The other day, coming back from Paris much bothered, it never occurred to me to thank maman for a black coat which she had had made for me; at my age one isn't particularly sensitive to such a present. Nevertheless, it would not have cost me much to seem touched by the attention, especially as it was a sacrifice. But I forgot it. Maman began to pout, and you know what her aspect and her face amount to at those moments. I fell from the clouds, and racked my brain to know what I had done. Happily Laurence [his younger sister] came and notified me, and two or three words as fine as amber mended maman's countenance. The thing is nothing—a mere drop of water; but it's to give you an example of our manners. Ah, we are a jolly set of originals in our holy family. What a pity I can't put us into novels!
His father wished to find him an opening in some profession, and the thought of being made a notary was a bugbear to the young man: "Think of me as dead, if they cap me with that extinguisher." And yet, in the next sentence, he breaks out into a cry of desolate disgust at the aridity of his actual circumstances: "They call this mechanical rotation living—this perpetual return of the same things. If there were only something to throw some charm or other over my cold existence. I have none of the flowers of life, and yet I am in the season in which they bloom. What will be the use of fortune and pleasures when my youth has departed? What need of the garments of an actor if one no longer plays a part? An old man is a man who has dined, and who watches others eat; and I, young as I am—my plate is empty, and I am hungry. Laure, Laure, my two only and immense desires, to be famous and to be loved—will they ever be satisfied?"
These occasional bursts of confidence in his early letters to his sister are (with the exception of certain excellent pages, addressed in the last years of his life to the lady he eventually married) Balzac's most delicate, most emotional utterances. There is a touch of the ideal in them. Later, one wonders where he keeps his ideal. He has one of course, artistically, but it never peeps out. He gives up talking sentiment, and he never discusses "subjects"; he only talks business. Meanwhile, however, at this period, business was increasing with him. He agrees to write three novels for eight hundred and twenty dollars. Here begins the inextricable mystery of Balzac's literary promises, pledges, projects, and contracts. His letters form a swarming register of schemes and bargains through which he passes like a hero of the circus, riding half a dozen piebald coursers at once. We confess that in this matter we have been able to keep no sort of account; the wonder is that Balzac should have accomplished the feat himself. After the first year or two of his career, we never see him working upon a single tale; his productions dovetail and overlap, and dance attendance upon each other in the most bewildering fashion. As soon as one novel is fairly on the stocks he plunges into another, and while he is rummaging in this with one hand, he stretches out a heroic arm and breaks ground in a third. His plans are always vastly in advance of his performance; his pages swarm with titles of books that were never to be written. The title circulates with such an assurance that we are amazed to find, fifty pages later, that there is no more of it than of the cherubic heads. With this, Balzac was constantly paid in advance by his publishers—paid for works not begun, or barely begun; and the money was as constantly spent before the equivalent had been delivered. Meanwhile more money was needed, and new novels were laid out to obtain it; but prior promises had first to be kept. Keeping them, under these circumstances, was not an exhilarating process; and readers familiar with Balzac will reflect with wonder that these were yet the circumstances in which some of his best tales were written. They were written, as it were, in the fading light, by a man who saw night coming on, and yet couldn't afford to buy candles. He could only hurry. But Balzac's way of hurrying was all his own; it was a sternly methodical haste, and might have been mistaken, in a more lightly-weighted genius, for elaborate trifling. The close tissue of his work never relaxed; he went on doggedly and insistently, pressing it down and packing it together, multiplying erasures, alterations, repetitions, transforming proof-sheets, quarrelling with editors, enclosing subject within subject, accumulating notes upon notes.
The letters make a jump from 1822 to 1827, during which interval he had established, with borrowed capital, a printing house, and seen his enterprise completely fail. This failure saddled him with a mountain of debt which pressed upon him crushingly for years, and of which he rid himself only toward the close of his life. Balzac's debts are another labyrinth in which we do not profess to hold a clue. There is scarcely a page of these volumes in which they are not alluded to, but the reader never quite understands why they should bloom so perennially. The liabilities incurred by the collapse of the printing scheme can hardly have been so vast as not to have been for the most part cancelled by ten years of heroic work. Balzac appears not to have been extravagant; he had neither wife nor children (unlike many of his comrades, he had no illegitimate offspring), and when he admits us to a glimpse of his domestic economy, we usually find it to be of a very meagre pattern. He writes to his sister in 1827 that he has not the means either to pay the postage of letters or to use omnibuses, and that he goes out as little as possible, so as not to wear out his clothes. In 1829, however, we find him in correspondence with a duchess, Mme. d'Abrantès, the widow of Junot, Napoleon's rough marshal, and author of those voluminous memoirs upon the imperial court which it was the fashion to read in the early part of the century. The Duchess d'Abrantès wrote bad novels, like Balzac himself at this period, and the two became good friends.
The year 1830 was the turning point in Balzac's career. Renown, to which he had begun to lay siege in Paris in 1820, now at last began to show symptoms of self-surrender. Yet one of the strongest expressions of discontent and despair in the pages before us belongs to this brighter moment. It is also one of the finest passages:
Sacredieu, my good friend, I believe that literature, in the day we live in, is no better than the trade of a woman of the town, who prostitutes herself for a dollar. It leads to nothing. I have an itch to go off and wander and explore, make of my life a drama, risk my life; for, as for a few miserable years more or less!... Oh, when one looks at these great skies of a beautiful night, one is ready to unbutton——
But the modesty of the English tongue forbids us to translate the rest of the phrase. Dean Swift might have related how Balzac wished to express his contempt for all the royalties of the earth. Now that he is in the country, he goes on:
I have been seeing real splendors, such as fine, sound fruit and gilded insects; I have been quite turning philosopher, and if I happen to tread upon an anthill, I say, like that immortal Bonaparte, "These creatures are men: what is it to Saturn, or Venus, or the North Star?" And then my philosopher comes down to scribble "items" for a newspaper. Proh pudor! And so it seems to me that the ocean, a brig, and an English vessel to sink, if you must sink yourself to do it, are rather better than a writing-desk, a pen, and the Rue St. Denis.
But Balzac was fastened to the writing desk. In 1831 he tells one of his correspondents that he is working fifteen or sixteen hours a day. Later, in 1837, he describes himself repeatedly as working eighteen hours out of the twenty-four. In the midst of all this (it seems singular), he found time for visions of public life, of political distinction. In a letter written in 1830 he gives a succinct statement of his political views, from which we learn that he approved of the French monarchy having a constitution, and of instruction being diffused among the lower orders. But he desired that the people should be kept "under the most powerful yoke possible," so that in spite of their instruction they should not become disorderly. It is fortunate, probably, both for Balzac and for France, that his political rôle was limited to the production of a certain number of forgotten editorials in newspapers; but we may be sure that his dreams of statesmanship were brilliant and audacious. Balzac indulged in no dreams that were not.
Some of his best letters are addressed to Mme. Zulma Carraud, a lady whose acquaintance he had made through his sister Laure, of whom she was an intimate friend, and whose friendship (exerted almost wholly through letters, as she always lived in the country) appears to have been one of the brightest and most salutary influences of his life. He writes to her in 1832: