“‘For two months now I have been struggling with myself. What shall I do? My heart is too full; I therefore seek a friend, and send out this cry, “What shall I do?”‘
“I did not answer this letter. Two months later the newspapers announced the return on board an English vessel of the Comtesse Octave, restored to her family after adventures by land and sea, invented with sufficient probability to arouse no contradiction.
“When I moved to Genoa I received a formal announcement of the happy event of the birth of a son to the Count and Countess. I held that letter in my hand for two hours, sitting on this terrace — on this bench. Two months after, urged by Octave, by M. de Grandville, and Monsieur de Serizy, my kind friends, and broken by the death of my uncle, I agreed to take a wife.
“Six months after the revolution of July I received this letter, which concludes the story of this couple: —
“‘MONSIEUR MAURICE, — I am dying though I am a mother — perhaps because I am a mother. I have played my part as a wife well; I have deceived my husband. I have had happiness not less genuine than the tears shed by actresses on the stage. I am dying for society, for the family, for marriage, as the early Christians died for God! I know not of what I am dying, and I am honestly trying to find out, for I am not perverse; but I am bent on explaining my malady to you — you who brought that heavenly physician your uncle, at whose word I surrendered. He was my director; I nursed him in his last illness, and he showed me the way to heaven, bidding me persevere in my duty.
“‘And I have done my duty.
“‘I do not blame those who forget. I admire them as strong and necessary natures; but I have the malady of memory! I have not been able twice to feel that love of the heart which identifies a woman with the man she loves. To the last moment, as you know, I cried to your heart, in the confessional, and to my husband, “Have mercy!” But there was no mercy. Well, and I am dying, dying with stupendous courage. No courtesan was ever more gay than I. My poor Octave is happy; I let his love feed on the illusions of my heart. I throw all my powers into this terrible masquerade; the actress is applauded, feasted, smothered in flowers; but the invisible rival comes every day to seek its prey — a fragment of my life. I am rent and I smile. I smile on two children, but it is the elder, the dead one, that will triumph! I told you so before. The dead child calls me, and I am going to him.
“‘The intimacy of marriage without love is a position in which my soul feels degraded every hour. I can never weep or give myself up to dreams but when I am alone. The exigencies of society, the care of my child, and that of Octave’s happiness never leave me a moment to refresh myself, to renew my strength, as I could in my solitude. The incessant need for watchfulness startles my heart with constant alarms. I have not succeeded in implanting in my soul the sharp-eared vigilance that lies with facility, and has the eyes of a lynx. It is not the lip of one I love that drinks my tears and kisses them; my burning eyes are cooled with water, and not with tender lips. It is my soul that acts a part, and that perhaps is why I am dying! I lock up my griefs with so much care that nothing is to be seen of it; it must eat into something, and it has attacked my life.
“‘I said to the doctors, who discovered my secret, “Make me die of some plausible complaint, or I shall drag my husband with me.”
“‘So it is quite understood by M. Desplein, Bianchon, and myself that I am dying of the softening of some bone which science has fully described. Octave believes that I adore him, do you understand? So I am afraid lest he should follow me. I now write to beg you in that case to be the little Count’s guardian. You will find with this a codicil in which I have expressed my wish; but do not produce it excepting in case of need, for perhaps I am fatuously vain. My devotion may perhaps leave Octave inconsolable but willing to live. — Poor Octave! I wish him a better wife than I am, for he deserves to be well loved.
“‘Since my spiritual spy is married, I bid him remember what the florist of the Rue Saint-Maur hereby bequeaths to him as a lesson: May your wife soon be a mother! Fling her into the vulgarest materialism of household life; hinder her from cherishing in her heart the mysterious flower of the Ideal — of that heavenly perfection in which I believed, that enchanted blossom with glorious colors, and whose perfume disgusts us with reality. I am a Saint-Theresa who has not been suffered to live on ecstasy in the depths of a convent, with the Holy Infant, and a spotless winged angel to come and go as she wished.
“‘You saw me happy among my beloved flowers. I did not tell you all: I saw love budding under your affected madness, and I concealed from you my thoughts, my poetry; I did not admit you to my kingdom of beauty. Well, well; you will love my child for love of me if he should one day lose his poor father. Keep my secrets as the grave will keep them. Do not mourn for me; I have been dead this many a day, if Saint Bernard was right in saying that where there is no more love there is no more life.’”
“And the Countess died,” said the Consul, putting away the letters and locking the pocket-book.
“Is the Count still living?” asked the Ambassador, “for since the revolution of July he has disappeared from the political stage.”
“Do you remember, Monsieur de Lora,” said the Consul-General, “having seen me going to the steamboat with — — ”
“A white-haired man! an old man?” said the painter.
“An old man of forty-five, going in search of health and amusement in Southern Italy. That old man was my poor friend, my patron, passing through Genoa to take leave of me and place his will in my hands. He appoints me his son’s guardian. I had no occasion to tell him of Honorine’s wishes.”
“Does he suspect himself of murder?” said Mademoiselle des Touches to the Baron de l’Hostal.
“He suspects the truth,” replied the Consul, “and that is what is killing him. I remained on board the steam packet that was to take him to Naples till it was out of the roadstead; a small boat brought me back. We sat for some little time taking leave of each other — for ever, I fear. God only knows how much we love the confidant of our love when she who inspired it is no more.
“‘That man,’ said Octave, ‘holds a charm and wears an aureole.’ the Count went to the prow and looked down on the Mediterranean. It happened to be fine, and, moved no doubt by the spectacle, he spoke these last words: ‘Ought we not, in the interests of human nature, to inquire what is the irresistible power which leads us to sacrifice an exquisite creature to the most fugitive of all pleasures, and in spite of our reason? In my conscience I heard cries. Honorine was not alone in her anguish. And yet I would have it!... I am consumed by remorse. In the Rue Payenne I was dying of the joys I had not; now I shall die in Italy of the joys I have had.... Wherein lay the discord between two natures, equally noble, I dare assert?’”
For some minutes profound silence reigned on the terrace.
Then the Consul, turning to the two women, asked, “Was she virtuous?”
Mademoiselle des Touches rose, took the Consul’s arm, went a few steps away, and said to him:
“Are not men wrong too when they come to us and make a young girl a wife while cherishing at the bottom of their heart some angelic image, and comparing us to those unknown rivals, to perfections often borrowed from a remembrance, and always finding us wanting?”
“Mademoiselle, you would be right if marriage were based on passion; and that was the mistake of those two, who will soon be no more. Marriage with heart-deep love on both sides would be Paradise.”
Mademoiselle des Touches turned from the Consul, and was immediately joined by Claude Vignon, who said in her ear:
“A bit of a coxcomb is M. de l’Hostal.”
“No,” replied she, whispering to Claude these words: “for he has not yet guessed that Honorine would have loved him. — Oh!” she exclaimed, seeing the Consul’s wife approaching, “his wife was listening! Unhappy man!”
Eleven was striking by all the clocks, and the guests went home on foot along the seashore.
“Still, that is not life,” said Mademoiselle des Touches. “That woman was one of the rarest, and perhaps the most extraordinary exceptions in intellect — a pearl! Life is made up of various incidents, of pain and pleasure alternately. The Paradise of Dante, that sublime expression of the ideal, that perpetual blue, is to be found only in the soul; to ask it of the facts of life is a luxury against which nature protests every hour. To such souls as those the six feet of a cell, and the kneeling chair are all they need.”
“You are right,” said Leon de Lora; “but good-for-nothing as I may be, I cannot help admiring a woman who is capable, as that one was, of living by the side of a studio, under a painter’s roof, and never coming down, nor seeing the world, nor dipping her feet in the street mud.”
“Such a thing has been known — for a few months,” said Claude Vignon, with deep irony.
“Comtesse Honorine is not unique of her kind,” replied the Ambassador to Mademoiselle des Touches. “A man, nay, and a politician, a bitter writer, was the object of such a passion; and the pistol shot which killed him hit not him alone; the woman who loved lived like a nun ever after.”
“Then there are yet some great souls in this age!” said Camille Maupin, and she stood for some minutes pensively leaning on the balustrade of the quay.
BEATRIX
Translated by Katharine Prescott Wormeley
This 1839 novel first appeared in the periodical Le Siècle in August 1839 and appeared in book form the same year. The narrative introduces the handsome young man named Calyste du Guénic, who is in love with the older woman, Félicité des Touches, a famous writer using the pen name of Camille Maupin. Félicité at first does not reciprocate Calyste’s feelings and Calyste falls in love with the blonde marchioness Béatrix de Rochefide. Balzac based the characters on real-life figures, with Félicité des Touches being based on the novelist George Sand.
The frontispiece image of the first English translation
CONTENTS
I. A BRETON TOWN AND MANSION
II. THE BARON, HIS WIFE, AND SISTER
III. THREE BRETON SILHOUETTES
IV. A NORMAL EVENING
V. CALYSTE
VI. BIOGRAPHY OF CAMILLE MAUPIN
VII. LES TOUCHES
VIII. LA MARQUISE BEATRIX
IX. A FIRST MEETING
X. DRAMA
XI. FEMALE DIPLOMACY
XII. CORRESPONDENCE
XIII. DUEL BETWEEN WOMEN
XIV. AN EXCURSION TO CROISIC
XV. CONTI
XVI. SICKNESS UNTO DEATH
XVII. A DEATH: A MARRIAGE
XVIII. THE END OF A HONEY-MOON
Guerande, July, 1838.
XIX. THE FIRST LIE OF A PIOUS DUCHESS
XX. A SHORT TREATISE ON CERTAINTY: BUT NOT FROM PASCAL’S POINT OF VIEW
XXI. THE WICKEDNESS OF A GOOD WOMAN
XXII. THE NORMAL HISTORY OF AN UPPER-CLASS GRISETTE
XXIII. ONE OF THE DISEASES OF THE AGE
XXIV. THE INFLUENCE OF SOCIAL RELATIONS AND POSITION
XXV. A PRINCE OF BOHEMIA
XXVI. DISILLUSIONS — IN ALL BUT LA FONTAINE’S FABLES
NOTE
It is somewhat remarkable that Balzac, dealing as he did with traits of character and the minute and daily circumstances of life, has never been accused of representing actual persons in the two or three thousand portraits which he painted of human nature.
In “The Great Man of the Provinces in Paris” some likenesses were imagined: Jules Janin in Etienne Lousteau, Armand Carrel in Michel Chrestien, and, possibly, Berryer in Daniel d’Arthez. But in the present volume, “Beatrix,” he used the characteristics of certain persons, which were recognized and admitted at the time of publication. Mademoiselle des Touches (Camille Maupin) is George Sand in character, and the personal description of her, though applied by some to the famous Mademoiselle Georges, is easily recognized from Couture’s drawing. Beatrix, Conti, and Claude Vignon are sketches of the Comtesse d’Agoult, Liszt, and the well-known critic Gustave Planche.
The opening scene of this volume, representing the manners and customs of the old Breton family, a social state existing no longer except in history, and the transition period of the vieille roche as it passed into the customs and ideas of the present century, is one of Balzac’s remarkable and most famous pictures in the “Comedy of Human Life.”
K.P.W.
I. A BRETON TOWN AND MANSION
France, especially in Brittany, still possesses certain towns completely outside of the movement which gives to the nineteenth century its peculiar characteristics. For lack of quick and regular communication with Paris, scarcely connected by wretched roads with the sub-prefecture, or the chief city of their own province, these towns regard the new civilization as a spectacle to be gazed at; it amazes them, but they never applaud it; and, whether they fear or scoff at it, they continue faithful to the old manners and customs which have come down to them. Whoso would travel as a moral archaeologist, observing men instead of stones, would find images of the time of Louis XV. in many a village of Provence, of the time of Louis XIV. in the depths of Pitou, and of still more ancient times in the towns of Brittany. Most of these towns have fallen from states of splendor never mentioned by historians, who are always more concerned with facts and dates than with the truer history of manners and customs. The tradition of this splendor still lives in the memory of the people, — as in Brittany, where the native character allows no forgetfulness of things which concern its own land. Many of these towns were once the capitals of a little feudal State, — a county or duchy conquered by the crown or divided among many heirs, if the male line failed. Disinherited from active life, these heads became arms; and arms deprived of nourishment, wither and barely vegetate.
For the last thirty years, however, these pictures of ancient times are beginning to fade and disappear. Modern industry, working for the masses, goes on destroying the creations of ancient art, the works of which were once as personal to the consumer as to the artisan. Nowadays we have products, we no longer have works. Public buildings, monuments of the past, count for much in the phenomena of retrospection; but the monuments of modern industry are freestone quarries, saltpetre mines, cotton factories. A few more years and even these old cities will be transformed and seen no more except in the pages of this iconography.
One of the towns in which may be found the most correct likeness of the feudal ages is Guerande. The name alone awakens a thousand memories in the minds of painters, artists, thinkers who have visited the slopes on which this splendid jewel of feudality lies proudly posed to command the flux and reflux of the tides and the dunes, — the summit, as it were, of a triangle, at the corners of which are two other jewels not less curious: Croisic, and the village of Batz. There are no towns after Guerande except Vitre in the centre of Brittany, and Avignon in the south of France, which preserve so intact, to the very middle of our epoch, the type and form of the middle ages.
Guerande is still encircled with its doughty walls, its moats are full of water, its battlements entire, its loopholes unencumbered with vegetation; even ivy has never cast its mantle over the towers, square or round. The town has three gates, where may be seen the rings of the portcullises; it is entered by a drawbridge of iron-clamped wood, no longer raised but which could be raised at will. The mayoralty was blamed for having, in 1820, planted poplars along the banks of the moat to shade the promenade. It excused itself on the ground that the long and beautiful esplanade of the fortifications facing the dunes had been converted one hundred years earlier into a mall where the inhabitants took their pleasure beneath the elms.
The houses of the old town have suffered no change; and they have neither increased nor diminished. None have suffered upon their frontage from the hammer of the architect, the brush of the plasterer, nor have they staggered under the weight of added stories. All retain their primitive characteristics. Some rest on wooden columns which form arcades under which foot-passengers c
irculate, the floor planks bending beneath them, but never breaking. The houses of the merchants are small and low; their fronts are veneered with slate. Wood, now decaying, counts for much in the carved material of the window-casings and the pillars, above which grotesque faces look down, while shapes of fantastic beasts climb up the angles, animated by that great thought of Art, which in those old days gave life to inanimate nature. These relics, resisting change, present to the eye of painters those dusky tones and half-blurred features in which the artistic brush delights.
The streets are what they were four hundred years ago, — with one exception; population no longer swarms there; the social movement is now so dead that a traveller wishing to examine the town (as beautiful as a suit of antique armor) may walk alone, not without sadness, through a deserted street, where the mullioned windows are plastered up to avoid the window-tax. This street ends at a postern, flanked with a wall of masonry, beyond which rises a bouquet of trees planted by the hands of Breton nature, one of the most luxuriant and fertile vegetations in France. A painter, a poet would sit there silently, to taste the quietude which reigns beneath the well-preserved arch of the postern, where no voice comes from the life of the peaceful city, and where the landscape is seen in its rich magnificence through the loop-holes of the casemates once occupied by halberdiers and archers, which are not unlike the sashes of some belvedere arranged for a point of view.
It is impossible to walk about the place without thinking at every step of the habits and usages of long-past times; the very stones tell of them; the ideas of the middle ages are still there with all their ancient superstitions. If, by chance, a gendarme passes you, with his silver-laced hat, his presence is an anachronism against which your sense of fitness protests; but nothing is so rare as to meet a being or an object of the present time. There is even very little of the clothing of the day; and that little the inhabitants adapt in a way to their immutable customs, their unchangeable physiognomies. The public square is filled with Breton costumes, which artists flock to draw; these stand out in wonderful relief upon the scene around them. The whiteness of the linen worn by the paludiers (the name given to men who gather salt in the salt-marshes) contrasts vigorously with the blues and browns of the peasantry and the original and sacredly preserved jewelry of the women. These two classes, and that of the sailors in their jerkins and varnished leather caps are as distinct from one another as the castes of India, and still recognize the distance that parts them from the bourgeoisie, the nobility, and the clergy. All lines are clearly marked; there the revolutionary level found the masses too rugged and too hard to plane; its instrument would have been notched, if not broken. The character of immutability which science gives to zoological species is found in Breton human nature. Even now, after the Revolution of 1830, Guerande is still a town apart, essentially Breton, fervently Catholic, silent, self-contained, — a place where modern ideas have little access.
Works of Honore De Balzac Page 165
