness with imprisonment. The King himself was a protector of letters, arts, and sciences. One of his first tasks was to reorganize the “Institut Royal,” making it into four Academies. He founded the Geographical and Asiatic Societies, encouraged the introduction of steam navigation and traction into France, and patronized men of genius wherever he met with them.
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