[*] "Trois Lettres," in "Autour de Honore de Balzac," by the Vicomte
de Spoelberch de Lovenjoul.
We may be grateful to Hetzel for this advice, which Balzac evidently followed; as the preface is written in a quiet and modest tone unusual with him, and he follows Hetzel's counsel, and gives a concise summary of his intention in writing the "Comedie Humaine."
He explains that he has attempted in his great work to classify man, as Buffon has classified animals, and to show that his varieties of character, like the differences of form in the lower creation, come from environment. The three great divisions of the Comedie Humaine are "Etudes de Moeurs," "Etudes Philosophiques," and "Etudes Analytiques"; and the "Etudes de Moeurs" comprise many subdivisions, each of which, in Balzac's mind, is connected with some special period of life.
The "Scenes de la Vie Privee," of which the best-known novels are "Le Pere Goriot" (1834), "La Messe de l'Athee" (1836), "La Grenadiere" (1832), "Albert Savarus" (1842), "Etude de Femme" (1830), "Beatrix" (1838), and "Modeste Mignon" (1844), Balzac connects with childhood and youth. The "Scenes de la Vie de Province," to which belong among others "Eugenie Grandet" (1833), "Le Lys dans la Vallee" (1835), "L'Illustre Gaudissart" (1833), "Pierrette" (1839), and "Le Cure de Tours" (1832), typify a period of combat; while "Scenes de la Vie Parisienne," which contain "La Duchesse de Langeais" (1834), "Cesar Birotteau" (1837), "La Cousine Bette" (1846), "Le Cousin Pons" (1847), "Facino Cane" (1836), "La Maison de Nucingen" (1837), and several less-known novels, show the effect of Parisian life in forming or modifying character.
Next Balzac turns to more exceptional existences, those which guard the interests of others, and gives us "Scenes de la Vie Militaire," comprising "Une Passion dans la Desert" (1830), and "Les Chouans" (1827); and "Scenes de la Vie Politique," which contain "Un Episode sous la Terreur" (1831), "Une Tenebreuse Affaire" (1841), "Z. Marcas" (1840), and "L'Envers de l'Histoire Contemporaine" (1847). He finishes the "Etudes de Moeurs" with "Scenes de la Vie de Campagne," consisting of "Le Medecin de Campagne" (1832), "Le Cure de Village" (1837 to 1841), and "Les Paysans" (1844); and these are to be, Balzac says, "the evening of this long day. Here are my purest characters, my application of the principles of order, politics, morality."
There are no subdivisions to the "Etudes Philosophiques," among which we find "La Peau de Chagrin," written in 1830, and considered by Balzac a link between the "Etudes de Moeurs" and the "Etudes Philosophiques"; "Jesus-Christ en Flandre" (1831), "Massimilla Doni" (1839), "La Recherche de l'Absolu" (1834), "Louis Lambert" (1832), and "Seraphita" (1835). To the division entitled "Etudes Analytiques" belong only two books, "La Physiologie du Mariage" (1829), and "Petites Miseres de la Vie Conjugale" (1830 to 1845).
"The Comedie Humaine" was never finished, but, incomplete as it is, it remains a noble memorial of Balzac's genius, as well as an astonishing testimony of his extraordinary power of work. The last edition of it which was published in Balzac's lifetime appeared in 1846, and formed sixteen octavo volumes. It consists of eighty-eight novels and tales, and by far the greater number of these appeared in the first edition of 1842. A strong connection is kept up between the different stories by the fact that the same characters appear over and over again, and the reader finds himself in a world peopled by beings who, as in real life, at one time take the foremost place, and anon are relegated to a subordinate position; but who preserve their identity vividly throughout.
Balzac found it impossible to manage without a pied-a-terre in Paris, and for some reason he could no longer lodge with Bouisson, his tailor, so in 1842 he took a lodging in the same house with his sister, Madame Surville, at 28, Rue du Faubourg Poissonniere. Life was brightening for him; he was beginning by his strenuous efforts to diminish perceptibly his load of debt, and the star of hope shone brightly on his path.
After many doubts on the part of Madame Hanska, who was most particular in observing the proprieties, he was allowed in 1843 to meet her in St. Petersburg, and arrived on July 17th, after a rough passage from Dunkerque, during which his discomforts were nothing to him, so joyous was he at the thought of soon seeing his beloved one. Madame Hanska was established at the Hotel Koutaizoff, in the Rue Grande Millione, and Balzac took a lodging near, and thought St. Petersburg with its deserted streets a dreary place. All minor feelings were, however, merged in the happiness of being near Madame Hanska, of hearing her voice, and of giving expression to that passionate love which had possessed him for more than ten years. In his sight she was as young and beautiful as ever, and his fascinated eyes watched her with rapture, as she leant back thoughtfully in the little arm-chair in the blue drawing-room, her head resting against a cushion trimmed with black lace. He could recall every detail afterwards of that room, could count the points of the lace, and see the bronze ornaments filled with flowers, in which he used to catch his knees in his rapid pacings up and down; and his eyes would fill with tears, and the creations of his imagination fade and become unreal, beside the haunting pictures of his memory. He loved Madame Hanska with a love which had grown steadily since their first meeting, and which now was threatening to overmaster him, so that even work would become impossible. Nevertheless, though she was most charming and affectionate, and he stayed in St. Petersburg until September, nothing definite was settled.
Madame Hanska was a prudent person; her dearly-loved daughter Anna was growing up, and it was quite necessary to settle her in life before taking any decided step. Besides, though she hardly allowed this to herself, there is no doubt that she was rather alarmed at the prospect of becoming Madame Honore de Balzac. The marriage would be decidedly a mesalliance for a Rzewuska, and her family constantly and steadily exerted their influence to prevent her from wrecking her future. What, they asked her, would be her life with a husband as eccentric, extravagant, and impecunious, as they believed Balzac to be? They collected gossip about him in Paris, and told Madame Hanska endless stories, occasionally true, often false, and sometimes merely exaggerated, about his oddities, his love affairs, and his general unsuitability for alliance with an aristocratic family. It was no doubt pleasant to have a man of genius and of worldwide fame as a lover; but what would be her position if she took the fatal step, and bound herself to him for life? Madame Hanska listened and paused: she well understood her advantages as a great and moneyed lady; and she was under no illusions as to the harassed and chequered existence which she would lead with Balzac. She had often lent him money, his letters kept her well informed about the state of his affairs; and the idea of becoming wife to a man who was often forced to fly from his creditors, must have been extremely distasteful to a woman used to luxury and consideration. Maternal affection, love of her country, prudence, social and worldly considerations—besides the fear of the Czar's displeasure—were all inducements to delay; and even if she had felt towards Balzac the passionate love for the lack of which posterity has reproached her, it surely would have been the duty of an affectionate mother to think of her child's welfare before her own happiness. Later on, when Anna was married, and Balzac, broken in health and tortured by his longings, was kept a slave to Madame Hanska's caprices, the hard thing may be said of her, that she was in part the cause of the death of the man she pretended to love. In 1843, however, whatever motives incited her, her action in delaying matters appears under the circumstances to have been right; and Balzac seems to have felt that he had no just cause for complaint.