Among these unknown correspondents, there were two who specially interested him. One of these was the Marquise de Castries, who, though rather under a cloud at this time, was one of the most aristocratic stars of the Faubourg Saint-Germain, and sister-in-law to the Duc de Fitz-James, with whom Balzac was already connected in several literary undertakings.
As we have already seen, she wrote anonymously towards the end of September, 1831 to complain of the moral tone of the "Physiologie du Mariage" and of "La Peau de Chagrin." In Balzac's reply, which was despatched on February 28th, 1832, he thanked her for the proof of confidence she had shown in making herself known to him, and in wishing for his acquaintance; and said that he looked forward to many hours spent in her society, hours during which he would not need to pose as an artist or literary man, but could simply be himself.[*]
[*] "Correspondance," vol. i., p. 141.
Separated from her husband, and a most accomplished coquette, the Marquise was recovering from a serious love-affair, when she summoned Balzac to afford her amusement and distraction. Delicate and fragile, her face was rather too long for perfect beauty, but there was something spiritual and slender about it, which recalled the faces of the Middle Ages. Her health had been shattered by a hunting accident, and her expression was habitually one of smiling melancholy and of hidden suffering. Her beautiful Venetian red hair grew above a high white forehead; and in addition to the attractiveness of her elegant svelte figure, she possessed in the highest degree the all-powerful seductive influence which we call "charm."
Reclining gracefully in a long chair, she received her intimates in a small simple drawing-room furnished in old-fashioned style, with cushions of ancient velvet and eighteenth-century screens—a room instinct with the aristocratic aroma of the Faubourg Saint-Germain. There Balzac went eagerly during the spring of 1832, and imbibed the strange old-world atmosphere of the exclusive Faubourg, of which he has given a masterly picture in the "Duchesse de Langeais." In this he shows that by reason of its selfishness, its divisions, and want of patriotism and large-mindedness, the Faubourg Saint-Germain had abrogated the proud position it might have held, and was now an obsolete institution, aloof and cornered, wasting its powers on frivolity and the worship of etiquette. At first, gratified vanity at his selection as an intimate by so great a lady, and pleasure at the opportunity given him for the study of what was separated from the ordinary world by an impassable barrier, were Balzac's chief inducements for frequent visits to the Rue de Varenne. Gradually, however, the caressing tones of Madame de Castries' voice, the quiet grace of her language, and her infinite variety, found their way to his heart, and he fell madly in love.
Speaking of her afterwards in the "Duchesse de Langeais," which was written in the utmost bitterness, when he had been, according to his own view, led on, played with and deceived by the fascinating Marquise, Balzac describes her thus: She was "eminently a woman, and essentially a coquette, Parisian to the core, loving the brilliancy of the world and its amusements, reflecting not at all, or reflecting too late; of a natural imprudence which rose at times almost to poetic heights, deliciously insolent, yet humble in the depths of her heart, asserting strength like a reed erect, but, like the reed, ready to bend beneath a firm hand; talking much of religion, not loving it, and yet prepared to accept it as a possible finality."
In the same book are several interesting remarks about Armand de Montriveau, the lover of the Duchesse de Langeais, who is, in many points, Balzac under another name. On one page we read: "He seemed to have reached some crisis in his life, but all took place within his own breast, and he confided nothing to the world without." In another place is a description of Montriveau's appearance. "His head, which was large and square, had the characteristic trait of an abundant mass of black hair, which surrounded his face in a way that recalled General Kleber, whom indeed he also resembled in the vigour of his bearing, the shape of his face, the tranquil courage of his eye, and the expression of inward ardour which shone out through his strong features. He was of medium height, broad in the chest, and muscular as a lion. When he walked, his carriage, his step, his least gesture, bespoke a consciousness of power which was imposing; there was something even despotic about it. He seemed aware that nothing could oppose his will; possibly because he willed only that which was right. Nevertheless, he was, like all really strong men, gentle in speech, simple in manner, and naturally kind." Certainly Balzac, as usual, did not err on the side of modesty!
Curiously enough, the very day—February 28th, 1832—on which Balzac wrote to accept the offer of the Marquise de Castries' friendship, was the day that the first letter from L'Etrangere reached him. At first sight there was nothing to distinguish this most momentous letter from others which came to him by almost every post, or to indicate that it was destined to change the whole current of his life. It was sent by an unknown woman, and the object of the writer was, while expressing intense admiration for Balzac's work, to criticise the view of the feminine sex taken by him in "La Peau de Chagrin." His correspondent begged him to renounce ironical portrayals of woman, which denied the pure and noble role destined for her by Heaven, and to return to the lofty ideal of the sex depicted in "Scenes de la Vie Privee."
This letter, which was addressed to Balzac to the care of Gosselin, the publisher of "La Peau de Chagrin," has never been found. There must have been something remarkable about the wording and tone of it; as Balzac received many such effusions, but was so much impressed by this one, and by the communications which followed, that he decided to dedicate "L'Expiation" to his unknown correspondent. This story he was writing when he received her first letter, and it formed part of the enlarged edition of the "Scenes de la Vie Privee" which was published in May, 1832. On communicating this project, however, to Madame de Berny, she strongly objected to the offer of this extraordinary honour to "L'Etrangere"; and now doubly obedient to her wishes, and anxious not to hurt her feelings, he abandoned the idea after the book had been printed. In January, 1833, in his first letter to Madame Hanska, he explained the matter at length, and sent her a copy which had not been altered, and which had her seal on the title-page. The book sent her has disappeared; but examining some copies of the second edition of the "Scenes," the Vicomte de Spoelberch de Lovenjoul found that a page had been glued against the binding, and, detaching this carefully, discovered the design of the wax seal, and the dedication "Diis ignotis, 28th February, 1832,"[*] the date on which Balzac received the first letter from "L'Etrangere."
[*] I have seen this.