The characteristic peculiarities of Balzac’s novels may be described as the intensity with which he expresses certain motives, and the vigour with which he portrays the real or imaginary corruption of society. Upon one particular situation, or class of situations, favourable to this peculiar power, he is never tired of dwelling. He repeats himself indeed, in a certain sense, as a man must necessarily repeat himself who writes eighty-five stories, besides doing other work, in less than twenty years. In this voluminous outpouring of matter the machinery is varied with wonderful fertility of invention, but one sentiment recurs very frequently. The great majority of Balzac’s novels, including all the most powerful examples, may thus be described as variations on a single theme. Each of them is in fact the record of a martyrdom. There is always a virtuous hero or heroine who is tortured, and most frequently, tortured to death, by a combination of selfish intrigues. The commonest case is, of course, that which has become the staple plot of French novelists, where the interesting young woman is sacrificed to the brutality of a dull husband: that, for example, is the story of the ‘Femme de Trente Ans,’ of ‘Le Lys dans la Vallée,’ and of several minor performances; then we have the daughter sacrificed to the avaricious father, as in ‘Eugénie Grandet;’ the woman sacrificed to the imperious lover in the ‘Duchesse de Langeais;’ the immoral beauty sacrificed to the ambition of her lover in the ‘Splendeurs et Misères des Courtisanes;’ the mother sacrificed to the dissolute son in the ‘Ménage de Garçon;’ the woman of political ambition sacrificed to the contemptible intriguers opposed to her in ‘Les Employés;’ and, indeed, in one way or other, as subordinate character or as heroine, this figure of a graceful feminine victim comes into nearly every novel. Virtuous heroes fare little better. Poor Colonel Chabert is disowned and driven to beggary by the wife who has committed bigamy; the luckless curé, Birotteau, is cheated out of his prospects and doomed to a broken heart by the successful villainy of a rival priest and his accomplices; the Comte de Manerville is ruined and transported by his wife and his detestable mother-in-law; Père Goriot is left to starvation by his daughters; the Marquis d’Espard is all but condemned as a lunatic by the manœuvres of his wife; the faithful servant Michu comes to the guillotine; the devoted notary Chesnel is beggared in the effort to save his scape-grace of a master; Michaud, another devoted adherent, is murdered with perfect success by the brutal peasantry, and his wife dies of the news; Balthazar Claes is the victim of his devotion to science; and Z. Marcas dies unknown and in the depths of misery as a reward for trying to be a second Colbert. The old-fashioned canons of poetical justice are inverted; and the villains are dismissed to live very happily ever afterwards, whilst the virtuous are slain outright or sentenced to a death by slow torture. Thackeray, in one or two of his minor stories, has touched the same note. The history of Mr. Deuceace, and especially its catastrophe, is much in Balzac’s style; but, as a rule, our English novelists shrink from anything so unpleasant.
Perhaps the most striking example of this method is the ‘Père Goriot.’ The general situation may be described in two words, by saying that Goriot is the modern King Lear. Mesdames de Restaud and de Nucingen are the representatives of Regan and Goneril; but the Parisian Lear is not allowed the consolation of a Cordelia; the cup of misery is measured out to him drop by drop, and the bitterness of each dose is analysed with chemical accuracy. We watch the poor old broken-down merchant, who has impoverished himself to provide his daughters’ dowries, and has gradually stripped himself, first of comfort, and then of the necessaries of life to satisfy the demands of their folly and luxury, as we might watch a man clinging to the edge of a cliff and gradually dropping lower and lower, catching feebly at every point of support till his strength is exhausted, and the inevitable catastrophe follows. The daughters, allowed to retain some fragments of good feeling and not quite irredeemably hateful, are gradually yielding to the demoralising influence of a heartless vanity. They yield, it is true, pretty completely at last; but their wickedness seems to reveal the influence of a vague but omnipotent power of evil in the background. There is not a more characteristic scene in Balzac than that in which Rastignac, the lover of Madame de Nucingen, overhears the conversation between the father in his wretched garret and the modern Goneril and Regan. A gleam of good fortune has just encouraged old Goriot to anticipate an escape from his troubles. On the morning of the day of expected release Madame Goneril de Nucingen rushes up to her father’s garret to explain to him that her husband, the rich banker, having engaged all his funds in some diabolical financial intrigues, refuses to allow her the use of her fortune; whilst, owing to her own misconduct, she is afraid to appeal to the law. They have a hideous tacit compact, according to which the wife enjoys full domestic liberty, whilst the husband may use her fortune to carry out his dishonest plots. She begs her father to examine the facts in the light of his financial experience, though the examination must be deferred, that she may not look ill with the excitement when she meets her lover at the ball. As the poor father is tormenting his brains, Madame Regan de Restaud appears in terrible distress. Her lover has threatened to commit suicide unless he can meet a certain bill, and to save him she has pledged certain diamonds which were heirlooms in her husband’s family. Her husband has discovered the whole transaction, and, though not making an open scandal, imposes some severe conditions upon her future. Old Goriot is raving against the brutality of her husband, when Regan adds that there is still a sum to be paid, without which her lover, to whom she has sacrificed everything, will be ruined. Now old Goriot had employed just this sum — all but the very last fragment of his fortune — in the service of Goneril. A desperate quarrel instantly takes place between the two fine ladies over this last scrap of their father’s property. They are fast degenerating into Parisian Billingsgate, when Goriot succeeds in obtaining silence and proposes to strip himself of his last penny. Even the sisters hesitate at such an impiety, and Rastignac enters with some apology for listening, and hands over to the countess a certain bill of exchange for a sum which he professes himself to owe to Goriot, and which will just save her lover. She accepts the paper, but vehemently denounces her sister for having, as she supposes, allowed Rastignac to listen to their hideous revelations, and retires in a fury, whilst the father faints away. He recovers to express his forgiveness, and at this moment the countess returns, ostensibly to throw herself on her knees and beg her father’s pardon. She apologises to her sister, and a general reconciliation takes place. But before she has again left the room she has obtained her father’s endorsement to Rastignac’s bill. Even her most genuine fury had left coolness enough for calculation, and her burst of apparent tenderness was a skilful bit of comedy for squeezing one more drop of blood from her father and victim. That is a genuine stroke of Balzac.
Hideous as the performance appears when coolly stated, it must be admitted that the ladies have got into such terrible perplexities from tampering with the seventh commandment, that there is some excuse for their breaking the fifth. Whether such an accumulation of horrors is a legitimate process in art, and whether a healthy imagination would like to dwell upon such loathsome social sores, is another question. The comparison suggested with ‘King Lear’ may illustrate the point. In Balzac all the subordinate details which Shakespeare throws in with a very slovenly touch are elaborately drawn, and contribute powerfully to the total impression. On the other hand, we never reach the lofty poetical heights of the grandest scenes in ‘King Lear.’ But the situation of the two heroes offers an instructive contrast. Lear is weak, but is never contemptible; he is the ruin of a gallant old king, is guilty of no degrading compliance, and dies like a man, with his ‘good biting falchion’ still grasped in his feeble hand. To change him into Goriot we must suppose that he had licked the hand which struck him, that he had helped on the adulterous intrigues of Goneril and Regan from sheer weakness, and that all his fury had been directed against Cornwall and Albany for objecting to his daughters’ eccentric views of the obligati
on of the marriage vow. Paternal affection leading a man to the most trying self-sacrifice is a worthy motive for a great drama or romance; but Balzac is so anxious to intensify the emotion, that he makes even paternal affection morally degrading. Everything must be done to heighten the colouring. Our sympathies are to be excited by making the sacrifice as complete, and the emotion which prompts it as overpowering, as possible; until at last the love of children becomes a monomania. Goriot is not only dragged through the mud of Paris, but he grovels in it with a will. In short, Balzac wants that highest power which shows itself by moderation, and commits a fault like that of an orator who emphasizes every sentence. With less expenditure of horrors, he would excite our compassion more powerfully. But after all, Goriot is, perhaps, more really affecting even than King Lear.
Situations of the ‘Père Goriot’ kind are, in some sense, more appropriate for heroines than for heroes. Self-sacrifice is, for the present at least, considered by a large part of mankind as the complete duty of woman. The feminine martyr can indulge without loss of our esteem in compliances which would be degrading in a man. Accordingly Balzac finds the amplest materials for his favourite situation in the torture of innocent women. The great example of his skill in this department is Eugénie Grandet, in which the situation of the Père Goriot is inverted. Poor Eugénie is the victim of a domestic tyrant, who is, perhaps, Balzac’s most finished portrait of the cold-blooded and cunning miser. The sacrifice of a woman’s life to paternal despotism is unfortunately even commoner in real life than in fiction; and when the lover, from whom the old miser has divided her during his life, deserts her after his death, we feel that the mournful catastrophe is demanded by the sombre prologue. The book may indeed justify, to some extent, one of the ordinary criticisms upon Balzac, that he showed a special subtlety in describing the sufferings of women. The question as to the general propriety of that criticism is rather difficult for a male critic. I confess to a certain scepticism, founded partly on the general principle that hardly any author can really describe the opposite sex, and partly on an antipathy which I cannot repress to Balzac’s most ambitious feminine portraits.
Eugénie Grandet is perhaps the purest of his women; but then Eugénie Grandet is simply stupid, and interesting from her sufferings rather than her character. She reminds us of some patient animal of the agricultural kind, with bovine softness of eyes and bovine obstinacy under suffering. His other women, though they are not simply courtesans, after the fashion of some French writers, seem, as it were, to have a certain perceptible taint; they breathe an unwholesome atmosphere. In one of his extravagant humours, he tells us that the most perfect picture of purity in existence is the Madonna of the Genoese painter, Piola, but that even that celestial Madonna would have looked like a Messalina by the side of the Duchesse de Manfrigneuse. If the duchess resembled either personage in character, it was certainly not the Madonna. And Balzac’s best women give us the impression that they are courtesans acting the character of virgins, and showing admirable dramatic skill in the performance. They may keep up the part so obstinately as to let the acting become earnest; but even when they don’t think of breaking the seventh commandment, they are always thinking about not breaking it. When he has done his best to describe a thoroughly pure woman, such as Henrietta in the ‘Lys dans la Vallée,’ he cannot refrain from spoiling his performance by throwing in a hint at the conclusion that, after all, she had a strong disposition to go wrong, which was only defeated by circumstances. Indeed, the ladies who in his pages have broken loose from all social restraints, differ only in external circumstances from their more correct sisters. Coralie, in the ‘Illusions Perdues,’ is not so chaste in her conduct as the immaculate Henriette, but is not a whit less delicate in her tastes. Madame de la Baudraye deserts her husband, and lives for some years with her disreputable lover at Paris, and does not in the least forfeit the sympathies of her creator. Balzac’s feminine types may be classified pretty easily. At bottom they are all of the sultana variety — playthings who occasionally venture into mixing with the serious affairs of life, but then only on pain of being ridiculous (as in the ‘Employés,’ or the ‘Muse du Département’); but properly confined to their drawing-rooms, with delicate cajoleries for their policy, and cunning instead of intellect. Sometimes they are cold-hearted and selfish, and then they are vicious, making victims of lovers, husbands, or fathers, consuming fortunes, and spreading ill-will by cunning intrigues; sometimes they are virtuous, and therefore according to Balzac’s logic, pitiable victims of the world. But their virtue, when it exists, is the effect, not of lofty principle, but of a certain delicacy of taste corresponding to a fine organisation. They object to vice, because it is apt to be coarse; and are perfectly ready to yield, if it can be presented in such graceful forms as not to shock their sensibilities. Marriage is therefore a complicated intrigue in which one party is always deceived, though it may be for his or her good. If you will be loved, says the judicious lady in the ‘Mémoires de Deux Jeunes Mariées,’ the secret is not to love; and the rather flimsy epigram is converted into a great moral truth. The justification of the lady is, that love is only made permanent by elaborate intrigue. The wife is to be always on the footing of a mistress who can only preserve her lover by incessant and infinitely varied caresses. To do this, she must be herself cool. The great enemy of matrimonial happiness is satiety, and we are constantly presented with an affectionate wife boring her husband to death, and alienating him by over-devotion. If one party is to be cheated, the one who is freest from passion will be the winner of the game. As a maxim, after the fashion of Rochefoucauld, this doctrine may have enough truth to be plausible; but when seriously accepted and made the substantive moral of a succession of stories, one is reminded less of a really acute observer than of a lad fresh from college who thinks that wisdom consists in an exaggerated cynicism. When ladies of this variety break their hearts, they either die or retire in a picturesque manner to a convent. They are indeed the raw material of which the genuine dévote is made. The morbid sentimentality directed to the lover passes without perceptible shock into a religious sentimentality, the object of which is at least ostensibly different. The graceful but voluptuous mistress of the Parisian salon is developed without any violent transition into the equally graceful and ascetic nun. The connection between the luxurious indulgence of material flirtations and religious mysticism is curious, but unmistakable.
Balzac’s reputation in this respect is founded, not on his little hoard of cynical maxims, which, to say the truth, are not usually very original, but on the vivid power of describing the details and scenery of the martyrdom, and the energy with which he paints the emotion, of the victim. Whether his women are very lifelike, or very varied in character, may be doubted; but he has certainly endowed them with an admirable capacity for suffering, and forces us to listen sympathetically to their cries of anguish. The peculiar cynicism implied in this view of feminine existence must be taken as part of his fundamental theory of society. When Rastignac has seen Goriot buried, the ceremony being attended only by his daughters’ empty carriages, he climbs to the highest part of the cemetery, and looks over Paris. As he contemplates the vast buzzing hive, he exclaims solemnly, ‘à nous deux maintenant!’ The world is before him; he is to fight his way in future without remorse. Accordingly, Balzac’s view of society is, that it is a masquerade of devils, engaged in tormenting a few wandering angels. That society is not what Balzac represents it to be is sufficiently proved by the fact that society exists; as indeed he is profoundly convinced that its destruction is only a question of time. It is rotten to the core. Lust and avarice are the moving forms of the world, while profound and calculating selfishness has sapped the base of all morality. The type of a successful statesman is De Marsay, a kind of imaginary Talleyrand, who rules because he has recognised the intrinsic baseness of mankind, and has no scruples in turning it to account. Vautrin, who is an open enemy of society, is simply De Marsay in revolt. The weapons with which
he fights are distinguished from those of greater men, not in their intrinsic wickedness, but in their being accidentally forbidden by law. He is less of a hypocrite, and scarcely a greater villain than his more prosperous rivals. He ultimately recognises the futility of the strife, agrees to wear a mask like his neighbours, and accepts the congenial duties of a police agent. The secret of success in all ranks of life is to be without scruples of morality, but exceedingly careful of breaking the law. The bankers, Nucingen and Du Tillet, are merely cheats on a gigantic scale. They ruin their enemies by financiering instead of picking pockets. Be wicked if you would be successful; if possible let your wickedness be refined; but, at all events, be wicked.
There is, indeed, a class of unsuccessful villains, to be found chiefly amongst journalists, for whom Balzac has a special aversion; they live, he tells us, partly on extortion, and partly on the prostitution of their talents to gratify political or personal animosities, and are at the mercy of the longest purse. They fail in life, not because they are too immoral, but because they are too weak. They are the victims instead of the accomplices of more resolute evil-doers. Lucien de Rubempré is the type of this class. Endowed with surpassing genius and personal beauty, he goes to Paris to make his fortune, and is introduced to the world as it is. On the one hand is a little knot of virtuous men, called the cénacle, who are working for posterity and meanwhile starving. On the other is a vast mass of cheats and dupes. After a brief struggle Lucien yields to temptation, and joins in the struggle for wealth and power. But he has not strength enough to play his part. His head is turned by the flattery of pretty actresses and scheming publishers: he is enticed into thoughtless dissipation, and, after a brilliant start, finds that he is at the mercy of the cleverer villains who surround him; that he has been bought and sold like a sheep; that his character is gone, and his imagination become sluggish; and, finally, he has to escape from utter ruin by scarcely describable degradation. He writes a libel on one of his virtuous friends, who is forgiving enough to improve it and correct it for the press. In order to bury his mistress, who has been ruined with him, he has to raise money by grovelling in the foulest depths of literary sewerage. He at last succeeds in crawling back to his relations in the country, morally and materially ruined. He makes another effort to rise, backed up by the diabolical arts of Vautrin, and relying rather on his beauty than his talents. The world is again too strong for him, and, after being accomplice in the most outrageous crimes, he ends appropriately by hanging himself in prison. Vautrin, as we have seen, escapes from the fate of his partner because he retains coolness enough to practise upon the vices of the governing classes. The world, in short, is composed of three classes — consistent and, therefore, successful villains; inconsistent and, therefore, unsuccessful villains; and virtuous persons, who never have a chance of success, and enjoy the honours of starvation.
Works of Honore De Balzac Page 1446
