Works of Honore De Balzac

by Honoré de Balzac

  Madame de Soulanges yielded to her seducer, who thought she would be his all the more surely if he could only show her off. Side by side they walked two or three times amid the groups who crowded the rooms. The Comtesse de Soulanges, evidently uneasy, paused for an instant at each door before entering, only doing so after stretching her neck to look at all the men there. This alarm, which crowned the Baron’s satisfaction, did not seem to be removed till he said to her, “Make yourself easy; he is not here.”

  They thus made their way to an immense picture gallery in a wing of the mansion, where their eyes could feast in anticipation on the splendid display of a collation prepared for three hundred persons. As supper was about to begin, Martial led the Countess to an oval boudoir looking on to the garden, where the rarest flowers and a few shrubs made a scented bower under bright blue hangings. The murmurs of the festivity here died away. The Countess, at first startled, refused firmly to follow the young man; but, glancing in a mirror, she no doubt assured herself that they could be seen, for she seated herself on an ottoman with a fairly good grace.

  “This room is charming,” said she, admiring the sky-blue hangings looped with pearls.

  “All here is love and delight!” said the Baron, with deep emotion.

  In the mysterious light which prevailed he looked at the Countess, and detected on her gently agitated face an expression of uneasiness, modesty, and eagerness which enchanted him. The young lady smiled, and this smile seemed to put an end to the struggle of feeling surging in her heart; in the most insinuating way she took her adorer’s left hand, and drew from his finger the ring on which she had fixed her eyes.

  “What a fine diamond!” she exclaimed in the artless tone of a young girl betraying the incitement of a first temptation.

  Martial, troubled by the Countess’ involuntary but intoxicating touch, like a caress, as she drew off the ring, looked at her with eyes as glittering as the gem.

  “Wear it,” he said, “in memory of this hour, and for the love of — — ”

  She was looking at him with such rapture that he did not end the sentence; he kissed her hand.

  “You give it me?” she said, looking much astonished.

  “I wish I had the whole world to offer you!”

  “You are not joking?” she went on, in a voice husky with too great satisfaction.

  “Will you accept only my diamond?”

  “You will never take it back?” she insisted.

  “Never.”

  She put the ring on her finger. Martial, confident of coming happiness, was about to put his hand round her waist, but she suddenly rose, and said in a clear voice, without any agitation:

  “I accept the diamond, monsieur, with the less scruple because it belongs to me.”

  The Baron was speechless.

  “Monsieur de Soulanges took it lately from my dressing-table, and told me he had lost it.”

  “You are mistaken, madame,” said Martial, nettled. “It was given me by Madame de Vaudremont.”

  “Precisely so,” she said with a smile. “My husband borrowed this ring of me, he gave it to her, she made it a present to you; my ring has made a little journey, that is all. This ring will perhaps tell me all I do not know, and teach me the secret of always pleasing. — Monsieur,” she went on, “if it had not been my own, you may be sure I should not have risked paying so dear for it; for a young woman, it is said, is in danger with you. But, you see,” and she touched a spring within the ring, “here is M. de Soulanges’ hair.”

  She fled into the crowded rooms so swiftly, that it seemed useless to try to follow her; besides, Martial, utterly confounded, was in no mood to carry the adventure further. The Countess’ laugh found an echo in the boudoir, where the young coxcomb now perceived, between two shrubs, the Colonel and Madame de Vaudremont, both laughing heartily.

  “Will you have my horse, to ride after your prize?” said the Colonel.

  The Baron took the banter poured upon him by Madame de Vaudremont and Montcornet with a good grace, which secured their silence as to the events of the evening, when his friend exchanged his charger for a rich and pretty young wife.

  As the Comtesse de Soulanges drove across Paris from the Chausee d’Antin to the Faubourg Saint-Germain, where she lived, her soul was prey to many alarms. Before leaving the Hotel Gondreville she went through all the rooms, but found neither her aunt nor her husband, who had gone away without her. Frightful suspicions then tortured her ingenuous mind. A silent witness of her husbands’ torments since the day when Madame de Vaudremont had chained him to her car, she had confidently hoped that repentance would ere long restore her husband to her. It was with unspeakable repugnance that she had consented to the scheme plotted by her aunt, Madame de Lansac, and at this moment she feared she had made a mistake.

  The evening’s experience had saddened her innocent soul. Alarmed at first by the Count’s look of suffering and dejection, she had become more so on seeing her rival’s beauty, and the corruption of society had gripped her heart. As she crossed the Pont Royal she threw away the desecrated hair at the back of the diamond, given to her once as a token of the purest affection. She wept as she remembered the bitter grief to which she had so long been a victim, and shuddered more than once as she reflected that the duty of a woman, who wishes for peace in her home, compels her to bury sufferings so keen as hers at the bottom of her heart, and without a complaint.

  “Alas!” thought she, “what can women do when they do not love? What is the fount of their indulgence? I cannot believe that, as my aunt tells me, reason is all-sufficient to maintain them in such devotion.”

  She was still sighing when her man-servant let down the handsome carriage-step down which she flew into the hall of her house. She rushed precipitately upstairs, and when she reached her room was startled by seeing her husband sitting by the fire.

  “How long is it, my dear, since you have gone to balls without telling me beforehand?” he asked in a broken voice. “You must know that a woman is always out of place without her husband. You compromised yourself strangely by remaining in the dark corner where you had ensconced yourself.”

  “Oh, my dear, good Leon,” said she in a coaxing tone, “I could not resist the happiness of seeing you without your seeing me. My aunt took me to this ball, and I was very happy there!”

  This speech disarmed the Count’s looks of their assumed severity, for he had been blaming himself while dreading his wife’s return, no doubt fully informed at the ball of an infidelity he had hoped to hide from her; and, as is the way of lovers conscious of their guilt, he tried, by being the first to find fault, to escape her just anger. Happy in seeing her husband smile, and in finding him at this hour in a room whither of late he had come more rarely, the Countess looked at him so tenderly that she blushed and cast down her eyes. Her clemency enraptured Soulanges all the more, because this scene followed on the misery he had endured at the ball. He seized his wife’s hand and kissed it gratefully. Is not gratitude often a part of love?

  “Hortense, what is that on your finger that has hurt my lip so much?” asked he, laughing.

  “It is my diamond which you said you had lost, and which I have found.”

  General Montcornet did not marry Madame de Vaudremont, in spite of the mutual understanding in which they had lived for a few minutes, for she was one of the victims of the terrible fire which sealed the fame of the ball given by the Austrian ambassador on the occasion of Napoleon’s marriage with the daughter of the Emperor Joseph II.

  JULY, 1829.

  MADAME FIRMIANI

  Translated by Katharine Prescott Wormeley

  First published in 1832, this short story concerns Octave de Camps, a young man about town, who is rumoured to have ruined himself for the seductive Madame Firmiani. The rumour has even reached to the provinces and the attention of his uncle, Monsieur de Bourbonne, who comes to Paris to investigate the matter. Having friends in the Faubourg Saint-Germain, the uncle is introduced to Mada
me Firmiani using the name of his estate, Monsieur de Rouxellay. It isn’t long until he too is totally enchanted…

  An original illustration

  DEDICATION

  To my dear Alexandre de Berny.

  His old friend,

  De Balzac.

  MADAME FIRMIANI

  Many tales, either rich in situations or made dramatic by some of the innumerable tricks of chance, carry with them their own particular setting, which can be rendered artistically or simply by those who narrate them, without their subjects losing any, even the least of their charms. But there are some incidents in human experience to which the heart alone is able to give life; there are certain details — shall we call them anatomical? — the delicate touches of which cannot be made to reappear unless by an equally delicate rendering of thought; there are portraits which require the infusion of a soul, and mean nothing unless the subtlest expression of the speaking countenance is given; furthermore, there are things which we know not how to say or do without the aid of secret harmonies which a day, an hour, a fortunate conjunction of celestial signs, or an inward moral tendency may produce.

  Such mysterious revelations are imperatively needed in order to tell this simple history, in which we seek to interest those souls that are naturally grave and reflective and find their sustenance in tender emotions. If the writer, like the surgeon beside his dying friend, is filled with a species of reverence for the subject he is handling, should not the reader share in that inexplicable feeling? Is it so difficult to put ourselves in unison with the vague and nervous sadness which casts its gray tints all about us, and is, in fact, a semi-illness, the gentle sufferings of which are often pleasing? If the reader is of those who sometimes think upon the dear ones they have lost, if he is alone, if the day is waning or the night has come, let him read on; otherwise, he should lay aside this book at once. If he has never buried a good old relative, infirm and poor, he will not understand these pages, which to some will seem redolent of musk, to others as colorless and virtuous as those of Florian. In short, the reader must have known the luxury of tears, must have felt the silent pangs of a passing memory, the vision of a dear yet far-off Shade, — memories which bring regret for all that earth has swallowed up, with smiles for vanished joys.

  And now, believe that the writer would not, for the wealth of England, steal from poesy a single lie with which to embellish this narrative. The following is a true history, on which you may safely spend the treasures of your sensibility — if you have any.

  In these days the French language has as many idioms and represents as many idiosyncracies as there are varieties of men in the great family of France. It is extremely curious and amusing to listen to the different interpretations or versions of the same thing or the same event by the various species which compose the genus Parisian, — ”Parisian” is here used merely to generalize our remark.

  Therefore, if you should say to an individual of the species Practical, “Do you know Madame Firmiani?” he would present that lady to your mind by the following inventory: “Fine house in the rue du Bac, salons handsomely furnished, good pictures, one hundred thousand francs a year, husband formerly receiver-general of the department of Montenotte.” So saying, the Practical man, rotund and fat and usually dressed in black, will project his lower lip and wrap it over the upper, nodding his head as if to add: “Solid people, those; nothing to be said against them.” Ask no further; Practical men settle everybody’s status by figures, incomes, or solid acres, — a phrase of their lexicon.

  Turn to the right, and put the same question to that other man, who belongs to the species Lounger. “Madame Firmiani?” he says; “yes, yes, I know her well; I go to her parties; receives Wednesdays; highly creditable house.” — Madame Firmiani is metamorphosed into a house! but the house is not a pile of stones architecturally superposed, of course not, the word presents in Lounger’s language an indescribable idiom. — Here the Lounger, a spare man with an agreeable smile, a sayer of pretty nothings with more acquired cleverness than native wit, stoops to your ear and adds, with a shrewd glance: “I have never seen Monsieur Firmiani. His social position is that of looking after property in Italy. Madame Firmiani is a Frenchwoman, and spends her money like a Parisian. She has excellent tea. It is one of the few houses where you can amuse yourself; the refreshments are exquisite. It is very difficult to get admitted; therefore, of course, one meets only the best society in her salons.” Here the Lounger takes a pinch of snuff; he inhales it slowly and seems to say: “I go there, but don’t expect me to present you.”

  Evidently the Lounger considers that Madame Firmiani keeps a sort of inn, without a sign.

  “Why do you want to know Madame Firmiani? Her parties are as dull as the Court itself. What is the good of possessing a mind unless to avoid such salons, where stupid talk and foolish little ballads are the order of the day.” You have questioned a being classed Egotist, a species who would like to keep the universe under lock and key, and let nothing be done without their permission. They are unhappy if others are happy; they forgive nothing but vices, downfalls, frailties, and like none but proteges. Aristocrats by inclination, they make themselves democrats out of spite, preferring to consort with inferiors as equals.

  “Oh, Madame Firmiani, my dear fellow! she is one of those adorable women who serve as Nature’s excuse for all the ugly ones she creates. Madame Firmiani is enchanting, and so kind! I wish I were in power and possessed millions that I might — ” (here a whisper). “Shall I present you?” The speaker is a youth of the Student species, known for his boldness among men and his timidity in a boudoir.

  “Madame Firmiani?” cries another, twirling his cane. “I’ll tell you what I think of her; she is a woman between thirty and thirty-five; faded complexion, handsome eyes, flat figure, contralto voice worn out, much dressed, rather rouged, charming manners; in short, my dear fellow, the remains of a pretty woman who is still worth the trouble of a passion.” This remark is from the species Fop, who has just breakfasted, doesn’t weigh his words, and is about to mount his horse. At that particular moment Fops are pitiless.

  “Magnificent collection of pictures in her house; go and see them by all means,” answers another. “Nothing finer.” You have questioned one of the species Connoisseur. He leaves you to go to Perignon’s or Tripet’s. To him, Madame Firmiani is a collection of painted canvases.

  A Woman: “Madame Firmiani? I don’t wish you to visit her.” This remark is rich in meanings. Madame Firmiani! dangerous woman! a siren! dresses well, has taste; gives other women sleepless nights. Your informant belongs to the genus Spiteful.

  An Attache to an embassy: “Madame Firmiani? Isn’t she from Antwerp? I saw her ten years ago in Rome; she was very handsome then.” Individuals of the species Attache have a mania for talking in the style of Talleyrand. Their wit is often so refined that the point is imperceptible; they are like billiard-players who avoid hitting the ball with consummate dexterity. These individuals are usually taciturn, and when they talk it is only about Spain, Vienna, Italy, or Petersburg. Names of countries act like springs in their mind; press them, and the ringing of their changes begins.

  “That Madame Firmiani sees a great deal of the faubourg Saint-Germain, doesn’t she?” This from a person who desires to belong to the class Distinguished. She gives the “de” to everybody, — to Monsieur Dupin senior, to Monsieur Lafayette; she flings it right and left and humiliates many. This woman spends her life in striving to know and do “the right thing”; but, for her sins, she lives in the Marais, and her husband is a lawyer, — a lawyer before the Royal courts, however.

  “Madame Firmiani, monsieur? I do not know her.” This man belongs to the species Duke. He recognizes none but the women who have been presented at court. Pray excuse him, he was one of Napoleon’s creations.

  “Madame Firmiani? surely she used to sing at the Opera-house.” Species Ninny. The individuals of this species have an answer for everything. They will tell lies sooner
than say nothing.

  Two old ladies, wives of former magistrates: The First (wears a cap with bows, her face is wrinkled, her nose sharp, voice hard, carries a prayer-book in her hand): “What was that Madame Firmiani’s maiden name?” — The Second (small face red as a crab-apple, gentle voice): “She was a Cadignan, my dear, niece of the old Prince de Cadignan, consequently cousin to the present Duc de Maufrigneuse.”

  Madame Firmiani is a Cadignan. She might have neither virtue, nor wealth, nor youth, but she would still be a Cadignan; it is like a prejudice, always alive and working.

  An Original: “My dear fellow, I’ve seen no galoshes in her antechamber; consequently you can visit her without compromising yourself, and play cards there without fear; if there are any scoundrels in her salons, they are people of quality and come in their carriages; such persons never quarrel.”

  Old man belonging to the genus Observer: “If you call on Madame Firmiani, my good friend, you will find a beautiful woman sitting at her ease by the corner of her fireplace. She will scarcely rise to receive you, — she only does that for women, ambassadors, dukes, and persons of great distinction. She is very gracious, she possesses charm; she converses well, and likes to talk on many topics. There are many indications of a passionate nature about her; but she has, evidently, so many adorers that she cannot have a favorite. If suspicion rested on two or three of her intimates, we might say that one or other of them was the “cavaliere servente”; but it does not. The lady is a mystery. She is married, though none of us have seen her husband. Monsieur Firmiani is altogether mythical; he is like that third post-horse for which we pay though we never behold it. Madame has the finest contralto voice in Europe, so say judges; but she has never been heard to sing more than two or three times since she came to Paris. She receives much company, but goes nowhere.”