“‘Salute me,’ he cried out joyously, ‘for I am on the high road to become a genius!’
“He then proceeded to unfold his plan to us, although it still rather frightened him. In spite of the vastness of his brain, time alone would enable him to work out such a plan in detail!
“‘How splendid it will be if I succeed!’ he said as he strode up and down the parlour; he was too excited to remain in one place and joy radiated from all his features. ‘From now on they are welcome to call me Balzac the tale-smith! I shall go on tranquilly squaring my stones and enjoying in advance the amazement of all those purblind critics when they finally discover the great structure that I am building!’“
What vital force there was in all the characters of Balzac’s novels, and how well entitled he was to boast that he was running in competition with the whole social structure! He had not yet formulated his conception of the Human Comedy, but he was on the road to it when he planned to rearrange the volumes already published with others that he had in preparation, in a series of scenes in which the representative types of the different social classes should develop. This was the first rough draft of his later great collected editions. In order to carry out his plan, he had to break with his former publishers, pay back advance royalties, and defend law-suits. His collective edition took the general title of Studies of the Manners and Customs of the Nineteenth Century, and was divided into Scenes of Private Life, Scenes of Provincial Life, and Scenes of Parisian Life. He gave the rights of publication of this collective edition first to Madame the Widow Béchet and later to Edmond Werclet, in consideration of the sum of twenty-seven thousand francs. This was the most advantageous contract that he had made up to this time, and he hoped that it would free him from all his debts, with the exception of what he owed his mother. In addition to his previously published volumes, he included in this edition the following new works: Eugénie Grandet, The Illustrious Gaudissart, The Maranas, Ferragus, The Duchess of Langeais, The Girl with the Golden Eyes, The Search for the Absolute, The Marriage Contract, The Old Maid, and the first part of Lost Illusions. But he did not include either The Chouans or his philosophic works.
Twenty-seven thousand francs was an enormous sum, without parallel save that paid to Chateaubriand for his collected works; but in Balzac’s case the payment was made in the form of notes for long periods, and he was left without ready money. In the midst of all his other labours he had to rack his brain in order to find some way of cashing these notes. “Finding that I had nothing to hope for from the bankers,” he wrote to Mme. Hanska, “I remembered that I owed three hundred francs to my doctor, so I called upon him in order to settle my account with one of my bits of negotiable paper, and he gave me change amounting to seven hundred francs, minus the discount. From there I made my way to my landlord, an old grain dealer in the Halle, and paid my rent with another of my notes, which he accepted, giving me back another seven hundred francs, minus the exchange; from him I went to my tailor, who, without demur, took over another of my thousand franc notes, entered it in his ledger, and paid me the whole thousand francs!
“Seeing that I was in for a run of luck, I took a cab and drove to the home of a friend, who is a millionaire twice over, a friend of twenty years standing. As it happened, he had just returned from Berlin. I found him in, and at once he hurried to his desk, gave me two thousand francs, and relieved me of two more of the Widow Béchet’s notes, without even looking at them. Ha! ha! — I returned to my rooms and summoned my vendor of wood and my grocer, in order to settle my accounts, and, in place of a five hundred franc bank note, slipped each of them one of the widow’s five hundred franc promissory notes! By four o’clock I was free once more and ready to meet the next day’s obligations. My mind is at ease for a month to come. I can seat myself once more in the fragile swing of my dreams and let my imagination keep me swinging. Ecco, Signora!
“My dear, faithful wife-to-be, did I not owe you this faithful picture of your future home life in Paris? Yes, but here are five thousand francs squandered, out of the twenty-seven thousand, and before setting out for Geneva I still have ten thousand to pay: three thousand to my mother, one thousand to my sister, and six thousand in judgments and costs. — ’Good gracious, my dear man, where will you raise all that?’ — Out of my ink-well!” (Letter dated October 31, 1833.)
The tone of the correspondence had become more tender and confidential, mirroring back an intimate picture of a laborious existence, laden with anxieties, — and the reason is that Balzac now knew his “Foreign Lady,” for he had met her at Neufchâtel, whence he returned overflowing with enthusiasm. From the date of the very first letters he had received his imagination had taken fire, and he had responded with an answering ardour to this woman who had so ingenuously laid bare her heart to him. It was a romantic adventure upon which he set forth rejoicing. He had sent to the fair unknown a lock of his hair, which he had allowed to remain for some time uncut, in order to send one as long as possible; he had presented her with a perfumed casket, destined to be the mysterious receptacle of his letters; a friend had drawn a sketch of his apartment in the Rue Cassini, so that she might see what a pleasant little den the toiler had; and lastly he inserted in a copy of The Country Doctor an aquarelle, in which he was portrayed in the somewhat exaggerated guise of his own Doctor Bernassis. This was a sacrifice to which he consented for love’s sake, because he had always refused to let anyone, even Gérard, paint his portrait, insisting “that he was not handsome enough to be worth preserving in oil.”
But letter-writing and delicate attentions in the form of gifts were far from satisfying him. He wanted to see her, to talk with her, to put into speech shades of feeling so delicate that the written word was powerless to reproduce them. And presently chance aided and abetted him. Mme. Hanska left Wierzchnownia for a summer vacation in Switzerland, and Balzac, on the trail of one of those business opportunities for which he was ever on the watch, was obliged to go to Besançon at precisely the same season. His mission related to the manufacture of a special kind of paper, to be made exclusively for his works, and which he imagined would speedily make his fortune. Since she was to be at Neufchâtel and he at Besançon, how could they resist the pleasure of a first meeting? Permission was asked to call, and permission was granted; and Balzac, impatient and intoxicated with hope, left Paris, September 22d, arrived at Neufchâtel on the 25th, and for five days enjoyed profound happiness, tender and unalloyed. They met, and the sentiments born of their correspondence, far from being destroyed by this meeting, were on the contrary exalted into trembling avowals, transports and protestations of eternal love. Balzac returned to Paris radiant with his new-found joy. He wrote as follows to his sister Laure, the habitual recipient of his confidences:
“I found down yonder all that is needed to flatter the thousand vanities of that animal known as man, of which species the poet still remains the vainest variety. But why do I use the word vanity? No, that has nothing to do with it. I am happy, very happy in thought, and so far all for the best and in all honour . . .
“I say nothing to you of her colossal wealth; of what consequence is that, beside a perfection of beauty which I can compare to no one except the Princess of Bellejoyeuse, only infinitely better?”
Mme. Hanska was profoundly religious and a practical Catholic; and from this time onward she exerted an influence over the trend of Balzac’s thoughts. Indeed, he brought back from their first interviews the germ idea of his mystical story, Séraphita. The project of the special paper having failed to materialise at Besançon, he tried to carry it out through the mediation of Mme. Carraud, but with no better success.
The Country Doctor proved a source of nothing but disappointments to Balzac, who received an adverse decision from the courts, in the lawsuit bought by Mame, because he had failed to furnish copy at the stipulated dates, and found himself facing a judgment of three thousand francs damages, besides another thousand francs for corrections made at his expense. The cost of the la
tter was, for that matter, always charged to him by his publishers in all his contracts, because his method of work raised this item to an unreasonable sum. For one of his short stories, Pierette, Balzac demanded no less than seventeen successive revised proofs. And his corrections, his additions and his suppressions formed such an inextricable tangle that the typesetters refused to work more than an hour at a time over his copy.
The failure of the work on which he had counted so much and the loss of his lawsuit did not discourage him. To borrow his own phrase, he “buried himself in the most frightful labours.” Between the end of 1833 and 1834 he produced Eugénie Grandet, The Illustrious Gaudissart, The Girl with the Golden Eyes, and The Search for the Absolute. The paper which he used for writing was a large octavo in form, with a parchment finish. His manuscripts often bore curious annotations and drawings. On the cover of that of Eugénie Grandet he had drawn a ground plan of old Grandet’s house, and had compiled a list of names, from which he chose those of the characters in the story. Balzac attached an extreme importance to proper names, and he did not decide which to give to his heroes until after long meditation, for he believed that names were significant, even to the extent of influencing their destinies. The manuscript of The Search for the Absolute bears witness to his constant preoccupation about money. He had inscribed on it the following account:
Total for June 7,505 francs.
Total for July 1,500 francs.
Floating debt 3,700 francs.
12,705 francs.
And melancholically he wrote below it, “Deficit, 1,705!” His writing was small, compressed, irregular and often far from easy to read; when he suppressed a passage, he used a form of pothook erasure which rendered the condemned phrase absolutely illegible.
In 1834, Honoré de Balzac, while still keeping his apartment in the Rue Cassini, transferred his residence to Chaillot, No. 13, Rue des Bastailles (now the Avenue d’Iena), in a house situated on the site of the hotel of Prince Roland Bonaparte. This was his bachelor quarters, where he received his letters, under the name of Madame the Widow Durand. He had by no means abandoned his projects of luxurious surroundings, and in The Girl with the Golden Eyes he has given a description of his own parlour, which shows that he had in a measure already realised his desires:
“One-half of the boudoir,” he wrote, “described an easy and graceful semicircle, while the opposite side was perfectly square, and in the centre glistened a mantelpiece of white marble and gold. The entrance was through a side door, hidden by a rich portière of tapestry, and facing a window. Within the horseshoe curve was a genuine Turkish divan, that is to say, a mattress resting directly upon the floor, a mattress as large as a bed, a divan fifty feet in circumference and covered with white cashmere, relieved by tufts of black and poppy-red silk arranged in a diamond pattern. The headboard of this immense bed rose several inches above the numerous cushions which still further enriched it by the good taste of their harmonious tints. The walls of this boudoir were covered with red cloth, overlaid with India muslin fluted like a Corinthian column, the flutings being alternately hollowed and rounded, and finished at top and bottom with a band of poppy-red cloth embroidered with black arabesques. Seen through the muslin, the poppy-red turned to rose colour, the colour emblematic of love; and the same effect was repeated in the window curtains, which were also of India muslin lined with rose-coloured taffeta and ornamented with fringes of mixed black and poppy-red. Six vermilion sconces, each containing two candles, were fixed at even intervals to the wall, for the purpose of lighting the divan. The ceiling, from the centre of which hung a chandelier of dull vermilion, was a dazzling white, and the cornice was gilded. The carpet resembled an Oriental shawl, exhibiting the patterns and recalling the poetry of Persia, the land where it had been woven by the hands of slaves. The furniture was all upholstered in white cashmere, emphasised by trimmings of the same combination of black and poppy-red. The clock, the candle-sticks, all the ornaments, were of white marble and gold. The only table in the room had a cashmere covering. Graceful jardinières contained roses of all species having blossoms of red or white.”
Théophile Gautier has borne witness to the accuracy of this description; but as though wishing to show him the double aspect of his life, Balzac, after willingly exhibiting in detail all the luxury of his boudoir, led him to a corner recess, necessitated by the rounded form of one side of the room; and there, hidden behind the ostentatious decoration, there was nothing but a narrow iron cot, a table and a chair; this was where he worked.
Balzac disliked being disturbed while working; and, for the double reason of avoiding unwelcome visitors and throwing his creditors off the scent, he had invented a whole series of pass-words, which it was necessary to know before one could penetrate to his apartment. A visitor, let into the secret, would say to the porter, “The season for plums has arrived,” thanks to which he acquired the right to enter the house. But this was only the first degree of initiation. A servant would next come forward and ask, “What does Monsieur wish?” and one had to be able to answer, “I have brought some Brussels lace.” This constituted the second degree and resulted in permission to ascend the stairs. Then, with the door of the sanctuary just ajar, the visitor could not hope to see it swing fully open before him until he had made the assertion that “Mme. Durand was in good health!” Whenever Balzac suspected that his pass-words had been betrayed, he invented a new set, which he communicated only to those few chosen spirits whom he cared to receive. And this method of protecting himself caused him, when with his friends, to indulge in great outbursts of his vast, resounding laughter.
In spite of envy and conspiracies, Balzac’s reputation was now established; he had become one of those writers who are widely discussed and whose sayings and doings are a current topic of conversation. At the same time, he was the prey of the low-class journals, which attacked him maliciously. At this period, Balzac was passing through a second attack of dandyism. He was once again to be seen at the Opéra, at the Bouffes and at the fashionable salons. He sported a monstrous walking stick, the handle of which was set with turquoises; he showed himself in the box occupied by an ultra-fashionable set known as the “Tigers,” wearing a blue coat, adorned with golden buttons, “buttons,” he said, “wrought by the hand of a fairy”; and he had a “divine lorgnette,” which had been made for him by the optician of the Observatory. He began to be laughed at; and, gossip taking a hand, his glorious luxury was attributed to the generosity of an elderly Englishwoman, Lady Anelsy, whose lucky favourite he was supposed to be. His walking stick especially — a stick that, in his estimation, was worthy of Louis XIV — excited curiosity. It was ridiculed, decried and admired. Mme. de Girardin wrote a novel around it, Monsieur de Balzac’s Walking Stick, in which she attributed to it the power of rendering invisible whoever held it in his left hand.
He had a carriage adorned with his monogram, surmounted by the arms of the d’Entragues; he frequented the salons of the Rothschilds, and of Mme. Appony, the wife of the Austrian ambassador; he gave magnificent dinners to Latour-Mezeray, to Sandeau, to Nodier, to Malitourne and to Rossini, who declared that he had “never seen, eaten or drunken anything better, even at the tables of kings.”
Then, suddenly, Balzac returned to the fierce heat of production; he abandoned his friends and acquaintances, and became invisible for months at a time, buried in his hiding-place at Chaillot, or else taking refuge at the home of M. de Margonne at Saché, or of Mme. Carraud at Frapésle. And when he reappeared, it was with his hands laden with masterpieces, his eye more commanding and his brow held high with noble pride. With a speed of production that no one has ever equalled he turned forth, one after another, his great novels, Old Goriot, The Lily in the Valley, Séraphita, The Atheist’s Mass, The Interdiction, The Cabinet of Antiques, Facino Cane, and he revised, corrected and remodelled a part of his earlier works into the Philosophic Studies which he brought out through Werdet, and his Studies of Manners, published by Mme. Béchet. His plan h
ad grown still larger, the formidable creation with which his brain was teeming was taking organic shape, and he now perceived the architecture of his vast monument. He expounded it to Mme. Hanska, with justifiable pride:
“I believe that by 1838 the three divisions of this gigantic work will be, if not completed, at least superposed, so that it will be possible to judge the mass of the structure.
“The Studies of Manners are intended to represent all social effects so completely that no situation in life, no physiognomy, no character of man or woman, no manner of living, no profession, no social zone, no section of France, nor anything whatever relating to childhood, maturity or old age, to politics, justice or war, shall be forgotten.
“This being determined, the history of the human heart traced thread by thread, and the history of society recorded in all its parts, we have the foundation. There will be no imaginary incidents in it; it will consist solely of what is happening everywhere.
“Then comes the second story of my structure, the Philosophic Studies, for after the effects we shall examine the causes. In the Studies of Manners I shall already have painted for you the play of the emotions and the movement of life. In the Philosophic Studies I shall expound the why of the emotions and the wherefore of life; what is the range and what are the conditions outside of which neither society nor man can exist; and, after having surveyed society in order to describe it, I shall survey it again in order to judge it. Accordingly the Studies of Manners contain typical individuals, while the Philosophic Studies contain individualised types. Thus on all sides I shall have created life: for the type by individualising it, and for the individual by converting him into a type. I shall endow the fragment with thought, and I shall have endowed thought with individual life.
“Then, after the effects and causes, will come the Analytic Studies, of which the Physiology of Marriage will form part: for after the effects and causes, the next thing to be sought is the principles. The manners are the performance, the causes are the stage setting and properties, and the principles are the author; but in proportion as my work circles higher and higher into the realms of thought, it narrows and condenses. If it requires twenty-four volumes for the Studies of Manners, it will not require more than fifteen for the Philosophic Studies, and it will not require more than nine for the Analytic Studies. In this way, man, society and humanity will have been described, judged and analysed, without repetition, resulting in a work which will stand as the Thousand and One Nights of the Occident.
Works of Honore De Balzac Page 1458
