Works of Honore De Balzac

by Honoré de Balzac

  The novelist’s relations with his mother force the attention of any one that studies his life. Their two natures were contrary; there were often conflicts between them. As a child, he seems not to have comprehended the affection underlying the maternal severity, and to have entertained a dread of the latter which never entirely left him. According to his friend Fessart, he used to confess he always experienced a nervous trembling whenever he heard his mother speak; and the effect was in some sort the numbing of his faculties when he was in her presence. Her generous abnegation at the time of his bankruptcy was a revelation to him; his gratitude for it was sincere; and from that date onwards, during a number of years, his letters to her evinced it, yet not consistently; the old distrust recurs, and also a growing tendency to utilize her as a servant in his concerns. Having once dipped in her purse, he did not hesitate to hold out his hand, on each occasion that his needs, real or fancied, prompted him, being confident of requiting her in the future. His refrain was ever the same: “Sooner or later, politics, journalism, a marriage, or a big piece of business luck will make me a Croesus. We must suffer a little longer.” And he finished by exhausting her last penny of capital, and reduced her to depend on an allowance he gave her, irregularly — an allowance which, when he died, had to be continued to her from the purse of another. Madame Balzac was sacrificed to his improvidence and stupendous egotism; nor can the tenderness of his language — more frequently than not called forth by some fresh immolation of her comfort to his interests — disguise this unpleasing side of his character and action. While he was recouping his strength and spirits, on the 1832 holiday, she was in Paris negotiating with Pichot of the Revue de Paris, with Gosselin and other publishers, arranging for proofs, and also for an advance of cash. Even his epistolary good-byes were odd mixtures of business with sentiment. After casting himself — through the post — on her bosom and embracing her with effusion, he terminated by: “Pay everything as you say. On my side, I will gain money by force, and we will balance the expenses by the receipts.”

  The book that cost him the greatest efforts during the year of 1832 was his Louis Lambert, already mentioned in the second chapter. Writing about it to his family from Angouleme he explained that he was attempting in it to vie with Goethe and Byron, with Faust and Manfred. It was to be a conclusive reply to his enemies, and would make his superiority manifest. Some day or other it would lead science into new paths. Meantime it would produce a deep impression and astonish the Swedenborgians. Whether the members of this sect were astonished, history does not record. Those who were most so were the novelist’s friends, and Madame de Berny among the number. But their wonder was not a eulogium. First of all, the hero — his alter ego — is a very poor replica of Pascal; and the exalting of Lambert’s intelligence, which was mere self-praise, jarred on them the more, as they truly loved him. The Dilecta, whom he had asked to pass her frank opinion on it, did not hesitate to tell him some hard truths: “Goethe and Byron,” she said, “have admirably painted the desires of a superior mind; when reading them, one aggrandizes them by all the space they have perceived; one admires the scope of their view; one would fain give them one’s soul to help theirs to cover the distance that separates them from the goal they aspire to reach. But, if an author comes and tells me he has attained this goal, I no longer see in him, however great he may be, more than a presumptuous man; his vanity shocks me, and I diminish him by all the height to which he has tried to raise himself. . . . I would therefore beg you, dearest, to cut out of your Lambert everything that might suggest these singular ideas; for instance: ‘The admirable combat of thought arrived at its greatest force, at its vastest expression’ . . . ‘The moral world, whose limits he had thrown back for himself,’ cannot be tolerated. Write, dearest, in such a manner that the whole crowd may perceive you from everywhere, by the height at which you will have placed yourself; but do not cry out for people to admire you; for, on all sides, the largest magnifying-glasses would be directed towards you; and what becomes of the most delicious object seen by the microscope!”

  The lesson was a severe one. Though it did not cure Balzac of his author’s vanity — nothing could cure him of that — it did, for a while at least, direct his endeavours towards fiction of a more objective kind.

  What he was now capable of in characterization treated objectively he showed in his Colonel Chabert and the Cure of Tours, both of which were published in the same twelvemonth as Louis Lambert. These stories are exceedingly simple in construction. The Cure is a priest whose joys and ambitions are modest and innocent. Having reached the age when indulgence in ease and comfort is excusable, he finds himself suddenly deprived of them through unwittingly offending his landlady. She, an old maid, as inwardly shrewish as outwardly pious, utilizes the Abbe Birotteau and another clergyman, who both lodge with her, to attract the good society folk of Tours to her evening receptions. After due experience of these gatherings, the Abbe plays truant, finding it more agreeable to spend his leisure with friends elsewhere. His absence causes the landlady’s guests to grow remiss and finally to desert her; so, to revenge herself, the slighted dame, proceeding by petty pin-pricks, makes the Abbe’s life a burden to him, and, ultimately enlisting the brother clergyman in her schemes of annoyance, works on his jealousy with such cleverness that their victim’s career is blasted and blighted. Dependent on the development of the characters, the plot is adroitly and naturally elaborated. Nowhere is there any forcing of the note; and, in alternate flow, humour and pathos, of a saner sort than in some of the author’s previous work, run and ripple throughout. With deeper pathos the novelist tells in Colonel Chabert the virtues of a man of obscure origin, whose nobleness meets with but scanty recognition, since it conducts him to the almshouse in his old age. So vivid is the sober realism of this fine story that the public believed the relation to be plain, unvarnished facts, and were astonished at the writer’s daring to reveal them in all their detail.

  Balzac’s autumn trip was prolonged as far as Annecy and Geneva. He had intended going on to Italy in company with the Duke de Fitz-James. The latter journey, however, was ultimately abandoned, as he did not succeed in raising the thousand crowns it required. Travelling on the top of a coach, he had rather a serious accident when going to Aix. He was climbing up to the front seat just as the horses set off, and, having missed his footing, fell with all his weight against the iron step. The strap, which he clutched in his fall, saved him from coming to the ground; but the impact of his eighty-four kilograms caused the sharp iron to enter the flesh of his leg pretty deeply. This wound took some time to heal, and the annoyance it cause him was aggravated by an additional malady in his stomach which he tried to deal with by consulting a mysterious quack in Paris, sending him through his mother, two pieces of flannel that he had been wearing next his skin. The doctor was to examine No. 1 flannel, and by it to determine the seat and the cause of the affection, as well as the treatment to be followed; then he was to examine No. 2, and to give certain instructions as to its further use. Balzac asked his mother to touch the flannels only with paper, so as not to interfere with their effluvia. This belief of his in magnetism of an occult kind was an inheritance. His mother, it has already been said, was a mystic. Her books of this doctrine comprised more than a hundred volumes of Saint-Martin, Swedenborg, Madame Guyon, Jacob Boehm, and others. All these writers he was familiar with. Throughout his life, the influence of their teaching and his mother’s firm belief remained with him. On his conduct and practice their effect was harmless; but in his literary work they were a disturbance, and, wherever they intruded, detracted from its quality.

  Happily, he was beginning to be tempted more and more by the artistic side of things in his daily experience. Of the lesser novels composed before the end of 1832, several were directly inspired by incidents brought to his knowledge. The Red Inn was related to him by a former army surgeon, a friend of the man that was unjustly condemned and executed. An Episode under the Terror was narrated by the hero hi
mself. A Desert Attachment was the outcome of a conversation with Martin, the celebrated tamer of wild beasts. On the other hand, Master Cornelius was written to correct the false impression of Louis XI. which he considered Walter Scott had given to his readers in Quentin Durward, this making him very angry. His curiosity concerning facts and realities of every description led him to seek an interview with Samson the executioner. Calling one day to see the Director of Prisons, he found himself in presence of a pale, melancholy-looking man of noble countenance, whose manners, language, and apparent education were those of one polished and cultured. It was Samson. Entering into conversation with this strange personage, the novelist listened to the particulars of his life. Samson was a royalist. On the morrow of Louis XVI.’s execution he had suffered the utmost remorse, and had paid for what was probably the only expiatory mass said on that day for the repose of the King’s soul.

  Like other litterateurs, Balzac took up many subjects which he did not go on with. He had this peculiarity besides, that he often asserted some book to be completed which was either not begun at all or was in a most unfinished condition. While on the Angouleme and Aix excursion, he spoke especially of The Three Cardinals, The Battle of Austerlitz (afterwards often alluded to simply as the Battle), and The Marquis of Carrabas. Not one of these was ever written. They were abandoned perhaps on account of other work, or else because the execution was less easy than the conception. Napoleon, who would have been a central figure in the Battle, is incidentally introduced in the Country Doctor, which was begun in 1832.

  Probably, also, to this same date should be assigned the bizarre and even comical expression of hopes and fears for the future which Balzac confided to his sister Laure. In order to force himself to take exercise, he used to correct his proofs either at the printer’s or at her house. Sometimes the weather, to the influence of which he was very susceptible, sometimes his money-tightness, or his fatigue from protracted work would cause him to arrive with lack-lustre eyes, sallow complexion, glum expression and irritable temper. Laure essayed to console and brighten him.

  “Now don’t try to comfort me,” he answered on one occasion. “I’m a dead man.”

  And the dead man began to drawl out his tale of woe, gradually rousing up as he talked, and, at last, speaking excitedly. But the dolent accents returned as he opened his proofs and read them.

  “I shall never make a name, sis.”

  “Nonsense! with such books, any one could make a name.”

  He raised his head; his features relaxed; the sombre tints vanished from his face.

  “You are right, by Jove! . . . these books must live. . . . Besides, there is Chance. It can protect a Balzac as well as it can a fool. Indeed, one has only to invent this chance. Let some one of my millionaire friends (and I have a few), or a banker not knowing what to do with his money, come and say to me: ‘I am aware of your immense talent and your anxieties; you need such and such a sum to be free; accept it without scruple; you will pay it back some day or other; your pen is worth my millions!’ That’s all I require, my dear sister.”

  Laure, being accustomed to the appearance of these illusions which brought back his cheerfulness, never exhibited any surprise at such soaring notes. Having created the fable, her imaginative brother continued:

  “Those people spend such sums on whims. . . . A handsome deed is a whim, like any other, and gives joy perpetually. It is something to say: ‘I have saved a Balzac.’ Humanity has good impulses of the sort; and there are people who, without being English, are capable of like eccentricities. ‘Either a millionaire or a banker,’ he cried, thumping on his chest, ‘one of them I will have.’“

  By dint of talking he had come to accredit the thing, and gleefully strode about the room, lifting and waving his arms.

  “Ah! Balzac is free! You shall see, my dear friends, and my dear enemies, what his progress is.”

  In fancy, he entered the Academy! From there it was only a step to the House of Peers. He beheld himself admitted thither. Why shouldn’t he be a member of the Upper Chamber? This and that person had been created a peer. Then he was appointed a minister. There was nothing extraordinary about it. Presidents existed. Were not people who had boxed the compass of ideas the fittest to govern their fellows? A programme, a policy was evolved and carried out; and, as everything was going on smoothly, he had time to think of the millionaire friend or banker who had assisted him. The generous Maecenas should be rewarded. He understood the novelist, had lent him money on the security of his talent, had enabled him to obtain his well-deserved honours. The benefactor should now have his share in the honour, a share in the immortality.

  After a peregrination of this magnitude and dreams to match, he alighted from his Pegasus, and spoke as an ordinary mortal — he had enjoyed himself, and his fit of the dumps was exorcised. Putting the last touch to his proof-correcting, he left the house with his face wreathed in smiles.

  “Good-bye,” he said to his sister, at the door; “I am off home to see if the banker is there, waiting for me. If he isn’t, I shall find some work to do all the same; and work is my real money-lender.”

  CHAPTER V. LETTERS TO “THE STRANGER,” 1831, 1832

  One has little doubt in deciding that, of the two spurs which goaded Balzac’s labours, his desire for wealth acted more persistently and energetically than his desire for glory. In his conversations, in his correspondence, money was the eternal theme; in his novels it is almost always the hinge on which the interest, whether of character, plot, or passion, depends. Money was his obsession, day and night; and, in his dormant visions, it must have loomed largely.

  Henry Monnier, the caricaturist, used to relate that, meeting him once on the Boulevard, the novelist tapped him on the shoulder and said:

  “I have a sublime idea. In a month I shall have gained five hundred thousand francs.”

  “The deuce, you will,” replied Monnier; “let’s hear how.”

  “Listen, then,” returned his interlocutor. “I will rent a shop on the Boulevard des Italiens. All Paris is bound to pass by. That’s so, isn’t it?”

  “Yes. Well, what next?”

  “Next, I will establish a store for colonial produce; and, over the window, I will have printed, in letters of gold: ‘Honore de Balzac, Grocer.’ This will create a scandal; everybody will want to see me serving the customers, with the classical counter-skipper’s smock on. I shall gain my five hundred thousand francs; it’s certain. Just follow my argument. Every day these many people pass along the Boulevard, and will not fail to enter the shop. Suppose that each person spends only a sou, since half of it will be profit to me I shall gain so much a day; consequently, so much a week; so much a month.”

  And thereupon, the novelist, launched into transcendental calculations, soaring with his enthusiasm into the clouds.

  It was the same Henry Monnier who, meeting him another time on the Place de la Bourse, and having had to listen to another of such mirific demonstrations about a scheme from which both were to derive millions, answered drily:

  “Then lend me five francs on strength of the affair.”

  Noticing this sort of monomania, in an article which he wrote in the short-lived Diogenes, during the month of August 1856, Amedee Roland said of Balzac:

  “His ambition was to vie in luxury with Alexandre Dumas and Lamartine, who, before the Revolution of 1848, were the most prodigal and extravagant authors in the five continents. For anything like a chance of finding his elusive millions, he would have gone to China. Indeed, on one occasion, he took it into his head he would start, together with his friend, Laurent Jan, and go to see the great Mogul, maintaining that the latter would give him tons of gold in exchange for a ring he possessed, which came, so he asserted, right down from Mahomet. It was three o’clock in the morning when he knocked at Laurent Jan’s door to inform his sleeping friend of his project; and the latter had the greatest difficulty in dissuading him from setting off forthwith in a post-chaise for India, of course, at t
he expense of the monarch in question.”

  In justice, however, to Balzac, it should be stated that not a few of his suggestions were sensible enough, and contained ideas which, if properly put into execution, could have yielded profitable results. As a matter of fact, some were subsequently exploited by people who listened to them, or heard of them. A scheme of his for making paper by an improved process, which he tried to realize in 1833, and which he induced his mother, his sister’s husband, and other friends to support with their capital, anticipated the employment of esparto grass and wood, which since has been adopted successfully by others and has yielded large fortunes to them. The scheme was perhaps premature in Balzac’s day, not to speak of his small business capacity, which was in an inverse ration to his inventiveness.

  From one of his conceptions, at least, there issued an important benefit to the entire literary profession. Already, in the previous century, Beaumarchais had attempted to establish a society of authors, whose aim should be to protect the rights of men of letters. His efforts then met with no response. Balzac revived the proposal, and coupled with it others tending to improve the material and style of printing of books. He had to contend with the hostility of certain publishers and the indifference of many authors. But his endeavours were ultimately understood and appreciated; and, not long afterwards, in 1838, the Societe des Gens de Lettres was founded.