Works of Honore De Balzac

by Honoré de Balzac

  In connection with this campaign, which he waged for a while alone, there was also his elaboration of the arrangement, first accepted by Charpentier, which consisted in fixing the percentage of the author’s royalty on the octavo, three-franc-fifty volume at one-tenth of the published price. One of his discussions with Charpentier on the subject was overheard in the Cafe of the Palais Royal by Jules Sandeau’s cousin, who happened to be playing a game of billiards there. After the departure of Balzac and the publisher, the cousin remarked that a paper had been forgotten; and, on reading it through, with his partner in the game, saw a crowd of figures that were so many hieroglyphics to them. When the paper was restored to the novelist by Jules Sandeau, who lived in the same set of flats as Balzac, it transpired that the figures were the calculation of the sum that the writer might obtain on the decimal basis, if a hundred thousand copies of any one of his works were sold.

  Two of the novelist’s most important books appeared in 1833, his Country Doctor and Eugenie Grandet. The former he disposed of to a new publisher, Mame, who was to print it, at first, unsigned, his old publisher Gosselin having pre-emption rights, that had not been redeemed. Referring to it in a letter to Mame, towards the end of 1832, he said: “I have long been desirous of the popular glory which consists in selling numerous thousands of a small volume like Atala, Paul and Virginia, the Vicar of Wakefield, Manon Lescaut, etc. The book should go into all hands, those of the child, the girl, the old man, and even the devotee. Then once, when the book is known, it will have a large sale, like the Meditations of Lamartine, for instance, sixty thousand copies. My book is conceived in this spirit; it is something which the porter and the grand lady can both read. I have taken the Gospel and the Catechism, two books that sell well, and so I have made mine. I have laid the scene in a village, and the whole of the story will be readable, which is rare with me.” How high his hopes of its quality and saleableness were (the two things were oddly mixed up in his mind), he imparted to Zulma Carraud. “The Country Doctor has cost me ten times more labour than Louis Lambert,” he informed her. “There is not a sentence or an idea in it that has not been revised, re-read, corrected again and again. It’s terrible. But when one wishes to attain the simple beauty of the Gospel, surpass the Vicar of Wakefield and put the Imitation of Jesus Christ into action, one must spare no effort. Emile de Girardin and our good Borget (his co-tenant at the time) wager the sale will be four hundred thousand copies. Emile intends to bring out a franc edition, so that it may be sold like a Prayer Book.”

  What with his writing for the Revue de Paris, to which he was contributing Ferragus, and the pains he gave himself with the Country Doctor, he was unable to deliver the latter work to Mame at the date stipulated, and the publisher brought a lawsuit against him, the first of a series of legal disputes he was destined to wage with publishing firms and magazine editors during his agitated life.

  Notwithstanding the advertisement produced him by the lawsuit, the Country Doctor fell flat in the market. Most of the newspapers spoke contemptuously of it. One reason given was its loose construction, there being no plot, and the two love stories being thrust in towards the end to explain the doctor’s altruism and the vicarious paternity of the Commandant Genestas.

  This officer, who is stationed not far from the village close to the Grande-Chartreuse, pays a few days’ visit to a Doctor Benassis there, under pretext of consulting him professionally. While on the visit he is initiated into the transformation that has been wrought by the doctor in the habits of the people and their homes and surroundings — a regeneration accomplished quietly and gradually, vanquishing hostility and lethargy and converting the peasant’s distrust into love. The placing of the Commandant’s adopted child under the doctor’s care, and Benassis’ death, which occurs shortly after, form rather a lame conclusion to the love stories, which are mysteriously withheld to tempt the reader to go on with his perusal. For all its dogmatism in religion and politics, its long arguments in defence of the author’s favourite opinions, and its defective construction, the novel, if one can call it a novel, is one of Balzac’s best creations. The pictures of country scenes are presented with close fidelity to nature and also with real artistic arrangement. There are, moreover, delineations of rustic character that are truer to life than many of the more celebrated ones in the rest of the novelist’s fiction; and, in the episode entitled the Napoleon of the people, — the narration of an old soldier of the First Empire, — there is a topical realism that makes one regret the never-achieved Battle. Add to these excellences the writer’s having put into his work, for the nonce, a sincere aspiration towards the idea; and, despite flaws, the whole can be pronounced admirable.

  It was just about the time the Country Doctor was published that he began to dwell upon the advantages he might secure by connecting the characters in his novels and forming them into a representative society. Excited by the perspective this plan offered if all its possibilities were realized, he hurried to his sister’s house in the Faubourg Poissonniere.

  “Salute me,” he exclaimed joyfully: “I’m on the point of becoming a genius!”

  And he commenced to explain his thought, which seemed to him so vast and pregnant with consequence as to inspire him with awe.

  “How fine it will be if I can manage the thing,” he continued, striding up and down the drawing-room, too restless to stay in one place. “I shan’t mind now being treated as a mere teller of tales, and can go on hewing the stones of my edifice, enjoying, beforehand, the amazement of my short-sighted critics, when they contemplate the structure complete.”

  At length, Honore sat down and more tranquilly discussed the fortunes of the individuals already born from his brain, or, as yet in process of birth. He judged them and determined their fate.

  “Such a one,” he said, “is a rascal, and will never do any good. Such another is industrious, and a good fellow; he will get rich, and his character will make him happy. These have been guilty of many peccadilloes; but they are so intelligent and have such a thorough knowledge of their fellows that they are sure to raise themselves to the highest ranks of society.”

  “Peccadilloes!” replied his sister. “You are indulgent.”

  “They can’t change, my dear. They are fathomers of abysses; but they will be able to guide others. The wisest persons are not always the best pilots. It’s not my fault. I haven’t invented human nature. I observe it, in past and present; and I try to depict it as it is. Impostures in this kind persuade no one.”

  To the members of his family he announced news from his world of fiction just as if he were speaking of actual events.

  “Do you know who Felix de Vandenesse is marrying?” he asked. “A Mademoiselle de Grandville. The match is an excellent one. The Grandvilles are rich, in spite of what Mademoiselle de Belleville has cost the family.”

  If, now and again, he was begged to save some wild young man or unhappy woman among his creations, the answer was:

  “Don’t bother me. Truth above all. Those people have no backbone. What happens to them is inevitable. So much the worse for them.”

  This absorption in the domain of fancy was so complete at times as to cause him to confuse it with the outside world. It is related that Jules Sandeau, returning once from a journey, spoke to him of his sister’s illness. Balzac listened to him abstractedly for a while, and then interrupted him: “All that, my friend, is very well,” he said to the astonished Jules, “but let us come back to reality; let us speak of Eugenie Grandet.”

  It was the second great book of 1833; and, on the whole, exhibits the novelist at his best. Eulogiums came from friends and enemies alike. The critics were unanimous, too unanimous, indeed, for the author, who detected in their chorus of praise a reiterated condemnation of much of his previous production. At last, it even annoyed him to hear his name invariably mentioned in connection with this single novel. “Those who call me the father of Eugenie Grandet seek to belittle me,” he cried. “I grant it is a masterpiece
, but a small one. They forbear to cite the great ones.”

  His ill-humor was, of course, of later growth. While Eugenie Grandet was being written, between July and November of 1833, Balzac was quite content to estimate it at its higher value. During the period of its composition, he had fallen, perhaps for the first time in his life, sincerely in love with the woman he ultimately married; and it is appropriate to notice here the synchronism of the event with his high-water mark in fiction. As he confessed to Zulma Carraud, love was his life, his essence; he wrote best when under its influence. There were, be it granted, other contributory causes to make this rapidly written story what we find it to be. The place, the date, the people, the incidents were all close to his own life. Saumur and Tours are neighbouring towns; and ‘tis affirmed that the original of the goodman Grandet, a certain Jean Niveleau, had a daughter, whom he refused to give in marriage to Honore. Maybe tradition has embroidered a little on the facts, but there would seem to be much in the narration that belongs to the writer’s personal experience. His sister found fault with his attributing so many millions to the miser. “But, stupid, the thing is true,” he replied. “Do you want me to improve on truth? If you only knew what it is to knead ideas, and to give them form and colour, you wouldn’t be so quick to criticize.”

  As is usual, when the interest is chiefly characterization, Balzac does not give us a complicated plot. We have in Grandet a self-made man, who has amassed riches by trade and speculation, and lives with his wife and daughter in a gloomy old house, with only one servant as miserly as the master. Eugenie’s hand is sought by several suitors, and in particular by the son of the banker des Grassins and the son of the notary Cruchot, these two families waging a diplomatic warfare on behalf of their respective candidates. Into this midst suddenly comes the fashionable nephew Charles Grandet, whose father has, unknown to him, just committed suicide to escape bankruptcy. Eugenie falls in love with her cousin, and he, apparently, with her; but the old man, unsoftened by his brother’s death, using it even as a further means of speculation, gets rid of the unfortunate lover by gingerly helping him to go abroad. Years pass, and Eugenie’s mother dies, while she herself withers, under the miser’s avaricious tyranny. At length, old Grandet pays his debt to nature, and Eugenie is left with the millions. Until now she had waited for the wandering lover’s return; but he, engaging in the slave-trade, has lost all the generous impulses of his youth, and comes back only to deny his early affection and marry the ill-favoured daughter of a Marquis. Eugenie takes a noble revenge for this desertion by paying her dead uncle’s debts, which Charles had repudiated, and she marries the notary’s son, who leaves her a widow soon after.

  Everything in the tale is absolutely natural, extraordinary in its naturalness; and the reactions of its various persons upon each other are traced with fine perception. There is not much of the outward expression of love — in this Balzac did not excel — but there is a good deal of its hidden tragedy. Moreover, the miser’s ruling passion is exhibited in traits that suggest still more than they openly display; and all the action and circumstance are in the subdued tone proper to provincial existence. The introductory words prepare the reader’s mind for what follows: —

  “In certain country towns there are houses whose aspect inspires a melancholy equal to that evoked by the gloomiest cloisters, the most monotonous moorland, or the saddest ruins. . . . Perhaps, in these houses there are at once the silence of the cloister, the barrenness of the moorland, and the bones of ruins. Life and movement are so tranquil in them that a stranger might believe them uninhabited if he did not suddenly see the pale, cold gaze of a motionless person whose half-monastic face leans over the casement at the noise of an unknown step. . . .”

  And the shadow persists even in the love-scene.

  “Charles said to Eugenie, drawing her to the old bench, where they sat down under the walnut trees: ‘In five days, Eugenie, we must bid each other adieu, for ever perhaps; but, at least, for a long while. My stock and ten thousand francs sent me by two of my friends are a very small beginning. I cannot think of my return for several years. My dear cousin, don’t place my life and yours in the balance. I may perish. Perhaps you may make a rich marriage.’ — ’You love me,’ she said. — ’Oh yes, dearly,’ he replied, with a depth of accent revealing a corresponding depth of sentiment. — ’I will wait, Charles. Heavens! my father is at his window,’ she said, pushing away her cousin, who was approaching to kiss her. She escaped beneath the archway; Charles followed her there. On seeing him, she withdrew to the foot of the staircase and opened the self-closing door; then hardly knowing where she was going, Eugenie found herself near Nanon’s den, in the darkest part of the passage. There, Charles, who had accompanied her, took her hand, drew her to his heart, seized her round the waist, and pressed her to himself. Eugenie no longer protested. She received and gave the purest, sweetest, but also the entirest of all kisses.”

  The foregoing and others, equally well drawn, are figures in the background. Standing out in front of them, and in lurid relief, is the central figure of the miser, represented with the same mobility of temperament noticeable in George Eliot’s creations — a thing exceptional in Balzac’s work. Grandet, as long as his wife lives is reclaimable — just reclaimable. Subsequently, he is an automaton responsive only to the sight and touch of his gold.

  The dedication of Eugenie Grandet is to Maria; and Maria, portrayed under the features and character of the heroine, was, we learn, an agreeable girl, of middle-class origins, who, in the year of 1833, attached herself to Balzac and bore him a child.

  This liaison was running its ephemeral course just at the time when accident made him acquainted with his future wife. On the 28th of February 1832, his publisher Gosselin handed him a letter with a foreign postmark. His correspondent, a lady, who had read, she said, and admired his Scenes of Private Life, reproached him with losing, in the Shagreen Skin, the delicacy of sentiment contained in these earlier novels, and begged him to forsake his ironic, sceptical manner and revert to the higher manifestations of his talent. There was no signature to this communication; and the writer, who subscribed herself “The Stranger,” begged him to abstain from any attempt to discover who she was, as there were paramount reasons why she should remain anonymous. Balzac’s curiosity was keenly aroused by so much mystery, and he tried, but in vain, to get hold of some clue that might conduct him to the retreat of the incognita. After a lapse of seven months, a second epistle arrived, more romantic in tone than the first; and containing, among obscure allusions to the lady’s surroundings and personality, the following declaration: “You no doubt love and are loved; the union of angels must be your lot. Your souls must have unknown felicities. The Stranger loves you both, and desires to be your friend. . . . She likewise knows how to love, but that is all. . . . Ah! you understand me.”

  A third letter followed this one shortly afterwards, asking the novelist to acknowledge its receipt in the Quotidienne journal, which he did, expressing in the advertisement his regret at not being able to address a direct reply. At last, in the spring of 1833, the fair correspondent made herself known. She was a Countess Evelina Hanska, wife of a Polish nobleman living at Wierzchownia in the Ukraine. She further allowed it to be understood that she was young, handsome, immensely rich, and not over happy with her husband. This information sufficed to set Balzac’s imagination agog. At once, he enshrined the dame in the temple of his ideal, poured out his heart to her, and told her of his struggles and ambitions, meanwhile fashioning a realm of the future in which he and she were to be the two reigning monarchs.

  Madame Hanska was also a Pole. She belonged to the noble Rzewuska stock and was born in the castle of Pohrebyszcze between 1804 and 1806. Owing to family reverses, her parents, who had several other children to provide for, were glad to meet with a husband for her in the Count Hanski, who was twenty-five years her senior. The marriage took place between 1818 and 1822, and four children, three boys and a girl, were its issue; but
, the boys all dying in infancy, the young mother was left with her little daughter Anna to bring up, and with the desires of a rich, cultured woman, who did not find in her home-circle the wherewithal to satisfy them.

  Of her own charms she had spoken truly. Daffinger’s miniature of her, painted when she was thirty, represents her as abundantly endowed by nature; and Gigoux’ pastel of 1852, which is less faithful and shows her considerably older, still gives substantially the portrait that Barbey d’Aurevilly sketched of her after Balzac’s death: “She was of imposing and noble beauty, somewhat massive,” says this writer. “But she knew how to maintain, despite her embonpoint, a very great charm, which was enhanced by her delightful foreign accent. She had splendid shoulders, the finest arms in the world, and a complexion of radiant brilliancy. Her soft black eyes, her full red lips, her framing mass of curled hair, her finely chiselled forehead, and the sinuous grace of her gait gave her an air of abandon and dignity together, a haughty yet sensuous expression which was very captivating.”

  Fascinated by Balzac’s masterly delineation of her sex, and longing to learn more about the man who had appealed to her so powerfully, she contrived a journey to Switzerland in 1833, in which her husband and child accompanied her. Switzerland was a land easier for a noble Russian subject to obtain permission to visit. Neufchatel was the place of sojourn chosen, since there was the home of Anna’s Swiss governess, Mademoiselle Henriette Borel, who had played an intermediary’s role in the beginning of the adventure.

  As soon as he had news of the party’s arrival, Balzac posted off, concealing from every one the reason for his sudden departure. It had been agreed that the meeting should be on the chief promenade; and there, on a bench, with one of the novelist’s books on her lap, Madame Hanska sat with her husband, when he came up and accosted her. One account states that the Countess having, in her excitement, allowed a scarf to drop and hide the book, he passed her by more than once, not daring to speak till she took up the scarf. The same account adds that the lady, remarking the little, stout man staring at her, prayed he might not be the one she was expecting. But no written confession of the Countess’s exists to prove that such a thought damped her enthusiasm.