INTRODUCTION
Les Celibataires, the longest number of the original Comedie Humaine under a single title, next to Illusions perdues, is not, like that book, connected by any unity of story. Indeed, the general bond of union is pretty weak; and though it is quite true that bachelors and old maids are the heroes and heroines of all three, it would be rather hard to establish any other bond of connection, and it is rather unlikely that any one unprompted would fix on this as a sufficient ground of partnership.
Two at least of the component parts, however, are of very high excellence. I do not myself think that Pierrette, which opens the series, is quite the equal of its companions. Written, as it was, for Countess Anna de Hanska, Balzac's step-daughter of the future, while she was still very young, it partakes necessarily of the rather elaborate artificiality of all attempts to suit the young person, of French attempts in particular, and it may perhaps be said of Balzac's attempts most of all. It belongs, in a way, to the Arcis series – the series which also includes the fine Tenebreuse Affaire and the unfinished Depute d'Arcis– but is not very closely connected therewith. The picture of the actual Celibataires, the brother and sister Rogron, with which it opens, is one of Balzac's best styles, and is executed with all his usual mastery both of the minute and of the at least partially repulsive, showing also that strange knowledge of the bourgeois de Paris which, somehow or other, he seems to have attained by dint of unknown foregatherings in his ten years of apprenticeship. But when we come to Pierrette herself, the story is, I think, rather less satisfying. Her persecutions and her end, and the devotion of the faithful Brigaut and the rest, are pathetic no doubt, but tend (I hope it is not heartless to say it) just a very little towards sensiblerie. The fact is that the thing is not quite in Balzac's line.
Le Cure de Tours, is certainly on a higher level, and has attracted the most magnificent eulogies from some of the novelist's admirers. I think both Mr. Henry James and Mr. Wedmore have singled out this little piece for detailed and elaborate praise, and there is no doubt that it is a happy example of a kind in which the author excelled. The opening, with its evident but not obtruded remembrance of the old and well-founded superstition – derived from the universal belief in some form of Nemesis – that an extraordinary sense of happiness, good luck, or anything of the kind, is a precursor of misfortune, and calls for some instant act of sacrifice or humiliation, is very striking; and the working out of the vengeance of the goddess by the very ungoddess-like though feminine hand of Mademoiselle Gamard has much that is commendable. Nothing in its well exampled kind is better touched off than the Listomere coterie, from the shrewdness of Monsieur de Bourbonne to the selfishness of Madame de Listomere. I do not know that the old maid herself – cat, and far worst than cat as she is – is at all exaggerated, and the sketch of the coveted appartement and its ill-fated mobilier is about as good as it can be. And the battle between Madame de Listomere and the Abbe Troubert, which has served as a model for many similar things, has, if it has often been equaled, not often been surpassed.
I cannot, however, help thinking that there is more than a little exaggeration in more than one point of the story. The Abbe Birotteau is surely a little too much of a fool; the Abbe Troubert an Iago a little too much wanting in verisimilitude; and the central incident of the clause about the furniture too manifestly improbable. Taking the first and the last points together, is it likely that any one not quite an idiot should, in the first place, remain so entirely ignorant of the value of his property; should, in the second, though, ignorant or not, he attached the greatest possible pretium affectionis to it, contract to resign it for such a ridiculous consideration; and should, in the third, take the fatal step without so much as remembering the condition attached thereto? If it be answered that Birotteau was idiot enough to do such a thing, then it must be observed further that one's sympathy is frozen by the fact. Such a man deserved such treatment. And, again, even if French justice was, and perhaps is, as much influenced by secret considerations as Balzac loves to represent it, we must agree with that member of the Listomere society who pointed out that no tribunal could possibly uphold such an obviously iniquitous bargain. As for Troubert, the idea of the Jesuitical ecclesiastic (though Balzac was not personally hostile to the Jesuits) was a common one at the time, and no doubt popular, but the actual personage seems to me nearer to Eugene Sue's Rodin in some ways than I could have desired.
These things, however, are very much a case of "As You Like It" or "As It Strikes You," and I have said that Le Cure de Tours strikes some good judges as of exceptional merit, while no one can refuse it merit in a high degree. I should not, except for the opening, place it in the very highest class of the Comedie, but it is high beyond all doubt in the second.
The third part (The Two Brothers/A Bachelor's Establishment) of Les Celibataires takes very high rank among its companions. As in most of his best books, Balzac has set at work divers favorite springs of action, and has introduced personages of whom he has elsewhere given, not exactly replicas – he never did that – but companion portraits. And he has once more justified the proceeding amply. Whether he has not also justified the reproach, such as it is, of those who say that to see the most congenial expression of his fullest genius, you must go to his bad characters and not to his good, readers shall determine for themselves after reading the book.
It was the product of the year 1842, when the author was at the ripest of his powers, and after which, with the exception of Les Parents Pauvres, he produced not much of his very best save in continuations and rehandlings of earlier efforts. He changed his title a good deal, and in that MS. correction of a copy of the Comedie which has been taken, perhaps without absolutely decisive authority, as the basis of the Edition Definitive, he adopted La Rabouilleuse as his latest favorite. This, besides its quaintness, has undoubted merit as fixing the attention on one at least of the chief figures of the book, while Un Menage de garcon only obliquely indicates the real purport of the novel. Jean-Jacques Rouget is a most unfortunate creature, who anticipates Baron Hulot as an example of absolute dependence on things of the flesh, plus a kind of cretinism, which Hulot, to do him justice, does not exhibit even in his worst degradation. But his "bachelor establishment," though undoubtedly useful for the purposes of the story, might have been changed for something else, and his personality have been considerably altered, without very much affecting the general drift of the fiction.
Flore Brazier, on the other hand, the Rabouilleuse herself, is essential, and with Maxence Gilet and Philippe Bridau forms the centre of the action and the passion of the book. She ranks, indeed, with those few feminine types, Valerie Marneffe, La Cousine Bette, Eugenie Grandet, Beatrix, Madame de Maufrigneuse, and perhaps Esther Gobseck, whom Balzac has tried to draw at full length. It is to be observed that though quite without morals of any kind, she is not ab initio or intrinsically a she-fiend like Valerie or Lisbeth. She does not do harm for harm's sake, nor even directly to gratify spite, greed, or other purely unsocial and detestable passions. She is a type of feminine sensuality of the less ambitious and restless sort. Given a decent education, a fair fortune, a good-looking and vigorous husband to whom she had taken a fancy, and no special temptation, and she might have been a blameless, merry, "sonsy" commere, and have died in an odor of very reasonable sanctity. Poverty, ignorance, the Rougets (father and son), Maxence Gilet, and Philippe Bridau came in her way, and she lived and died as Balzac has shown her. He has done nothing more "inevitable;" a few things more complete and satisfactory.
Maxence Gilet is a not much less remarkable sketch, though it is not easy to say that he is on the same level. Gilet is the man of distinct gifts, of some virtues, or caricatures of virtues, who goes to the devil through idleness, fulness of bread, and lack of any worthy occupation. He is extraordinarily unconventional for a French figure in fiction, even for a figure drawn by such a French genius as Balzac. But he is also hardly to be called a great type, and I do not quite see why he should have succumbed before Philippe as he did.
Philippe himself is more complicated, and, perhaps, more questionable. He is certainly one of Balzac's fleurs du mal; he is studied and personally conducted from beginning to end with an extraordinary and loving care; but is he quite "of a piece"? That he should have succeeded in defeating the combination against which his virtuous mother and brother failed is not an undue instance of the irony of life. The defeat of such adversaries as Flore and Max has, of course, the merit of poetical justice and the interest of "diamond cut diamond." But is not the terrible Philippe Bridau, the "Mephistopheles a cheval" of the latter part of the book, rather inconsistent with the common-place ne'er-to-well of the earlier? Not only does it require no unusual genius to waste money, when you have it, in the channels of the drinking-shop, the gaming table, and elsewhere, to sponge for more on your mother and brother, to embezzle when they are squeezed dry, and to take to downright robbery when nothing else is left; but a person who, in the various circumstances and opportunities of Bridau, finds nothing better to do than these ordinary things, can hardly be a person of exceptional intellectual resource. There is here surely that sudden and unaccounted-for change of character which the second-rate novelist and dramatists may permit himself, but from which the first-rate should abstain.
This, however, may be an academic objection, and certainly the book is of first-class interest. The minor characters, the mother and brother, the luckless aunt with her combination at last turning up when the rascal Philippe has stolen her stake-money, the satellites and abettors of Max in the club of "La Desoeuvrance," the slightly theatrical Spaniard, and all the rest of them, are excellent. The book is an eminently characteristic one – more so, indeed, than more than one of those in which people are often invited to make acquaintance with Balzac.
Pierrette, which was earlier called Pierrette Lorrain, was issued in 1840, first in the Siecle, and then in volume form, published by Souverain. In both issues it had nine chapter or book divisions with headings. With the other Celibataires it entered the Comedie as a Scene de la Vie de Province in 1843.
Le Cure de Tours (which Balzac had at one time intended to call by the name of the Cure's enemy, and which at first was simply called by the general title Les Celibataires) is much older than its companions, and appeared in 1832 in the Scenes de la Vie Privee. It was soon properly shifted to the Vie de Province, and as such in due time joined the Comedie bearing its present title.
The third story of Les Celibataires has a rather more varied bibliographical history than the others. The first part, that dealing with the early misconduct of Philippe Bridau, was published separately, as Les Deux Freres, in the Presse during the spring of 1841, and a year or so later in volumes. It had nine chapters with headings. The volume form also included under the same title the second part, which, as Un Menage de garcon en Province, had been published in the same newspaper in the autumn of 1842. This had sixteen chapters in both issues, and in the volumes two part-headings – one identical with the newspaper title, and the other "A qui la Succession?" The whole book then took rank in the Comedie under the second title, Un Menage de garcon, and retained this during Balzac's life and long afterwards. In the Edition Definitive, as observed above, he had marked it as La Rabouilleuse, after having also thought of Le Bonhomme Rouget. For English use, the better known, though not last or best title, is clearly preferable, as it can be translated, while La Rabouilleuse cannot.
George Saintsbury
PIERRETTE
DEDICATION
To Mademoiselle Anna Hanska:
Dear Child, – You, the joy of the household, you, whose pink or white pelerine flutters in summer among the groves of Wierzschovnia like a will-o'-the-wisp, followed by the tender eyes of your father and your mother, – how can I dedicate to you a story full of melancholy? And yet, ought not sorrows to be spoken of to a young girl idolized as you are, since the day may come when your sweet hands will be called to minister to them? It is so difficult, Anna, to find in the history of our manners and morals a subject that is worthy of your eyes, that no choice has been left me; but perhaps you will be made to feel how fortunate your fate is when you read the story sent to you by Your old friend, De Balzac.
I
THE LORRAINS
At the dawn of an October day in 1827 a young fellow about sixteen years of age, whose clothing proclaimed what modern phraseology so insolently calls a proletary, was standing in a small square of Lower Provins. At that early hour he could examine without being observed the various houses surrounding the open space, which was oblong in form. The mills along the river were already working; the whirr of their wheels, repeated by the echoes of the Upper Town in the keen air and sparkling clearness of the early morning, only intensified the general silence so that the wheels of a diligence could be heard a league away along the highroad. The two longest sides of the square, separated by an avenue of lindens, were built in the simple style which expresses so well the peaceful and matter-of-fact life of the bourgeoisie. No signs of commerce were to be seen; on the other hand, the luxurious porte-cocheres of the rich were few, and those few turned seldom on their hinges, excepting that of Monsieur Martener, a physician, whose profession obliged him to keep a cabriolet, and to use it. A few of the house-fronts were covered by grape vines, others by roses climbing to the second-story windows, through which they wafted the fragrance of their scattered bunches. One end of the square enters the main street of the Lower Town, the gardens of which reach to the bank of one of the two rivers which water the valley of Provins. The other end of the square enters a street which runs parallel to the main street.
At the latter, which was also the quietest end of the square, the young workman recognized the house of which he was in search, which showed a front of white stone grooved in lines to represent courses, windows with closed gray blinds, and slender iron balconies decorated with rosettes painted yellow. Above the ground floor and the first floor were three dormer windows projecting from a slate roof; on the peak of the central one was a new weather-vane. This modern innovation represented a hunter in the attitude of shooting a hare. The front door was reached by three stone steps. On one side of this door a leaden pipe discharged the sink-water into a small street-gutter, showing the whereabouts of the kitchen. On the other side were two windows, carefully closed by gray shutters in which were heart-shaped openings cut to admit the light; these windows seemed to be those of the dining-room. In the elevation gained by the three steps were vent-holes to the cellar, closed by painted iron shutters fantastically cut in open-work. Everything was new. In this repaired and restored house, the fresh-colored look of which contrasted with the time-worn exteriors of all the other houses, an observer would instantly perceive the paltry taste and perfect self-satisfaction of the retired petty shopkeeper.
The young man looked at these details with an expression of pleasure that seemed to have something rather sad in it; his eyes roved from the kitchen to the roof, with a motion that showed a deliberate purpose. The rosy glow of the rising sun fell on a calico curtain at one of the garret windows, the others being without that luxury. As he caught sight of it the young fellow's face brightened gaily. He stepped back a little way, leaned against a linden, and sang, in the drawling tone peculiar to the west of France, the following Breton ditty, published by Bruguiere, a composer to whom we are indebted for many charming melodies. In Brittany, the young villagers sing this song to all newly-married couples on their wedding-day: —
"We've come to wish you happiness in marriage,
To m'sieur your husband
As well as to you:
"You have just been bound, madam' la mariee,
With bonds of gold
That only death unbinds:
"You will go no more to balls or gay assemblies;
You must stay at home
While we shall go.
"Have you thought well how you are pledged to be
True to your spouse,
And love him like yourself?
"Receive these flowers our hands do now present you;
Alas! your fleeting honors
Will fade as they."
This native air (as sweet as that adapted by Chateaubriand to Ma soeur, te souvient-il encore), sung in this little town of the Brie district, must have been to the ears of a Breton maiden the touchstone of imperious memories, so faithfully does it picture the manners and customs, the surroundings and the heartiness of her noble old land, where a sort of melancholy reigns, hardly to be defined; caused, perhaps, by the aspect of life in Brittany, which is deeply touching. This power of awakening a world of grave and sweet and tender memories by a familiar and sometimes lively ditty, is the privilege of those popular songs which are the superstitions of music, – if we may use the word "superstition" as signifying all that remains after the ruin of a people, all that survives their revolutions.
As he finished the first couple, the singer, who never took his eyes from the attic curtain, saw no signs of life. While he sang the second, the curtain stirred. When the words "Receive these flowers" were sung, a youthful face appeared; a white hand cautiously opened the casement, and a girl made a sign with her head to the singer as he ended with the melancholy thought of the simple verses, – "Alas! your fleeting honors will fade as they."
To her the young workman suddenly showed, drawing it from within his jacket, a yellow flower, very common in Brittany, and sometimes to be found in La Brie (where, however, it is rare), – the furze, or broom.
"Is it really you, Brigaut?" said the girl, in a low voice.
"Yes, Pierrette, yes. I am in Paris. I have started to make my way; but I'm ready to settle here, near you."
Just then the fastening of a window creaked in a room on the first floor, directly below Pierrette's attic. The girl showed the utmost terror, and said to Brigaut, quickly: —
"Run away!"
The lad jumped like a frightened frog to a bend in the street caused by the projection of a mill just where the square opens into the main thoroughfare; but in spite of his agility his hob-nailed shoes echoed on the stones with a sound easily distinguished from the music of the mill, and no doubt heard by the person who opened the window.
That person was a woman. No man would have torn himself from the comfort of a morning nap to listen to a minstrel in a jacket; none but a maid awakes to songs of love. Not only was this woman a maid, but she was an old maid. When she had opened her blinds with the furtive motion of the bat, she looked in all directions, but saw nothing, and only heard, faintly, the flying footfalls of the lad. Can there be anything more dreadful than the matutinal apparition of an ugly old maid at her window? Of all the grotesque sights which amuse the eyes of travellers in country towns, that is the most unpleasant. It is too repulsive to laugh at. This particular old maid, whose ear was so keen, was denuded of all the adventitious aids, of whatever kind, which she employed as embellishments; her false front and her collarette were lacking; she wore that horrible little bag of black silk on which old women insist on covering their skulls, and it was now revealed beneath the night-cap which had been pushed aside in sleep. This rumpled condition gave a menacing expression to the head, such as painters bestow on witches. The temples, ears, and nape of the neck, were disclosed in all their withered horror, – the wrinkles being marked in scarlet lines that contrasted with the would-be white of the bed-gown which was tied round her neck by a narrow tape. The gaping of this garment revealed a breast to be likened only to that of an old peasant woman who cares nothing about her personal ugliness. The fleshless arm was like a stick on which a bit of stuff was hung. Seen at her window, this spinster seemed tall from the length and angularity of her face, which recalled the exaggerated proportions of certain Swiss heads. The character of their countenance – the features being marked by a total want of harmony – was that of hardness in the lines, sharpness in the tones; while an unfeeling spirit, pervading all, would have filled a physiognomist with disgust. These characteristics, fully visible at this moment, were usually modified in public by a sort of commercial smile, – a bourgeois smirk which mimicked good-humor; so that persons meeting with this old maid might very well take her for a kindly woman. She owned the house on shares with her brother. The brother, by-the-bye, was sleeping so tranquilly in his own chamber that the orchestra of the Opera-house could not have awakened him, wonderful as its diapason is said to be.
The old maid stretched her neck out of the window, twisted it, and raised her cold, pale-blue little eyes, with their short lashes set in lids that were always rather swollen, to the attic window, endeavoring to see Pierrette. Perceiving the uselessness of that attempt, she retreated into her room with a movement like that of a tortoise which draws in its head after protruding it from its carapace. The blinds were then closed, and the silence of the street was unbroken except by peasants coming in from the country, or very early persons moving about.
When there is an old maid in a house, watch-dogs are unnecessary; not the slightest event can occur that she does not see and comment upon and pursue to its utmost consequences. The foregoing trifling circumstance was therefore destined to give rise to grave suppositions, and to open the way for one of those obscure dramas which take place in families, and are none the less terrible because they are secret, – if, indeed, we may apply the word "drama" to such domestic occurrences.
Pierrette did not go back to bed. To her, Brigaut's arrival was an immense event. During the night – that Eden of the wretched – she escaped the vexations and fault-findings she bore during the day. Like the hero of a ballad, German or Russian, I forget which, her sleep seemed to her the happy life; her waking hours a bad dream. She had just had her only pleasurable waking in three years. The memories of her childhood had sung their melodious ditties in her soul. The first couplet was heard in a dream; the second made her spring out of bed; at the third, she doubted her ears, – the sorrowful are all disciples of Saint Thomas; but when the fourth was sung, standing in her night-gown with bare feet by the window, she recognized Brigaut, the companion of her childhood. Ah, yes! it was truly the well-known square jacket with the bobtails, the pockets of which stuck out at the hips, – the jacket of blue cloth which is classic in Brittany; there, too, were the waistcoat of printed cotton, the linen shirt fastened by a gold heart, the large rolling collar, the earrings, the stout shoes, the trousers of blue-gray drilling unevenly colored by the various lengths of the warp, – in short, all those humble, strong, and durable things which make the apparel of the Breton peasantry. The big buttons of white horn which fastened the jacket made the girl's heart beat. When she saw the bunch of broom her eyes filled with tears; then a dreadful fear drove back into her heart the happy memories that were budding there. She thought her cousin sleeping in the room beneath her might have heard the noise she made in jumping out of bed and running to the window. The fear was just; the old maid was coming, and she made Brigaut the terrified sign which the lad obeyed without the least understanding it. Such instinctive submission to a girl's bidding shows one of those innocent and absolute affections which appear from century to century on this earth, where they blossom, like the aloes of Isola Bella, twice or thrice in a hundred years. Whoever had seen the lad as he ran away would have loved the ingenuous chivalry of his most ingenuous feeling.
Jacques Brigaut was worthy of Pierrette Lorrain, who was just fifteen. Two children! Pierrette could not keep from crying as she watched his flight in the terror her gesture had conveyed to him. Then she sat down in a shabby armchair placed before a little table above which hung a mirror. She rested her elbows on the table, put her head in her hands, and sat thinking for an hour, calling to memory the Marais, the village of Pen-Hoel, the perilous voyages on a pond in a boat untied for her from an old willow by little Jacques; then the old faces of her grandfather and grandmother, the sufferings of her mother, and the handsome face of Major Brigaut, – in short, the whole of her careless childhood. It was all a dream, a luminous joy on the gloomy background of the present.
Her beautiful chestnut hair escaped in disorder from her cap, rumpled in sleep, – a cambric cap with ruffles, which she had made herself. On each side of her forehead were little ringlets escaping from gray curl-papers. From the back of her head hung a heavy braid of hair that was half unplaited. The excessive whiteness of her face betrayed that terrible malady of girlhood which goes by the name of chlorosis, deprives the body of its natural colors, destroys the appetite, and shows a disordered state of the organism. The waxy tones were in all the visible parts of her flesh. The neck and shoulders explained by their blanched paleness the wasted arms, flung forward and crossed upon the table. Her feet seemed enervated, shrunken from illness. Her night-gown came only to her knees and showed the flaccid muscles, the blue veins, the impoverished flesh of the legs. The cold, to which she paid no heed, turned her lips violet, and a sad smile, drawing up the corners of a sensitive mouth, showed teeth that were white as ivory and quite small, – pretty, transparent teeth, in keeping with the delicate ears, the rather sharp but dainty nose, and the general outline of her face, which, in spite of its roundness, was lovely. All the animation of this charming face was in the eyes, the iris of which, brown like Spanish tobacco and flecked with black, shone with golden reflections round pupils that were brilliant and intense. Pierrette was made to be gay, but she was sad. Her lost gaiety was still to be seen in the vivacious forms of the eye, in the ingenuous grace of her brow, in the smooth curve of her chin. The long eyelashes lay upon the cheek-bones, made prominent by suffering. The paleness of her face, which was unnaturally white, made the lines and all the details infinitely pure. The ear alone was a little masterpiece of modelling, – in marble, you might say. Pierrette suffered in many ways. Perhaps you would like to know her history, and this is it.
Pierrette's mother was a Demoiselle Auffray of Provins, half-sister by the father's side of Madame Rogron, mother of the present owners of the house.
Monsieur Auffray, her husband, had married at the age of eighteen; his second marriage took place when he was nearly sixty-nine. By the first, he had an only daughter, very plain, who was married at sixteen to an innkeeper of Provins named Rogron.
By his second marriage the worthy Auffray had another daughter; but this one was charming. There was, of course, an enormous difference in the ages of these daughters; the one by the first marriage was fifty years old when the second child was born. By this time the eldest, Madame Rogron, had two grown-up children.
The youngest daughter of the old man was married at eighteen to a man of her choice, a Breton officer named Lorrain, captain in the Imperial Guard. Love often makes a man ambitious. The captain, anxious to rise to a colonelcy, exchanged into a line regiment. While he, then a major, and his wife enjoyed themselves in Paris on the allowance made to them by Monsieur and Madame Auffray, or scoured Germany at the beck and call of the Emperor's battles and truces, old Auffray himself (formerly a grocer) died, at the age of eighty-eight, without having found time to make a will. His property was administered by his daughter, Madame Rogron, and her husband so completely in their own interests that nothing remained for the old man's widow beyond the house she lived in on the little square, and a few acres of land. This widow, the mother of Madame Lorrain, was only thirty-eight at the time of her husband's death. Like many widows, she came to the unwise decision of remarrying. She sold the house and land to her step-daughter, Madame Rogron, and married a young physician named Neraud, who wasted her whole fortune. She died of grief and misery two years later.
Thus the share of her father's property which ought to have come to Madame Lorrain disappeared almost entirely, being reduced to the small sum of eight thousand francs. Major Lorrain was killed at the battle of Montereau, leaving his wife, then twenty-one years of age, with a little daughter of fourteen months, and no other means than the pension to which she was entitled and an eventual inheritance from her late husband's parents, Monsieur and Madame Lorrain, retail shopkeepers at Pen-Hoel, a village in the Vendee, situated in that part of it which is called the Marais. These Lorrains, grandfather and grandmother of Pierrette Lorrain, sold wood for building purposes, slates, tiles, pantiles, pipes, etc. Their business, either from their own incapacity or through ill-luck, did badly, and gave them scarcely enough to live on. The failure of the well-known firm of Collinet at Nantes, caused by the events of 1814 which led to a sudden fall in colonial products, deprived them of twenty-four thousand francs which they had just deposited with that house.