The illusions which Balzac cherished of the rapid success of his printing house vanished very soon, and from the outset he found himself facing the realities of a difficult situation. In spite of all his efforts, clients remained rare, and there was no sort of order either in the business organisation or in the financial management. M. Gabriel Vicaire has made an investigation to determine how many works issued from Balzac's presses, and he has been unable to count more than one hundred and fifty, or thereabouts, which was a small number, during a space of two years, for an important and well-equipped printing house. The first order that he filled was a druggist's prospectus, Anti-mucous Pills for Longevity, or Seeds of Life, for Cure, a Parisian druggist, of No. 77, Rue Saint-Antoine; it was a four-leaf 8vo pamphlet, dated July 29, 1826. The average orders seem to have been commonplace enough; nevertheless, Balzac did print a number of interesting books for various publishers; among others, The Historical and Literary Miscellanies of M. Villemain, for Ladvocat, and La Jacquerie, Feudal Scenes, followed by the Carvajal Family, a drama by the "author of the dramatic works of Clara Gazul" (Mérimée), for Brissot-Thivars. He was also the printer for two periodicals, the Gymnase, for Carnot and Hippolyte Auger, the editors of that review of social tendencies, and the Annales Romantiques, for Urbain Canel. The latter was the publisher of the younger literary school, and brought out in his magazine the works of Victor Hugo, Alfred de Vigny, Benjamin Constant, Chateaubriand, Delavigne, etc. Are we to suppose that business cares had turned Balzac aside from all his literary projects? And what must his feelings have been when he read on pages still smelling of fresh ink names already familiar, and some of them long since famous, while he himself was still only a simple printer? There is reason for thinking that his business venture, with all its cares and anxieties, never interrupted the silent but fabulous labour that was shaping itself inside his brain, and that when he saw new authors becoming famous he merely said, "My day will come." Meanwhile, he yielded to an influence absolutely opposed to his natural bent, and contributed to the Annales two poems perfectly romantic in tone: an Ode to a Young Girl and Verses Written in an Album.
But in reality Balzac never had the gift of versification, even in his youth; and later on, when he had need of poems for his Human Comedy, he applied to his friends, Théophile Gautier, Mme. de Girardin, or Lassailly, merely indicating the general tone of the verses he wanted them to write.
In addition to the above-mentioned periodicals, Honoré de Balzac printed the Album of History and Anecdote, from January to April, 1827, and he seems also to have been its editor. For, as a matter of fact, subscriptions to it were received at the printing house, No. 17, Rue des Marais-Saint-Germain, and there are anecdotes to be found in it which he afterwards repeated in some of his works.
In spite of all his hopes and efforts, the business went from bad to worse, and Balzac endured all the agonies of a merchant who sees the dawn of the day when a note falls due and knows that his cash drawer is empty. We can picture him, anxiously studying his account books, with his elbows on his desk, and imagining a thousand ingenious means of meeting his financial troubles. But the hard reality shattered them, one by one, like thin glass. He was a prey to the money-lenders and the lawyers, who had no mercy upon a poor wretch who had failed to "make good," and accomplish his ruin with mathematical indifference. The sheriffs, the attorneys, the usurers, the intrusive hordes of clerks and process-servers swooped down upon the printing house and the printer, eager to share the spoils. Honoré de Balzac, alone in his "horrible struggle," stood at bay against the pack, using all the stratagems that he had learned in long years of conflict to throw them off the track and save his last remaining resources. He put forth all his accumulated cleverness, his fertile spirit of invention, yet he finally had to yield to superior numbers, and witness the rapid and steady disintegration of a business on which he had staked so many hopes.
But a new opportunity presented itself; his imagination caught fire, and he foresaw a fortune, an assured fortune which nothing could take from him,—and once again he laughed his deep, sonorous, powerful laugh, defying destiny. In September, 1827, a type foundry was offered for sale, after having failed, and Balzac, in conjunction with Barbier and the assignee Laurent, bought it for the sum of thirty-six thousand francs. Mme. de Berny, with her inalienable devotion, joined with him in the new venture, contributing nine thousand francs as her share. The business of the foundry had hitherto been limited to the production of fonts of type, but it was the ambition of the partners to extend its scope to engraving on steel, copper and wood, and to a special method of stereotyping invented by Pierre Duronchail, to which they had acquired the rights. A catalogue reproducing the various forms of type which the foundry could furnish, as well as vignettes, head and tail pieces and typographical ornaments, was widely circulated, yet the world at large failed to perceive the advantages offered by the rejuvenated and improved house of Gillé Fils. After a three months' trial, Barbier withdrew from the partnership formed for the exploitation of the foundry, and on April 3, 1828, a new association was formed between Laurent and Balzac, in which Mme. de Berny's name also figured, but only as a silent partner. But every effort was in vain, nothing could avert disaster. On the 16th of April, 1828, the partnership of Laurent and Balzac was dissolved, the former remaining as assignee.
Balzac was dismayed. The menace of insolvency closed the horizon of all his hopes. He had wished to triumph without the aid of his family, to demonstrate that he could carry on a business and achieve a fortune. Yet now he was obliged to call his family to his assistance, to cry out for succour. The situation was desperate, and it was necessary to act quickly, wisely and energetically, for the family honour was at stake. Mme. de Balzac, who until now had shown herself a suspicious and dissatisfied mother, sacrificed herself in the presence of imminent disaster; she offered up all her private fortune to satisfy the creditors. At her request, one of her cousins, M. Sedillot, undertook the settlement of the unfortunate business difficulties of her son, Honoré; and, being a prudent and experienced business man, he was able to limit the extent of the disaster. Barbier bought back the printing house for sixty-seven thousand francs, and Mme. de Berny put her son, Alexandre, in charge of the foundry, in place of Balzac. The liabilities amounted to 113,081 francs, of which 37,600 had been advanced by Mme. de Balzac while the only assets were the 67,000 francs resulting from the sale of the printing house. Among the debts recorded in the settlement there are some which prove that at this time Balzac had already acquired a taste for luxury; he owed Thouvenin, book-binder to the Duc d'Orléans, 175 francs for binding a Lafontaine, a Boileau, and a Thousand and One Nights, while the long unsettled bill of his shoemaker amounted to no less than three hundred francs!
The intervention of his mother and the sacrifices that she consented to make saved him from inevitable failure, but he had to endure an avalanche of reproaches. At the age of twenty-nine he withdrew from business, with debts amounting to ninety thousand francs, and how could he, rebellious son that he was, ever hope to clear himself, when he might by this time have been a prosperous notary, well on the road towards honours, if he had only listened to the wise counsel of his parents? His father, François Balzac, had learned of the disaster, in spite of all the precautions taken to keep him in ignorance, and he addressed a letter, very noble in tone, to M. Sedillot, thanking him for having saved the family name from dishonour. We get an echo of the recriminations which must have arisen within the family circle from the firm yet bitter reply that Balzac made to his sister Laure:
"Your letter has given me two detestable days and two detestable nights. I brooded over my justification, point by point, like Mirabeau's Mémoire to his father, and I was already fired with zeal for the task; but I have decided not to write it. I cannot spare the time, my dear sister, and besides I do not feel that I have been at all in the wrong." And in the same letter he said further, with calm pride: "I must live, my dear sister, without asking anything of anybody; I must live in order to work and pay back every one to whom I am in debt."
Yes, he was nearly twenty-nine years old, his debts amounted to ninety thousand francs, and he was alone and without resources,—but although it was a heavy burden he did not consider that it was too heavy for his shoulders. He had debts, but he meant to pay them, by means of his pen and his genius; and so we shall see him undertaking the most formidable task that ever human brain produced,—and that was destined to cease only at his death.