Honore de Balzac [26]
me secretly imprisoned at Sainte-Pelagie, I shall be far happier there; for my living will cost me nothing and I shall be no closer prisoner than my work now keeps me in my own home."
In spite of this apparent and wholly circumstantial disinterestedness, Balzac loved artistic surroundings, rugs, tapestries and silver ware. He detested mediocrity, and could enjoy nothing short either of glorious poverty, nobly endured in a garret, or wealth and the splendour of a palace. Balzac shared his apartment with Auguste Borget, a painter and traveller, who was one of his most faithful friends. From a window in their parlour they could look across some gardens and see the dome of the Invalides. Ever since his childhood Balzac had made a sort of worship of Napoleon. He was his model and his great ambition was to equal Napoleon's exploits in the realm of the intellect. Mme. Ancelot relates in the Salons of Paris that Balzac had erected a sort of altar, surmounted by Napoleon's bust, on which he had inscribed: "What he began with the sword I shall achieve with the pen." This anecdote is confirmed by Philarete Chasle, who saw the statue in the Rue Cassini apartment, a plaster statue representing the emperor clad in his redingote and holding his celebrated lorgnette in his hand.
Napoleon's influence upon Balzac was profound, or rather there was a sort of parallelism between their two ambitions, each of a different order, but equally formidable. Balzac was essentially a conqueror and legislator. But he wished to establish his empire in the intellectual domain, for he believed that the time for territorial conquest was past; yet he wished to prescribe laws for the people and govern them himself. He was a born ruler, whether he turned to literature or politics, and he appointed himself "Marshal of Letters," just as he might have aspired to be prime minister to the king.
After the publication of The Last Chouan, Balzac's literary activity became prodigious. Shutting himself into his workroom and seated before a little table covered with green cloth, under the light of a four-branched candlestick, dressed in his monkish frock, a white robe in which he felt at ease, with the cord tied slackly around his waist and his shirt unbuttoned at the collar, he turned out, in a dizzy orgy of production, The Physiology of Marriage, the short stories constituting the Scenes of Private Life, At the Sign of the Cat-and-Racket, The Ball at Sceaux, The Vendetta, A Double Family, Peace in the Household, Gobseck and Sarrasine, besides studies, criticisms and essays for newspapers and magazines.
The Physiology of Marriage appeared at the end of December, 1829, and caused quite a little scandal. The public did not understand Balzac's ideas, they recoiled from the boldness of his themes, which sounded like sheer cynicism, and remembered only the crudity of certain anecdotes, without trying to penetrate their philosophy. He was attacked in the public press, and even his friends did not spare him their reproaches. Balzac defended himself against the criticisms of Mme. Zulma Carraud, whom he had met at Versailles at the home of his sister Laure, and whose esteem and affection he was anxious to keep. Mme. Carraud was a broad-minded and discerning woman, of delicate sensibility and an upright nature. Her husband was Commander Carraud, director of studies at the Military School of Saint-Cyr, and later inspector of the powder works at Angouleme. Balzac loved her as a confidential friend,--who, at the same time, did not spare him the truth,--and he made frequent visits to the towns where she lived, especially to Issoudun, at her chateau of Frapesle, after the Commander had gone into retirement.
The Physiology might seem to have been an abnormal work for a man of Balzac's years if it was not known that he had two collaborators, Mme. de Berny, who brought him her experience as a woman of the world, and his father, who gave him the greater part of his maxims.
Francois de Balzac believed that he was ordained to live for more than a hundred years, and perhaps
In spite of this apparent and wholly circumstantial disinterestedness, Balzac loved artistic surroundings, rugs, tapestries and silver ware. He detested mediocrity, and could enjoy nothing short either of glorious poverty, nobly endured in a garret, or wealth and the splendour of a palace. Balzac shared his apartment with Auguste Borget, a painter and traveller, who was one of his most faithful friends. From a window in their parlour they could look across some gardens and see the dome of the Invalides. Ever since his childhood Balzac had made a sort of worship of Napoleon. He was his model and his great ambition was to equal Napoleon's exploits in the realm of the intellect. Mme. Ancelot relates in the Salons of Paris that Balzac had erected a sort of altar, surmounted by Napoleon's bust, on which he had inscribed: "What he began with the sword I shall achieve with the pen." This anecdote is confirmed by Philarete Chasle, who saw the statue in the Rue Cassini apartment, a plaster statue representing the emperor clad in his redingote and holding his celebrated lorgnette in his hand.
Napoleon's influence upon Balzac was profound, or rather there was a sort of parallelism between their two ambitions, each of a different order, but equally formidable. Balzac was essentially a conqueror and legislator. But he wished to establish his empire in the intellectual domain, for he believed that the time for territorial conquest was past; yet he wished to prescribe laws for the people and govern them himself. He was a born ruler, whether he turned to literature or politics, and he appointed himself "Marshal of Letters," just as he might have aspired to be prime minister to the king.
After the publication of The Last Chouan, Balzac's literary activity became prodigious. Shutting himself into his workroom and seated before a little table covered with green cloth, under the light of a four-branched candlestick, dressed in his monkish frock, a white robe in which he felt at ease, with the cord tied slackly around his waist and his shirt unbuttoned at the collar, he turned out, in a dizzy orgy of production, The Physiology of Marriage, the short stories constituting the Scenes of Private Life, At the Sign of the Cat-and-Racket, The Ball at Sceaux, The Vendetta, A Double Family, Peace in the Household, Gobseck and Sarrasine, besides studies, criticisms and essays for newspapers and magazines.
The Physiology of Marriage appeared at the end of December, 1829, and caused quite a little scandal. The public did not understand Balzac's ideas, they recoiled from the boldness of his themes, which sounded like sheer cynicism, and remembered only the crudity of certain anecdotes, without trying to penetrate their philosophy. He was attacked in the public press, and even his friends did not spare him their reproaches. Balzac defended himself against the criticisms of Mme. Zulma Carraud, whom he had met at Versailles at the home of his sister Laure, and whose esteem and affection he was anxious to keep. Mme. Carraud was a broad-minded and discerning woman, of delicate sensibility and an upright nature. Her husband was Commander Carraud, director of studies at the Military School of Saint-Cyr, and later inspector of the powder works at Angouleme. Balzac loved her as a confidential friend,--who, at the same time, did not spare him the truth,--and he made frequent visits to the towns where she lived, especially to Issoudun, at her chateau of Frapesle, after the Commander had gone into retirement.
The Physiology might seem to have been an abnormal work for a man of Balzac's years if it was not known that he had two collaborators, Mme. de Berny, who brought him her experience as a woman of the world, and his father, who gave him the greater part of his maxims.
Francois de Balzac believed that he was ordained to live for more than a hundred years, and perhaps