Works of Honore De Balzac

by Honoré de Balzac

  In 1831, she went to Paris, opened a salon and mingled in politics, meeting the great men of the age, many of whom fell in love with her. Her salon was filled with people famous for wit, learning and beauty, equaling that of Madame Recamier; Balzac was among the number. If Madame de Girardin was the Tenth Muse, the Princesse Belgiojoso was the Romantic Muse. She was almost elected president of Les Academies de Femmes en France under the faction led by George Sand, the rival party being led by Madame de Girardin.

  Again becoming involved in Italian politics, and exiled from her home and adopted country, she went to the Orient with her daughter Maria, partly supporting herself with her pen. After her departure, the finding of the corpse of Stelzi in her cupboard caused her to be compared to the Spanish Juana Loca, but she was only eccentric. While in the Orient she was stabbed and almost lost her life. In 1853 she returned to France, then to Milan where she maintained a salon, but she deteriorated physically and mentally.

  For almost half a century her name was familiar not alone in Italian political and patriotic circles, but throughout intellectual Europe. The personality of this strange woman was veiled in a haze of mystery, and a halo of martyrdom hung over her head. Notwithstanding her eccentricities and exaggerations, she wielded an intellectual fascination in her time, and her exalted social position, her beauty, and her independence of character gave to her a place of conspicuous prominence.

  As to whether Balzac always sustained an indifferent attitude towards the Princesse Belgiojoso there is some question, but he always expressed a feeling of nonchalance in writing about her to Madame Hanska. He regarded her as a courtesan, a beautiful Imperia, but of the extreme blue-stocking type. She was superficial in her criticism, and received numbers of criticons who could not write. She wrote him at the request of the editor asking him to contribute a story for the Democratie Pacifique.

  Balzac visited her frequently, calling her the Princesse Bellejoyeuse, and she rendered him many services, but he probably guarded against too great an intimacy, having witnessed the fate of Alfred de Musset. He was, however, greatly impressed by her beauty, and in the much discussed letter to his sister Laure he speaks of Madame Hanska as a masterpiece of beauty who could be compared only to the Princesse Bellejoyeuse, only infinitely more beautiful. Some years later, however, this beauty had changed for him into an ugliness that was even repulsive.

  It amused the novelist very much to have people think that he had dedicated to the Princesse Belgiojoso Modeste Mignon, a work written in part by Madame Hanska, and dedicated to her. In the first edition this book was dedicated to a foreign lady, but seeing the false impression made he dedicated it, in its second edition to a Polish lady. He did, however, dedicate Gaudissart II to:

  Madame la Princesse de Belgiojoso, nee Trivulce.

  Balzac found much rest and recuperation in travel, and in going to Turin, in 1836, instead of traveling alone, he was accompanied by a most charming lady, Madame Caroline Marbouty. She had literary pretensions and some talent, writing under the pseudonym of Claire Brune. Her work consisted of a small volume of poetry and several novels. She was much pleased at being taken frequently for George Sand, whom she resembled very much; and like her, she dressed as a man. Balzac took much pleasure in intriguing every one regarding his charming young page, whom he introduced in aristocratic Italian society; but to no one did he disclose the real name or sex of his traveling companion.

  On his return from Turin he wrote to Comte Frederic Sclopis de Salerano explaining that his traveling companion was by no means the person whom he supposed. Knowing his chivalry, Balzac confided to the Count that it was a charming, clever, virtuous woman, who never having had the opportunity of breathing the Italian air and being able to escape the ennui of housekeeping for a few weeks, had relied upon his honor. She knew whom the novelist loved, and found in that the greatest of guarantees. For the first and only time in her life she amused herself by playing a masculine role, and on her return home had resumed her feminine duties.

  During this journey Madame Marbouty was known as Marcel, this being the name of the devoted servant of Raoul de Nangis in Meyerbeer’s masterpiece, Les Huguenots, which had been given for the first time on February 29, 1836. The two travelers had a delightful but very fatiguing journey, for there were so many things to see that they even took time from their sleep to enjoy the beauties of Italy. In writing to Madame Hanska of this trip, he spoke of having for companion a friend of Madame Carraud and Jules Sandeau.

  Madame Marbouty was also a friend of Madame Carraud’s sister, Madame Nivet, so that when Balzac visited Limoges he probably called on his former traveling companion.

  When the second volume of the Comedie humaine was published (1842),

  Balzac remembered this episode in his life and dedicated La

  Grenadiere to his traveling companion:

  “To Caroline, to the poetry of the journey, from the grateful

  traveler.”

  In explaining this dedication to Madame Hanska, Balzac states that the poesie du voyage was merely the poetry of it and nothing more, and that when she comes to Paris he will take pleasure in showing to her this intimate friend of Madame Carraud, this charming, intellectual woman whom he has not seen since.

  Balzac went to Madame Marbouty’s home to read to her the first acts of L’Ecole des Menages, which she liked; a few days later, he returned, depressed because a great lady had told him it was ennuyeux, so she tried to cheer him. Souvenirs inedits, dated February, 1839, left by her, and a letter from her to Balzac dated March 12, 1840, in which she asks him to give her a ticket to the first performance of his play,[*] show that they were on excellent terms at this time. But later a coolness arose, and in April, 1842, Madame Marbouty wrote Une fausse Position. The personages in this novel are portraits, and Balzac appears under the name of Ulric. This explains why the dedication of La Grenadiere was changed. Some writers seem to think that Madame Marbouty suggested to Balzac La Muse du Departement, a Berrichon bluestocking.

  [*] The play referred to is doubtless Vautrin, played for the first time March 14, 1840.

  Among the women in the Comedie humaine who have been identified with women the novelist knew in the course of his life, Beatrix (Beatrix), depicting the life of the Comtesse d’Agoult, is one of the most noted. Balzac says of this famous character: “Yes, Beatrix is even too much Madame d’Agoult. George Sand is at the height of felicity; she takes a little vengeance on her friend. Except for a few variations, the story is true.”

  Although Balzac wrote Beatrix with the information about the heroine which he had received from George Sand, he was acquainted with Madame d’Agoult. Descended from the Bethmanns of Hamburg or Frankfort, she was a native of Touraine, and played the role of a “great lady” at Paris. She became a journalist, formed a liaison with Emile de Girardin, and wrote extensively for the Presse under the name of Daniel Stern. She had some of the characteristics of the Princesse Belgiojoso; she abandoned her children. Balzac never liked her, and described her as a dreadful creature of whom Liszt was glad to be rid. She made advances to the novelist, and invited him to her home; he dined there once with Ingres and once with Victor Hugo, but he did not enjoy her hospitality. Notwithstanding the aversion which Balzac had for her, he sent her autograph to Madame Hanska, and met her at various places.

  Among women Balzac’s most noted literary friend was George Sand, whom he called “my brother George.” In 1831 Madame Dudevant, having attained some literary fame by the publication of Indiana, desired to meet the author of La Peau de Chagrin, who was living in the rue Cassini, and asked a mutual friend to introduce her.[*] After she had expressed her admiration for the talent of the young author, he in turn complimented her on her recent work, and as was his custom, changed the conversation to talk of himself and his plans. She found this interview helpful and he promised to counsel her. After this introduction Balzac visited her frequently. He would go puffing up the stairs of the many-storied house on the quai Saint-Mich
el where she lived. The avowed purpose of these visits was to advise her about her work, but thinking of some story he was writing, he would soon begin to talk of it.

  [*] Different statements have been made as to who introduced George Sand to Balzac. In her Histoire de ma Vie, George Sand merely says it was a friend (a man). Gabriel Ferry, Balzac et ses Amies, makes the same statement. Seche et Bertaut, Balzac, state that it was La Touche who presented her to him, but Miss K. P. Wormeley, A Memoir of Balzac, and Mme. Wladimir Karenine, George Sand, state that it was Jules Sandeau who presented her to him. Confirming this last statement, the Princess Radziwill states that it was Jules Sandeau, and that her aunt, Madame Honoré de Balzac, has so told her.

  They seem to have had many enjoyable hours with each other. She relates that one evening when she and some friends had been dining with Balzac, after a rather peculiar dinner he put on with childish glee, a beautiful brand-new robe de chambre to show it to them, and purposed to accompany them in this costume to the Luxembourg, with a candlestick in his hand. It was late, the place was deserted, and when George Sand suggested that in returning home he might be assassinated, he replied: “Not at all! If I meet thieves they will think me insane, and will be afraid of me, or they will take me for a prince, and will respect me.” It was a beautiful calm night, and he accompanied them thus, carrying his lighted candle in an exquisite carved candlestick, talking of his four Arabian horses, which he never had had, but which he firmly believed he was going to have. He would have conducted them to the other end of Paris, if they had permitted him.

  Once George Sand and Balzac had a discussion about the Contes droletiques during which she said he was shocking, and he retorted that she was a prude, and departed, calling to her on the stairway: “Vous n’etes qu’une bete!” But they were only better friends after this.

  Early in their literary career Balzac held this opinion of her: “She has none of the littleness of soul nor any of the base jealousies which obscure the brightness of so much contemporary talent. Dumas resembles her in this respect. George Sand is a very noble friend, and I would consult her with full confidence in my moments of doubt on the logical course to pursue in such or such a situation; but I think she lacks the instinct of criticism: she allows herself to be too easily persuaded; she does not understand the art of refuting the arguments of her adversary nor of justifying herself.” He summarized their differences by telling her that she sought man as he ought to be, but that he took him as he is.

  If Madame Hanska was not jealous of George Sand, she was at least interested to know the relations existing between her and Balzac, for we find him explaining: “Do not fear, madame, that Zulma Dudevant will ever see me attached to her chariot. . . . I only speak of this because more celebrity is fastened on that woman than she deserves; which is preparing for her a bitter autumn. . . . Mon Dieu! how is it that with such a splendid forehead you can think little things! I do not understand why, knowing my aversion for George Sand, you make me out her friend.” Since Madame Hanska was making a collection of autographs of famous people, Balzac promised to send her George Sand’s, and he wished also to secure one of Aurore Dudevant, so that she might have her under both forms.

  It is interesting to note that at various times Balzac compared Madame Hanska to George Sand. While he thought his “polar star” far more beautiful, she reminded him of George Sand by her coiffure, attitude and intellect, for she had the same feminine graces, together with the same force of mind.

  On his way to Sardinia, Balzac stopped to spend a few days with George Sand at her country home at Nohant. He found his “comrade George” in her dressing-gown, smoking a cigar after dinner in the chimney-corner of an immense solitary chamber. In spite of her dreadful troubles, she did not have a white hair; her swarthy skin had not deteriorated and her beautiful eyes were still dazzling. She had been at Nohant about a year, very sad, and working tremendously. He found her leading about the same life as he; she retired at six in the morning and arose at noon, while he retired at six in the evening and arose at midnight; but he conformed to her habits while spending these three days at her chateau, talking with her from five in the evening till five the next morning; after this, they understood each other better than they had done previously. He had censured her for deserting Jules Sandeau, but afterwards had the deepest compassion for her, as he too had found him to be a most ungrateful friend.

  Balzac felt that Madame Dudevant was not lovable, and would always be difficult to love; she was a garcon, an artist, she was grand, generous, devoted, chaste; she had the traits of a man, — she was not a woman. He delighted in discussing social questions with a comrade to whom he did not need to show the galanterie d’epiderme necessary in conversation with ordinary women. He thought that she had great virtues which society misconstrued, and that after hours of discussion he had gained a great deal in making her recognize the necessity of marriage. In discussing with him the great questions of marriage and liberty, she said with great pride that they were preparing by their writings a revolution in manners and morals, and that she was none the less struck by the objections to the one than by those to the other.

  She knew just what he thought about her; she had neither force of conception, nor the art of pathos, but — without knowing the French language — she had style. Like him, she took her glory in raillery, and had a profound contempt for the public, which she called Jumento. Defending her past life, he says: “All the follies that she has committed are titles to fame in the eyes of great and noble souls. She was duped by Madame Dorval, Bocage, Lammennais, etc., etc. Through the same sentiment she is now the dupe of Liszt and Madame d’Agoult; she has just realized it for this couple as for la Dorval, for she has one of those minds that are powerful in the study, through intellect, but extremely easy to entrap on the domain of reality.”

  During this week-end visit, Madame Dudevant related to Balzac the story of Liszt and Madame d’Agoult, which he reproduced in Beatrix, since in her position, she could not do so herself. In the same book, George Sand is portrayed as Mademoiselle des Touches, with the complexion, pale olive by day, and white under artificial light, characteristic of Italian beauty. The face, rather long than oval, resembles that of some beautiful Isis. Her hair, black and thick, falls in plaited loops over her neck, like the head-dress with rigid double locks of the statues at Memphis, accentuating very finely the general severity of her features. She has a full, broad forehead, bright with its smooth surface on which the light lingers, and molded like that of a hunting Diana; a powerful, wilful brow, calm and still. The eyebrows, strongly arched, bend over the eyes in which the fire sparkles now and again like that of fixed stars. The cheek-bones, though softly rounded, are more prominent than in most women, and confirm the impression of strength. The nose, narrow and straight, has high-cut nostrils, and the mouth is arched at the corners. Below the nose the lip is faintly shaded by a down that is wholly charming; nature would have blundered if she had not placed there that tender smoky tinge.

  Balzac admitted that this was the portrait of Madame Dudevant, saying

  that he rarely portrayed his friends, exceptions being G. Planche in

  Claude Vignon, and George Sand in Camille Maupin (Mademoiselle des

  Touches), both with their consent.

  Madame Dudevant was an excessive smoker, and during Balzac’s visit to her, she had him smoke a hooka and latakia which he enjoyed so much that he wrote to Madame Hanska, asking her to get him a hooka in Moscow, as he thought she lived near there, and it was there or in Constantinople that the best could be found; he wished her also, if she could find true latakia in Moscow, to send him five or six pounds, as opportunities were rare to get it from Constantinople. Later, on his visit to Sardinia, he wrote her from Ajaccio: “As for the latakia, I have just discovered (laugh at me for a whole year) that Latakia is a village of the island of Cyprus, a stone’s throw from here, where a superior tobacco is made, named from the place, and that I can get it here. So mark out th
at item.”[*]

  [*] Lettres a l’Etrangere. This contradicts the statement of S. de Lovenjoul, Bookman, that Balzac had a horror of tobacco and is known to have smoked only once, when a cigar given him by Eugene Sue made him very ill. He evidently had this excerpt of a letter in mind: “I have never known what drunkenness was, except from a cigar which Eugene Sue made me smoke against my will, and it was that which enabled me to paint the drunkenness for which you blame me in the Voyage a Java.” This visit to George Sand was made five years after this letter was written. Or S. de Lovenjoul might have had in mind the statement of Theophile Gautier that Balzac could not endure tobacco in any form; he anathematized the pipe, proscribed the cigar, did not even tolerate the Spanish papelito, and only the Asiatic narghile found grace in his sight. He allowed this only as a curious trinket, and on account of its local color.

  George Sand and Balzac discussed their work freely and did not hesitate to condemn either plot or character of which they did not approve. Some of Balzac’s women shocked her, but she liked La premiere Demoiselle (afterwards L’Ecole des Manages), a play which Madame Surville found superb, but which Madame Hanska discouraged because she did not like the plot. She aided him in a financial manner by signing one of his stories, Voyage d’un Moineau de Paris. At that time, Balzac needed money and Stahl (Hetzel) refused to insert in his book, Scenes de la Vie privee de Animaux (2 vols., 1842), this story of Balzac’s, who had already furnished several articles for this collection. George Sand signed her name, and in this way, Balzac obtained the money.

  Madame Dudevant not only remained a true friend to Balzac in a literary and financial sense, but was glad to defend his character, and was firm in refuting statements derogatory to him. In apologizing to him for an article that had appeared without her knowledge in the Revue independente, edited by her, she asked his consent to write a large work about him. He tried to dissuade her, telling her that she would create enemies for herself, but, after persistence on her part, he asked her to write a preface to the Comedie humaine. The plan of the work, however, was very much modified, and did not appear until after Balzac’s death.