[*] "Portraits Contemporains--Honore de Balzac," by Theophile Gautier.

Balzac's terribly embarra.s.sed condition in 1837 caused him to return with new ardour to the idea which haunted him all his life, that of an immense theatrical success which should put an end for ever to his pecuniary embarra.s.sments. References to projected plays, to the difficulty he found in writing them, and to his hope of finally freeing himself from debt by producing a masterpiece at the theatre, occur constantly in his letters. "Marie Touchet" and "Philippe le Reserve"--afterwards to become "Les Ressources de Quinola"--were the names of some of the plays he intended to write. In February, 1837, as we have already seen, he planned out "La Premiere Demoiselle," which he abandoned for the time, but which he worked at with much energy during his ill-fated expedition to Sardinia, and continued at Les Jardies during the summer and autumn of 1838. Before starting for Sardinia he wrote to Madame Carraud: "If I fail in what I undertake, I shall throw myself with all my might into writing for the theatre." He kept his word, and "La Premiere Demoiselle," a gloomy bourgeois tragedy, which soon received the name of "L'Ecole des Menages," was the result.

With the distrust in himself, which always in matters dramatic mingled with his optimistic self-confidence, Balzac determined to have a collaborator, and chose a young man named La.s.sailly, who was peculiarly unfitted for the difficult post. In doing this he only gave one instance out of many of the wide gulf which separated Balzac the writer, gifted with the psychological powers which almost amounted to second sight, and Balzac in ordinary life, many of whose misfortunes had their origin in an apparent want of knowledge of human nature, which caused him to make deplorable mistakes in choosing his a.s.sociates.

The agreement between Balzac and his collaborator stipulated that the latter should be lodged and fed at the expense of Balzac, and should, on his side, be always at hand to help his partner with dramatic ideas. Balzac performed _his_ part of the treaty n.o.bly, and La.s.sailly remembered long afterwards the glories of the fare at Les Jardies; but his life became a burden to him from his incapacity to do what was expected of him, and he was nearly killed by Balzac's nocturnal habits. He was permitted to go to bed when he liked; but at two or three in the morning Balzac's peremptory bell would summon him to work, and he would rise, frightened and half stupefied with sleep, to find his employer waiting for him, stern and pale from his vigil.

"For," Leon Gozlan says, "the Balzac fighting with the demon of his nightly work had nothing in common with the Balzac of the street and of the drawing-room."[*] He would be asked severely what help he could give, and, as a result of his terrified and drowsy stammerings would be sent to bed for another hour to see whether in that time inspiration would visit him. Six or eight times in the course of the night would this scene be repeated; and at last La.s.sailly, who was delicate, became seriously ill and had to leave Les Jardies, ever after looking back on the terrible Balzac and his appalling night-watches, as a nightmare to be recalled with a shudder.

[*] "Balzac en Pantoufles," by Leon Gozlan.

Balzac, deprived of La.s.sailly's valuable a.s.sistance, worked on alone; and at first everything seemed likely to go well with "L'Ecole des Menages."[*] The Renaissance, a new theatre which had opened on November 8th, 1838, with the first representation of Victor Hugo's "Ruy Blas," seemed willing to take Balzac's play to follow this; and M. Armand Pereme, a distinguished antiquary whom Balzac had met at Frapesle, was most active in conducting the negotiations. However, in the end the Renaissance refused the drama. Balzac was terribly dilatory, and irritated every one by not keeping his engagements, and he was also high-handed about the arrangements he considered necessary to the success of his tragedy. His unfortunate monetary embarra.s.sments, too, made it necessary for him to ask for 16,000 francs before the play was written, a request which the Renaissance Theatre was rather slow in granting. However, the real reason for the rejection of the drama, which took place on February 26th, 1839--just at the time when Balzac was in despair because the wall at Les Jardies had fallen down--was want of money on the part of the managers of the theatre. The only thing that could save the Renaissance from ruin was a great success; and Alexandre Dumas, with whom the directors had formerly quarrelled, had now made peace with them, and had offered them "L'Alchimiste," which would be certain to attract large audiences. They accepted this in place of Balzac's play, and "L'Ecole des Menages," of which the only copy extant is in the possession of the Vicomte de Spoelberch de Lovenjoul, has never been acted.

[*] See "L'Ecole des Menages" in "Autour de Honore de Balzac," by the Vicomte de Spoelberch de Lovenjoul.

Balzac was in terrible trouble about the rejection of the drama from which he had hoped so much. He wrote to Madame Carraud[*] in March, 1839: "I have broken down like a foundered horse. I shall certainly require rest at Frapesle. The Renaissance had promised me 6,000 francs bounty to write a piece in five acts; Pereme was the agent, everything was arranged. As I wanted 6,000 francs at the end of February, I set to work. I spent sixteen nights and sixteen days at it, only sleeping three hours out of the twenty-four; I employed twenty workmen at the printer's office, and I managed to write, make and compose the five acts of 'L'Ecole des Menages' in time to read it on February 25th. The directors had no money, or perhaps Dumas, who had not acted fairly to them, and with whom they were angry, had returned to them; they would not hear my piece, and refused it. So here I am, worn out with work, sixteen days lost, 6,000 francs to pay, and nothing! This blow has crushed me, I have not yet recovered from it. My career at the theatre will have the same course as my literary career, my first work will be refused. A superhuman courage is necessary for these terrible hurricanes of misfortune."

[*] "Correspondance," vol. i. p. 454.

In the midst of his troubles, he thought with bitter regret of Madame de Berny, who would have understood everything, and have known how to help and console him. He was in a miserable state, was chased like a hare by creditors, and was on the point of lacking bread, candles, and paper. Then to add to his misery would come a sensible letter from the far-distant Madame Hanska, blaming his frivolity and levity; and, in his state of semi-starvation, poor Balzac would be almost driven frantic by words of reproach from his divinity.

A little earlier than this he had found time for an enormous amount of work which would seem completely out of his province, and had written letter after letter in the _Siecle_, and spent 10,000 francs, in defence of Peytel, a notary of Belley, who had been condemned to death on August 26th, 1839, for the murder of his wife and servant. Peytel appealed against his sentence, and Balzac, who had met him several times, espoused his cause with vehemence. There did not seem to be much satisfactory defence available for the prisoner, who admitted the fact that while driving in a carriage not far from Belley, he had shot both his wife and the coachman. Balzac, however, was urgent in upholding Peytel's contention that his crime had been homicide, not murder, and brought forward the plea of "no premeditation." His energetic efforts were of no avail: Peytel was executed at Bourg on November 28th, 1839, and Balzac, who had espoused his cause with quixotic enthusiasm, was genuinely sorry. He wrote to Madame Hanska in September: "I am extremely agitated by a horrible case, the case of Peytel. I have seen this poor fellow three times. He is condemned; I start in two hours for Bourg." On November 30th he continues: "You will perhaps have heard that after two months of unheard-of efforts to save him from his punishment Peytel went two days ago to the scaffold, like a Christian, said the priest; I say, like an innocent man."[*]

[*] "Lettres a l'Etrangere."

Another disappointment this year was the fact that Balzac considered it his duty, after presenting himself as candidate for the Academie and paying many of the prescribed visits, to retire in favour of Victor Hugo. As early as 1833 he had aspired to become some day "un des Quarante," and he then said half jokingly to his sister: "When I shall work at the dictionary of the Academy!"[*] He was never destined to receive the honour of admittance to this august body, though after his first attempt in 1839, when he himself withdrew, he again tried his fortune in 1843 and in 1849. His normal condition of monetary embarra.s.sment was one reason for his failure, and no doubt some of the members of l'Academie Francaise disapproved of certain of his books, and perhaps did not admire his style. At any rate, as his enemy Saint-Beuve expressed it concisely: "M. de Balzac est trop gros pour nos fauteuils," and while men who are now absolutely unknown entered the sacred precincts without difficulty, the door remained permanently closed to the greatest novelist of the age.

[*] "Balzac, sa Vie et ses Oeuvres," par Mme. L. Surville (nee de Balzac).

CHAPTER XII

1840 - 1843

"Vautrin"--_La Revue Parisienne_--Societe des Gens-de-Lettres --Balzac leaves Les Jardies, and goes to the Rue Ba.s.se, Pa.s.sy --Death of M. de Hanski--"Les Ressources de Quinola"--"La Comedie Humaine"--Balzac goes to St. Petersburg to meet Madame Hanska--Her reasons for deferring the marriage.

The sad fate of "L'Ecole des Menages" did not long discourage Balzac.

At the beginning of 1840 he made an engagement to provide Harel, the speculative manager of the Theatre Porte-St-Martin, with a drama. The play was accepted before it was written; and in order to be near the theatre Balzac established himself in the fifth floor of the house of Buisson, his tailor, at the corner of the Rue Richelieu. His proceedings were, as usual, eccentric. One day Gautier, who tells the story, was summoned in a great hurry, and found his friend clad in his monk's habit, walking up and down his elegant attic, and shivering with impatience.

"'Here is Theo at last,' he cried, when he saw me. 'You idler! dawdle!

sloth! gee up, do make haste! You ought to have been here an hour ago!

To-morrow I am going to read to Harel a grand drama in five acts.'

"'And you want my advice,' I answered, settling myself comfortably in an armchair, ready to submit to a long reading.

"From my att.i.tude Balzac guessed my thought, and said simply, 'The drama is not written.'

"'Good heavens!' said I: 'well, then you must put off the reading for six weeks.'

"'No, we must hurry on the drama to get the money. In a short time I have a large sum of money to pay.'

"'To-morrow is impossible; there is no time to copy it.'

"'This is the way I have arranged things. You will write one act, Ourliac another, Laurent-Jan the third, De Belloy the fourth, I the fifth, and I shall read it at twelve o'clock as arranged. One act of a drama is only four or five hundred lines; one can do five hundred lines of dialogue in a day and the night following.'

"'Relate the subject to me, explain the plot, sketch out the characters in a few words, and I will set to work,' I said, rather frightened.

"'Ah,' he cried, with superb impatience and magnificent disdain, 'if I have to relate the subject to you, we shall never have finished!'"[*]

[*] "Portraits Contemporains--Honore de Balzac," by Theophile Gautier.

After a great deal of trouble, Gautier managed to persuade Balzac to give him a slight idea of the plot, and began a scene, of which only a few words remain in the finished work. Of all Balzac's expected collaborators, Laurent-Jan, to whom "Vautrin" is dedicated, was the only person who worked seriously.

In two months and a half of rehearsals Balzac became almost unrecognisable from worry and overwork. His perplexities became public property, and people used to wait at the door of the theatre to see him rush out, dressed in a huge blue coat, a white waistcoat, brown trousers, and enormous shoes with the leather tongues outside, instead of inside, his trousers. Everything he wore was many sizes too big for him, and covered with mud from the Boulevards; and it was an amus.e.m.e.nt to the frivolous Parisians to see him stride along in these peculiar garments, his face bearing the impress of the trouble and overstrain he was enduring. He was at the mercy of every one. The manager hurried and harried him, because the only hope of saving the theatre from bankruptcy was the immediate production of a successful play. The actors, knowing the piece was not finished, each clamoured for a part to suit his or her peculiar idiosyncrasies, and Balzac was so overburdened, that occasionally in despair he was tempted to abandon his play altogether.

There was tremendous excitement in Paris about the approaching first representation of "Vautrin"; and foreign politics, banquets, and even the burning question of reform, paled in interest before the great event. All the seats were sold beforehand; and as there was a rush for the tickets, Balzac and Harel chose their audience, and thought that they had managed to secure one friendly to Balzac. Unfortunately, however, the seats were sold so early that many of them were parted with at a profit by the first buyers, and in the end a large proportion of the spectators were avowedly hostile to Balzac. March 14th, 1840, was the important date, and Balzac wrote to Madame Hanska: "I have gone through many miseries, and if I have a success they will be completely over. Imagine what my anxiety will be during the evening when 'Vautrin' is being acted. In five hours' time it will be decided whether I pay or do not pay my debts."[*]

[*] "Lettres a l'Etrangere."

He was very nervous beforehand, and told Leon Gozlan that he was afraid there would be a terrible disaster.

The plot of the play is extraordinary and impossible. Vautrin, the Napoleon among convicts, who appears in several of Balzac's novels, is the hero; he had declared war against society, and the scene of the drama, with Vautrin as the princ.i.p.al figure, pa.s.ses in the aristocratic precincts of the Faubourg St. Germain. The theatre was crowded for the performance, and the first three acts, though received coldly, went off without interruption. At the fourth act, however, the storm burst, as Frederick Lemaitre, who evidently felt qualms about the success of his part, had determined to make it comic, and appeared in the strange costume of a Mexican general, with a hat trimmed with white feathers, surmounted by a bird of paradise. Worse still, when he took off this hat he showed a wig in the form of a pyramid, a coiffure which was the special prerogative of Louis Philippe! The play was doomed. The Duke of Orleans, who was in one of the boxes, left the theatre hurriedly; and it was difficult to finish the performance, so loud were the shouts, hisses, and even threats. The next day the following official announcement appeared in the _Moniteur_: "The Minister of the Interior has interdicted the appearance of the drama performed yesterday at the Theatre of the Porte St. Martin under the t.i.tle of 'Vautrin.'" Balzac's hated foes, the journalists, of course rejoiced in his downfall, and accentuated the situation by declaring the piece to be not only disloyal, but revoltingly immoral. On the other hand, Victor Hugo, George Sand, and Mme. de Girardin, stood firmly by him, and Frederick Lemaitre, to whom Balzac evidently bore no malice for his large share in the disaster, was, he said, "sublime."

Leon Gozlan went to see Balzac the day after the performance, and found him outwardly calm, but his face was flushed, his hands burning, and his lips swollen, as though he had pa.s.sed through a night of fever. He did not mention the scene of the night before, but talked eagerly of a plan to start a large dairy at Les Jardies, and to provide Paris and Versailles with rich milk. He had several other equally brilliant schemes on hand: he intended to grow vines, cultivate vegetables, sell manure; and by these varied means to a.s.sure himself of an income of eighteen thousand francs.

The Director of the Beaux-Arts was sent to offer Balzac money to make up for his loss; he says, however: "They came to offer me an indemnity, and began by proposing five thousand francs. I blushed to my hair, and answered that I did not accept charity, that I had put myself two hundred thousand francs in debt by writing twelve or fifteen masterpieces, which would count for something in the glory of France in the nineteenth century; that for three months I had done nothing but rehea.r.s.e 'Vautrin,' and that during those three months I should otherwise have gained twenty-five thousand francs; that a pack of creditors were after me, but that from the moment that I could not satisfy all, it was quite indifferent to me whether I were tracked by fifty or by a hundred, as the amount of courage required for resistance was the same. The Director of the Beaux-Arts, Cave, went out, they tell me, full of esteem and admiration. 'This,' said he, 'is the first time that I have been refused.' 'So much the worse,' I answered."[*]

[*] "Lettres a l'Etrangere."

Balzac became very ill with fever and brain neuralgia the day after the performance of "Vautrin," and Madame Surville took him to her house and nursed him. When he left his bed it was, of course to find his affairs in a worse condition than ever, and he was, as he described himself, "a stag at bay." His friendship with Madame Visconti was a consolation to him in his troubles; he described her to Madame Hanska, who did not quite appreciate these raptures, as "one of the most amiable of women, of infinite and exquisite goodness. Of delicate, elegant beauty, she helps me to support life." Nevertheless, no friendships made up for the want of a wife, and home, the two things for which he yearned; and he writes sadly: "I have much need now of having my wounds tended and cured, and of being able to live without cares at Les Jardies, and to pa.s.s my days quietly between work and a wife. But it seems as if the story of every man will only be a novel to me."[*]

[*] "Lettres a l'Etrangere."

His despondency did not abate his powers of work, as from April to December he published "Z. Marcas," "Un Prince de la Boheme," and "Pierre Gra.s.sou"; while in 1841, among other masterpieces, appeared "La Fausse Maitresse," "Une Tenebreuse Affaire," "Un Menage de Garcon," "Ursule Mirouet," and "Les Memoires de deux Jeunes Mariees."

He was almost at the end of his courage however, and talked seriously in the case of failure in his new enterprise--the _Revue Parisienne_ --of going to Brazil on some mad errand which he would undertake because it _was_ mad; and of either coming back rich or disappearing altogether.

A monthly magazine, of which one man was to be director, manager, editor, besides being sole contributor, was a heroic attempt at making a fortune; and this was what Balzac contemplated, and accomplished for a short time in the _Revue Parisienne_. His mode of working was not calculated to lessen the strain to which he subjected himself, as, never able to start anything till pressed for time, he left the work till near the end of the month, when the printers were clamouring for copy. Then there was no pause or slumber for him; his attention was concentrated on his varied and difficult subjects till the moment when he rushed with disordered garments to the printer's office. There, seated anywhere--on the corner of a table, at a compositor's frame, or before a foreman's bureau--he became completely absorbed in the colossal labour of reading and correcting his proofs. The first number of the _Revue Parisienne_ appeared on July 25th, 1840; but it was only continued for three months, as Balzac decided that the task was too much for him. During its short life however, it furnished a magnificent and striking example of his extraordinary powers and mental attainments; as each of the numbers was the size of a small volume, and he provided novels, biography, philosophy, a.n.a.lysis, and criticism, and treated brilliantly each subject he attacked.

A question in which Balzac took the greatest interest was that of the rights of authors and publishers, under which Louis Philippe did not meet with much respect. Not only did the Belgians reproduce French works at a cheap rate by calmly dispensing with the duty of paying their authors; but publishers in the provinces often followed this pernicious practice, and it was difficult to prosecute them. A striking instance of this injustice was to be found in the case of "Paroles d'un Croyant," by M. de Lamennais, of which ten thousand pirated copies were sold in Toulouse, where only five hundred of the authorised edition had been sent by the publisher. No redress could be obtained because, though the fact was certain, legal proofs were apparently lacking; but in consequence of this glaring infraction of the rights of both author and publisher, on December 28th, 1838, Balzac became a member of the Societe des Gens-de-Lettres. This Society, which was insignificant when he first joined it, owed everything to his reputation, and to the energy with which he worked for its interests. On October 22, 1839, he spoke at Rouen in its behalf, in the first action brought by it against literacy piracy.

Later in the same year he was elected President, and in May, 1840, he drew up the masterly "Code Litteraire de la Societe des Gens-de-Lettres"[*] to which reference has already been made. On September 5th, 1841, however, in consequence of a dispute concerning the drawing up by the Gens-de-Lettres of a manifesto to be presented to the deputies composing the Law Commission on Literary Property, Balzac withdrew from the Society. The ostensible reason for his resignation was, that at a committee meeting to discuss the Manifesto, doubts were thrown on his impartiality; but it seems probable from his letter[+]

that some unwritten ground for complaint really caused his withdrawal.

After Balzac's death, the Society des Gens-de-Lettres acknowledged with grat.i.tude the debt owed him as one of the founders of the Society, and the help received from his intelligence and activity.

[*] This may be found in the Edition Definitive of Balzac's works, or in "Balzac Chez Lui," by Leon Gozlan.

[+] "Correspondance," vol. ii. p. 20.

In 1840, before he ceased to belong to the Societe des Gens-de-Lettres, he had left Les Jardies; and had hidden himself under the name of Madame de Brugnolle, his housekeeper, in a mysterious little house at No. 19, Rue Ba.s.se, Pa.s.sy; to which no one was admitted without many precautions, even after he had given the pa.s.sword. Behind this was a tiny garden where Balzac would sit in fine weather, and talk over the fence to M. Grandmain, his landlord. In his new abode he established many of his treasures: his bust by David d'Angers, some of the beautiful furniture he was collecting in preparation for the home he longed for, and many of his pictures, those treasures by Giorgione, Greuze, and Palma, which were the delight of his heart. With great difficulty, by publishing books and articles in quick succession, he had prevented the sale of Les Jardies by his creditors. As he had no money to pay cab fares this entailed rushing from Pa.s.sy to Paris on foot, often in pouring rain; with the result that he became seriously ill, and found it necessary to recruit in Touraine and Brittany.