By the agreement which farmed out Balzac’s future production, Werdet was implicitly sacrificed. The final breach did not occur until the middle of 1837, but no fresh book was given him after the November of 1836. There was one unpublished manuscript that he then had in his possession — the first part of Lost Illusions, and this appeared in the following spring. The novelist was intending at the time to bring out a new edition of the Country Doctor, of which Werdet held the rights. His idea was to present it for the Montyon prize of the Academy, and, if successful, to devote the money to raising a statue at Chinon in memory of Rabelais. Lemesle was one Sunday at Werdet’s place, engaged in revising the book, when Balzac arrived in an excited state of mind, and sprang on the astonished publisher the demand that their respective positions should be legally specified in writing, and a clean sweep made which should leave him perfectly free. Previously their business relations had been carried on by verbal understandings, which, as a matter of fact, did not bind the novelist overmuch, since he never sold either a first or a subsequent edition of any of his novels for more than a comparatively short period — usually a year — at the end of which he recovered his entire liberty, whether the edition were exhausted or not. Werdet acquiesced, though grievously offended and disappointed; but asked that certain accounts outstanding from the year before should be settled on the same occasion. The promise was given, and everything was put straight, except the reimbursement of the money Werdet had advanced. Instead of acquitting this debt, the ingenious author endeavoured to squeeze a little more cash out of his long-suffering publisher. For once, Werdet lost his temper, and sent the great man off with a flea in his ear. It would almost look as if Balzac had provoked the quarrel, since, on the very evening after the tiff, he returned to Werdet’s and offered to redeem all existing copyrights that the publisher held for the price of sixty-three thousand francs. His proposal was accepted, and Bethune, who was acting on behalf of the novelist’s syndicate, paid over the amount.
The transaction was the best possible for Werdet, who was too poor to continue playing Maecenas to his Horace. Against such incurable improvidence, and such little regard for strict equity in money dealings, nothing but the impersonality of a syndicate could stand. Nevertheless, one cannot help regretting that the intercourse of the two men should have ceased. Having so great a personal regard for his hero, and having besides his share of the observant faculty, Werdet, could have supplied us with biographical details of the last twelve years of the novelist’s life much more interesting than those of Gozlan, Gautier, and Lemer. His naive narrations, which are well composed and have humour, carry with them a conviction of their sincerity, whatever the errors of chronology.
Werdet’s prosperity finished with Balzac as it had commenced with him. He was ultimately compelled to file his petition in bankruptcy, and, abandoning business on his own account, to take up travelling for other firms. His creditors were not tender towards the novelist, and used to the utmost the lien they had upon the few unterminated engagements that involved him in the liquidation. A letter addressed by Balzac to the Marquis de Belloy, his former secretary, testifies to the annoyance the creditors caused him:—
“MY DEAR CARDINAL” (he wrote, calling the Marquis by a nickname) — “Your old Mar” (a familiar appellation applied to Balzac by his friends) “would like to know if you are at Poissy, as it is possible he may come and request you to hide him. There is a warrant out against him on Werdet’s account, and his counsellors recommend him to take flight, seeing that the conflict between him and the officers of the Commercial Tribunal is begun. If you are still at Poissy, a room, concealment, bread and water, together with salad, and a pound of mutton, a bottle of ink, and a bed, such are the needs of him who is condemned to the hardest of hard literary labour, and who is yours.
“LE MAR.”
The last occasion on which Werdet forgathered with his favourite author was at his house in the Rue de Seine, where, in February 1837, he gave a dinner. Some young members of the fair sex were present; and Balzac, whether to produce a greater impression upon these or because he had been making some society calls, arrived nearly an hour late. Nothing very special occurred during the evening, but the soiree had its conclusion disturbed by a thunderbolt. On rising to depart, Balzac sought his wonderful stick — an inseparable companion — which was nowhere to be found. Every nook was explored without result. The great man yielded to a veritable fit of despair. A suspicion crossed his mind: “Enough of this trick, gentlemen,” he cried to the male guests. “For Heaven’s sake, restore me my stick. I implore you!” and he tore at his long hair in vexation. But the guests assured him they were as ignorant as himself of the stick’s whereabouts. Werdet then said he would take a cab and inquire at all the places the novelist had visited in the course of the afternoon. Two hours later he came back, announcing that his jaunt had been useless. At this news, Balzac fainted outright. The loss of his talisman was overwhelming. When he was brought round again, Werdet suggested what ought to have been suggested in the first instance, namely, that they should proceed to the livery stables and see whether the stick had been left in the carriage which the novelist had used while on his peregrinations. The proposal was jumped at. He went thither, accompanied by Werdet, and had the ineffable joy of discovering the missing bauble quietly reposing in a corner of the vehicle.
During the year of 1836, he had had the unique experience of corresponding for some months continuously with an unknown lady, who called herself Louise, and to whom, in remembrance of their epistolary intercourse, he dedicated his short tale Facino Cane. Whether he really had the opportunity of learning who she was — as he asserted — and refrained from availing himself of it through deference to her wishes, is doubtful. Some, if not all, of the letters he received from “Louise” were written in English; and at least one water-colour painting was sent him which had been executed by the lady’s own hand. From the tone of his own epistles, which grew warmer onwards till the end, one may conjecture that the dame was a second Madame Hanska, smitten with the novelist’s person through reading his works; and Balzac, whose heart was made of inflammable stuff and whose brain was always castle-building, indulged for a time the hope of meeting with another ideal princess to espouse. Like the Orientals, he was quite capable of nourishing sentiments of devotion towards as many beautiful and fortuned women as showed themselves amenable. The sudden cessation of Louise’s letters, towards the end of 1836, freed him from the risk of Eve’s learning of these divided attentions; and it may be presumed that the latter divinity was kept in ignorance of his worshipping elsewhere.
Facino Cane was a blind old violinist who encountered Balzac, if there is any truth in the story, one evening at a restaurant where he was playing for the members of a wedding-party. Something in the old man’s dignified aspect moved the novelist deeply, and, accosting him, Balzac drew forth gradually the narration of his life. Facino was, in reality, a Venetian nobleman, at present reduced to dire poverty and obliged to dwell in the Hospice of the Quinze-Vingts.11 In his youth he had been imprisoned within the Doge’s Palace, and, while there, had accidentally come upon the secret treasures it contained. After his escape from confinement, his dream had been to meet with some one who would help him to gain possession of this wealth, without taking advantage of his blindness. And now he confided his plan to Balzac with undiminished faith in the possibility of its accomplishment. The pathos of the old man’s situation is created with sober touches. Among the novelist’s minor tales, this is one of the simplest and best.
11 Hospital founded by Saint Louis for three hundred noblemen whose sight had been destroyed by the Saracens.
In his reminiscences, Theophile Gautier mentions, apropos of Facino Cane, that Balzac himself was persuaded he knew the exact spot, near the Pointe-a-Pitre, where Toussaint Louverture, the black dictator of Santo Domingo, had his booty buried by negroes of that island, whom he then shot. To Sandeau and Gautier the novelist explained, with such eloquence and precision, his scheme for obtaining the interred wealth that they were wrought up to the point of declaring themselves ready to set out, armed with pick-axe and spade, and to put into action Edgar Allen Poe’s yarn of the Gold Bug. When money was the theme, Balzac’s tongue was infinitely persuasive.
One is tempted to wonder whether his returning to Italy in the spring of 1837, and his visit to Venice, after Florence and Milan, were not an indirect consequence of his Facino Cane story. It is certain that he regarded the ancient land of the Caesars as a possible El Dorado; and, curiously enough, he came back this time, if not with Sindbad’s diamonds, yet with some prospect of becoming a Silver King. Throughout the remainder of the twelvemonth, a plan, connected with this prospect, was simmering in his head, a plan which, we shall see, was less chimerical than most of those that he concocted.
While he was at Milan, the Italian sculptor Puttinati modelled his bust, which pleased him so much that he gave him a order for a group representing Seraphita showing the path heavenward to Wilfrid and Minna. At Venice, he began Massimilla Doni, one of his philosophic novels, in which the love episode is interwoven with mysticism and music, and Rossini’s Mose is analysed with skill. His best production of the year was Cesar Birotteau. The subject he had borne in his mind for a long while, but had feared to start on it on account of the difficulty of treating it imaginatively. At last, tempted by an offer of twenty thousand francs if he would complete it by a fixed date, he sat down to the task and wrote the novel in three weeks.
The Grandeur (or Rise) and Fall of Cesar Birotteau, to give the book its fuller title, has neither plot nor progress of love-passion. Its value — which is great — is almost entirely dependent on a number of little things that make up an imposing whole. The subject is a commonplace one. Birotteau, who is a dealer in perfumes, and has invented a Sultana cosmetic and a Carminative Water, has reached a position of influence and substance. Urged by his wife’s desire to shine in society, he allows himself to be inveigled into an expenditure that compromises his fortune and reduces him to insolvency. Although retaining the esteem of his fellow-citizens, who are convinced of his integrity, Cesar is stricken to the heart, less by the loss of his money than by his failure to meet his engagements. In vain, his wife and daughter hire themselves out in order to aid in remedying the disaster for which they are largely responsible. In vain, friends rally round him, until, little by little, the debts are paid, the perfumer is rehabilitated, and is honoured even by the King. On the very evening when, in the society of his family and friends and his daughter’s betrothed, he regains the feeling of independence and freedom, death overtakes him. Joy succeeding to the strain is too much for him.
In the background of the novel is a tableau of the Restoration epoch which is admirable; and the intricacies of finance and law, which form so considerable a part of the story, are handled with an ease and fancy that no other writer of fiction has quite equalled. We have a romance of ledgers and day-books, in a business atmosphere that amazingly well reveals the bent and moral worth of the various characters. Cesarine, Villerault, Popinot have traits which one smiles to recognize. And Birotteau’s development both of qualities and foibles is free from caricature, yet pleases much.
As was the case with Eugenie Grandet, Balzac does not seem to have cared for this masterpiece. The rapidity with which he composed it, and the fatigue he had undergone, caused him to regard it with some irritation. He did not realize that it was all elaborated in his brain before he put in on paper. Probably also he spoke of it under the disappointment he experienced from his continued failures in play-writing. Twice, during the twelvemonth, he tackled pieces which he described to Madame Hanska. One of them, the Premiere Demoiselle, refashioned as the School for Husbands and Wives, treated the unsavoury theme of an adulterous husband who keeps his mistress in his own house; and the other, Joseph Prudhomme, much better in conception, dealt with the not uncommon incident of a girl’s making a respectable marriage after a first betrayal, and her bringing up in secret the child born out of wedlock. Certain situations arising from the plot were both original and affecting. But in neither undertaking did he manage to go on to the end. Heine, whom he consulted in his difficulties, advised him to abandon further efforts in writing for the stage. “You had better remain in your galleys,” he said. “Those who are used to Brest cannot accustom themselves to Toulon.”
The advice was not palatable to a man of his temperament. He wanted all domains to open before him; and poured out his soul in lamentations, even while exhausting himself in fresh attempts. Now that Madame de Berny was dead, his Eve was the chief recipient of these jeremiads. “Are you not tired of hearing me vary my song in all moods?” he asked her. “Does not this unceasing egotism of a man struggling in a narrow circle bore you? Tell me, for, by your letter, you appear to me inclined to throw me over as a sorry pauper that knows only his paternoster, and always says the same thing.”
To him, as to ambitious men in every century, reflection came now and again, whispering what folly it was to spend life in the sole pursuit of glory. Just now the whisperings must have been more insistent, for he had thoughts of going to live in some sylvan retreat on the banks of the Cher or the Loire, right away from Paris. A visit to Sache, after an illness, afforded him the excuse for searching; and, as he still proposed to write — for his pleasure — it was congruent he should meditate a sort of Heloise and Abelard idyll — two lovers drawn to the cloister, and telling in epistles to each other the history of their vocation.12
12 This novel was never written, or at least completed. The Sister Marie des Anges, so often spoken of in the novelist’s correspondence, may have been the one here alluded to.
As a preliminary step towards carrying his determination into execution, he dismissed his servants, with the exception of Auguste, finally got rid of his lease in the Rue Cassini, whence he had removed his furniture in the preceding year; and then, feeling still a sneaking kindness for the city in which he had triumphed, he compromised by retreating to Sevres, there to study the ways and means of dwelling secure from pestering military summonses addressed to Monsieur de Balzac, alias Madame Widow Brunet, Man of Letters, Chasseur in the First Legion, and also, if not secure from, at least not so accessible to the calls of dunning creditors. The flat in the Rue de Chaillot, however, was retained till the year 1839; and, from time to time, he made short stays in it. But, in case any of his friends wished to see him during these sojourns, they needed to know the pass-words, which were not infrequently changed. On arriving at the outside door, the visitor must announce, for instance, that the seasons of plums had arrived. Then, if he could further announce that he was bringing lace from Belgium, he would be permitted to enter. But, before it was lawful for him to cross the threshold of the novelist’s sanctum, he must be prepared to state that Madame Bertrand was in good health.
At Sevres, Balzac soon hit upon a site that pleased his fancy. It was a plot of land on a steep slope, about forty perches in area.13 This he bought by using his credit, and forthwith busied himself with builder’s estimates, since he intended to have his hermitage inhabitable some time in the following spring.
13 More land was subsequently bought.
Meanwhile his project of retiring — to a distance of twenty minutes — from Paris society did not hinder him from occasionally putting in an appearance at one or another of the aristocratic houses where he had his entries, among them that of Madame de Castries, whom he continued to see, although she confined her worship to his talent, and merely patronized the man. Either from sheer mischievousness, or to revenge herself for some real or fancied slight — perhaps, indeed, to mock at his talk of refinement — she perpetrated upon him the practical joke of getting her Irish governess, a Miss Patrickson, to send him notes in English, signed Lady Neville, in one of which an appointment was made to meet him at the Opera. He went to the rendezvous; but no one was there waiting for him. This drew from him a sharp letter of reproach; and Miss Patrickson, who was, in her private life, a humble admirer of the great man, and had on one or two occasions translated some of his fiction, was so smitten with remorse for her trick that she revealed to him the name of the one who had invented it.
Les Jardies, where Balzac had decided to take up his residence, was built on the further side of the hill of Saint Cloud, facing the south, and with Ville d’Avray to the west. In front, there was the rising ground of the forest of Versailles; to the east, the outlook was down on Sevres and, beyond it, on Paris, with the city’s smoky atmosphere fringing the uplands of Meudon and Bellevue. In the direction of these last places, a glimpse was obtainable of the plains of Montrouge and the road leading away to Tours. In summer weather especially, the landscape here presented charming contrasts, being a wealth of woodland and verdure in a miniature Switzerland.
The architecture of the would-be hermit’s house was rather primitive. Three rooms, one over another, composed the main building. The ground floor served as drawing-room; above it was the anchoret’s bedroom; and the top story was used as a study. Sixty feet away, rose a second building containing kitchens, stables, and servants’ rooms. The whole stood in its own grounds, fenced in with walls, half of which, being situated on the steepest portion of the declivity, persisted in tumbling. One curious feature of the house was its outside staircase. Wags pretended that the owner had forgotten it in his plans, and been obliged to add it as an after-thought. The truth was that an inside staircase would have compelled him to build with less simplicity. “Since the staircase wants to be master in my dwelling, I will turn it out of doors,” he said. And this was done, the said staircase being a sort of broad ladder.
Had the novelist stayed long enough in this rural retreat, he would have beautified the interior in accordance with his fanciful tastes. Friends who were invited out there were astonished to see scrawled in chalk on the walls:
“Here, a covering of Paros marble; here, a ceiling painted by Eugene Delacroix; here, a mosaic flooring formed of rare wood ............