The Human Comedy: Introductions and Appendix, Honoré de Balzac [tohfa e dulha read online .txt] 📗

for a short time. But his mother (who seems to have been less placable than her husband) thought that cutting them down to the lowest point might have some effect. So, as the family at this time (April 1819) left Paris for a house some twenty miles out of it, she established her eldest son in a garret furnished in the most Spartan fashion, with a starvation allowance and an old woman to look after him. He did not literally stay in this garret for the ten years of his astonishing and unparalleled probation; but without too much metaphor it may be said to have been his Wilderness, and his Wanderings in it to have lasted for that very considerable time.

We know, in detail, very little of him during the period. For the first years, between 1819 and 1822, we have a good number of letters to Laure; between 1822 and 1829, when he first made his mark, very few. He began, of course, with verse, for which he never had the slightest vocation, and, almost equally of course, with a tragedy. But by degrees and apparently pretty soon, he slipped into what was his vocation, and like some, though not very many, great writers, at first did little better in it than if it had not been his vocation at all. The singular tentatives which, after being allowed for a time a sort of outhouse in the structure of the _Comedie Humaine_, were excluded from the octavo _Edition Definitive_ five-and-twenty years ago, have never been the object of that exhaustive bibliographical and critical attention which has been bestowed on those which follow them. They were not absolutely unproductive--we hear of sixty, eighty, a hundred pounds being paid for them, though whether this was the amount of Balzac's always sanguine expectations, or hard cash actually handed over, we cannot say. They were very numerous, though the reprints spoken of above never extended to more than ten. Even these have never been widely read. The only person I ever knew till I began this present task who had read them through was the friend whom all his friends are now lamenting and are not likely soon to cease to lament, Mr. Louis Stevenson; and when I once asked him whether, on his honor and conscience, he could recommend me to brace myself to the same effort, he said that on his honor and conscience he must most earnestly dissuade me. I gather, though I am not sure, that Mr. Wedmore, the latest writer in English on Balzac at any length, had not read them through when he wrote.

Now I have, and a most curious study they are. Indeed I am not sorry, as Mr. Wedmore thinks one would be. They are curiously, interestingly, almost enthrallingly bad. Couched for the most part in a kind of Radcliffian or Monk-Lewisian vein--perhaps studied more directly from Maturin (of whom Balzac was a great admirer) than from either--they often begin with and sometimes contain at intervals passages not unlike the Balzac that we know. The attractive title of _Jane la Pale_ (it was originally called, with a still more Early Romantic avidity for _baroque_ titles, _Wann-Chlore_) has caused it, I believe, to be more commonly read than any other. It deals with a disguised duke, a villainous Italian, bigamy, a surprising offer of the angelic first wife to submit to a sort of double arrangement, the death of the second wife and first love, and a great many other things. _Argow le Pirate_ opens quite decently and in order with that story of the _employe_ which Balzac was to rehandle so often, but drops suddenly into brigands stopping diligences, the marriage of the heroine Annette with a retired pirate marquis of vast wealth, the trial of the latter for murdering another marquis with a poisoned fish-bone scarf-pin, his execution, the sanguinary reprisals by his redoubtable lieutenant, and a finale of blunderbusses, fire, devoted peasant girl with _retrousse_ nose, and almost every possible _tremblement_.

In strictness mention of this should have been preceded by mention of _Le Vicaire des Ardennes_, which is a sort of first part of _Argow le Pirate_, and not only gives an account of his crimes, early history, and manners (which seem to have been a little robustious for such a mild-mannered man as Annette's husband), but tells a thrilling tale of the loves of the _vicaire_ himself and a young woman, which loves are crossed, first by the belief that they are brother and sister, and secondly by the _vicaire_ having taken orders under this delusion. _La Derniere Fee_ is the queerest possible cross between an actual fairy story _a la_ Nordier and a history of the fantastic and inconstant loves of a great English lady, the Duchess of "Sommerset" (a piece of actual _scandalum magnatum_ nearly as bad as Balzac's cool use in his acknowledged work of the title "Lord Dudley"). This book begins so well that one expects it to go on better; but the inevitable defects in craftsmanship show themselves before long. _Le Centenaire_ connects itself with Balzac's almost lifelong hankering after the _recherche de l'absolu_ in one form or another, for the hero is a wicked old person who every now and then refreshes his hold on life by immolating a virgin under a copper-bell. It is one of the most extravagant and "Monk-Lewisy" of the whole. _L'Excommunie_, _L'Israelite_, and _L'Heritiere de Birague_ are mediaeval or fifteenth century tales of the most luxuriant kind, _L'Excommunie_ being the best, _L'Israelite_ the most preposterous, and _L'Heritiere de Birague_ the dullest. But it is not nearly so dull as _Dom Gigadus_ and _Jean Louis_, the former of which deals with the end of the seventeenth century and the latter with the end of the eighteenth. These are both as nearly unreadable as anything can be. One interesting thing, however, should be noted in much of this early work: the affectionate clinging of the author to the scenery of Touraine, which sometimes inspires him with his least bad passages.

It is generally agreed that these singular _Oeuvres de Jeunesse_ were of service to Balzac as exercise, and no doubt they were so; but I think something may be said on the other side. They must have done a little, if not much, to lead him into and confirm him in those defects of style and form which distinguish him so remarkably from most writers of his rank. It very seldom happens when a very young man writes very much, be it book-writing or journalism, without censure and without "editing," that he does not at the same time get into loose and slipshod habits. And I think we may set down to this peculiar form of apprenticeship of Balzac's not merely his failure ever to attain, except in passages and patches, a thoroughly great style, but also that extraordinary method of composition which in after days cost him and his publishers so much money.

However, if these ten years of probation taught him his trade, they taught him also a most unfortunate avocation or by-trade, which he never ceased to practise, or to try to practise, which never did him the least good, and which not unfrequently lost him much of the not too abundant gains which he earned with such enormous labor. This was the "game of speculation." His sister puts the tempter's part on an unknown "neighbor," who advised him to try to procure independence by _une bonne speculation_. Those who have read Balzac's books and his letters will hardly think that he required much tempting. He began by trying to publish--an attempt which has never yet succeeded with a single man of letters, so far as I can remember. His scheme was not a bad one, indeed it was one which has brought much money to other pockets since, being neither more nor less than the issuing of cheap one-volume editions of French classics. But he had hardly any capital; he was naturally quite ignorant of his trade, and as naturally the established publishers and booksellers boycotted him as an intruder. So his _Moliere_ and his _La Fontaine_ are said to have been sold as waste paper, though if any copies escaped they would probably fetch a very comfortable price now. Then, such capital as he had having been borrowed, the lender, either out of good nature or avarice, determined to throw the helve after the hatchet. He partly advanced himself and partly induced Balzac's parents to advance more, in order to start the young man as a printer, to which business Honore himself added that of typefounder. The story was just the same: knowledge and capital were again wanting, and though actual bankruptcy was avoided, Balzac got out of the matter at the cost not merely of giving the two businesses to a friend (in whose hands they proved profitable), but of a margin of debt from which he may be said never to have fully cleared himself.

He had more than twenty years to live, but he never cured himself of this hankering after _une bonne speculation_. Sometimes it was ordinary stock-exchange gambling; but his special weakness was, to do him justice, for schemes that had something more grandiose in them. Thus, to finish here with the subject, though the chapter of it never actually finished till his death, he made years afterwards, when he was a successful and a desperately busy author, a long, troublesome, and costly journey to Sardinia to carry out a plan of resmelting the slag from Roman and other mines there. Thus in his very latest days, when he was living at Vierzschovnia with the Hanska and Mniszech household, he conceived the magnificently absurd notion of cutting down twenty thousand acres of oak wood in the Ukraine, and sending it _by railway_ right across Europe to be sold in France. And he was rather reluctantly convinced that by the time a single log reached its market the freight would have eaten up the value of the whole plantation.

It was perhaps not entirely chance that the collapse of the printing scheme, which took place in 1827, the ninth year of the Wanderings in the Wilderness, coincided with or immediately preceded the conception of the book which was to give Balzac passage into the Promised Land. This was _Les Chouans_, called at its first issue, which differed considerably from the present form, _Le Dernier Chouan ou la Bretagne en 1800_ (later _1799_). It was published in 1829 without any of the previous anagrammatic pseudonyms; and whatever were the reasons which had induced him to make his bow in person to the public, they were well justified, for the book was a distinct success, if not a great one. It occupies a kind of middle position between the melodramatic romance of his nonage and the strictly analytic romance-novel of his later time; and, though dealing with war and love chiefly, inclines in conception distinctly to the latter. Corentin, Hulot, and other personages of the actual Comedy (then by no means planned, or at least avowed) appear; and though the influence of Scott is in a way paramount* on the surface, the underwork is quite different, and the whole scheme of the loves of Montauran and Mademoiselle de Verneuil is pure Balzac.

* Balzac was throughout his life a fervent admirer of Sir Walter,
and I think Mr. Wedmore, in his passage on the subject, distinctly
undervalues both the character and the duration of this esteem.
Balzac was far too acute to commit the common mistake of thinking
Scott superficial--men who know mankind are not often blind to
each other's knowledge. And while Mr. Wedmore seems not to know
any testimony later than Balzac's _thirty-eighth_ year, it is in
his _forty-sixth_, when all his own best work was