whom Balzac addresses in the dedication of _Beatrix_:

"To Sarah.

"In clear weather, on the Mediterranean sh.o.r.es, where formerly extended the magnificent empire of your name, the sea sometimes allows us to perceive beneath the mist of waters a sea-flower, one of Nature's masterpieces; the lacework of its tissues, tinged with purple, russet, rose, violet, or gold, the crispness of its living filigrees, the velvet texture, all vanish as soon as curiosity draws it forth and spreads it on the strand. Thus would the glare of publicity offend your tender modesty; so, in dedicating this work to you, I must reserve a name which would, indeed, be its pride. But, under the shelter of its half-concealment, your superb hands may bless it, your n.o.ble brow may bend and dream over it, your eyes, full of motherly love, may smile upon it, since you are here at once present and veiled. Like this pearl of the ocean-garden, you will dwell on the fine, white, level sand where your beautiful life expands, hidden by a wave that is transparent only to certain friendly and reticent eyes. I would gladly have laid at your feet a work in harmony with your perfections; but as that was impossible, I knew, for my consolation, that I was gratifying one of your instincts by offering you something to protect.

"DE BALZAC."[*]

[*] S. de Lovenjoul, _Histoire des Oeuvres de Balzac_, states that the "Sarah" to whom Balzac dedicated _Beatrix_ is no other than an Englishwoman, Frances Sarah Lowell, who became the Comtesse Emile Guidoboni-Visconti. She was born at Hilks, September 29, 1804, and died at Versailles April 28, 1883.

In sending the corrected proofs of _Beatrix_ to "Madame de V----,"

Balzac writes:

"My dear friend,--Here are the proofs of _Beatrix_: a book for which you have made me feel an affection, such as I have not felt for any other book. It has been the ring which has united our friendship. I never give these things except to those I love, for they bear witness to my long labors, and to that patience of which I spoke to you. My nights have been pa.s.sed over these terrible pages, and amongst all to whom I have presented them, I know no heart more pure and n.o.ble than yours, in spite of those little attacks of want of faith in me, which no doubt arises from your great wish to find a poor author more perfect than he can be. . . ."

In contradiction to the preceding, M. Leon Seche thinks that _Beatrix_ was dedicated to Madame Helene-Marie-Felicite Valette, and that she is the "Madame de V-----" to whom the letter is addressed. Helene de Valette (she probably had no right to the "n.o.biliary" _de_ although she signed her name thus) was the daughter of Pierre Valette, Lieutenant de Vaisseau, who after the death of Madame Valette, in 1818, became a priest at Vannes in order to be near their daughter Helene, who was in the convent of the Ursulines. At the age of eighteen he married her to a notary of Vannes, thirty years her senior, a widower with a bad reputation, whose name was Jean-Marie-Angele Gougeon. Scarcely had she married when she had an intrigue with a physician; her husband died soon after this, and she resumed her maiden name. She adopted the daughter of a _paludier_,[*]

Le Gallo, whose wife had saved her from drowning, and named her "Marie" in memory of de Balzac's favorite name for herself.

[*] _Paludier_. One who works in the salt marshes.

In stating that the letter to "Madame de V-----" is addressed to Madame Valette, M. Seche publishes a letter almost identical with the one that is found in both the _Memoir and Letters of Balzac_ and the _Correspondence, 1819-1850_, one of the chief differences being that in this letter Balzac addresses her as "My dear Marie" instead of "My dear friend." In telling "Madame de V-----" that he is sending her the proofs of _Beatrix_, Balzac refers to the suppression of his play _Vautrin_, and says that the director _des beaux-arts_ has come a second time to offer him an indemnity which _ne faisait pas votre somme_. This might lead one to think that he had had some financial dealings with her.

In the dedication of _Beatrix_, dated _Aux Jardies_, December, 1838, Balzac speaks of Sarah's being a pearl of the Mediterranean. In the Island of Malta is a town called Cite-Vallette--suggestive of the name Felicite Valette. Felicite is also the name of the heroine, Felicite des Touches, although Marie is the name of Madame Valette that Balzac liked best.

In 1836, after reading some of Balzac's novels, Madame de Valette wrote to Balzac. Attracted by her, he went to Guerande where he took his meals at a little hotel kept by the demoiselles Bouniol, mentioned in _Beatrix_. Under her guidance he roamed over the country and then wrote _Beatrix_. She pretended to him to have been born at Guerande and to have been reared as a _paludiere_ by her G.o.dmother, Madame de Lamoignon-Lavalette, whence the reference in the dedication to the former "empire of your name." Her real G.o.dmother was Marie-Felicite Burgaud. Balzac did not know that she had been married to the notary Gougeon, and thought that her mother was still living.

When Madame de Valette went to Paris to reside, she was noted for her beauty and eccentric manners; she rode horseback to visit Balzac _aux Jardies_. She met a young writer, Edmond Cador, who revealed to Balzac all that she had kept from him. This deception provoked Balzac and gave rise to an exchange of rather sharp letters, and a long silence followed. After Balzac's death she gave Madame Honore de Balzac trouble concerning _Beatrix_ and her correspondence with Balzac, which she claimed. She died January 14, 1873, at the home of the Baron Larrey whom she had appointed as her residuary legatee. She is buried in the Pere-Lachaise cemetery, and on her tomb is written _Veuve Gougeon_.

In her letters to Balzac, given by Spoelberch de Lovenjoul to the French Academy, she addressed him as "My dear beloved treasure," and signed her name _Babouino_. There exists a letter from her to him in which she tells him that she is going to Vannes to visit for a fortnight, after which she will go to Bearn to make the acquaintance of her husband's people, and asks him to address her under the name of Helene-Marie.[*]

[*] Leon Seche, _Les Inspiratrices de Balzac, Helene de Valette, Les Annales Romantiques_, supposes that this is another falsehood, since he could find no record of where any member of the Gougeon family had ever lived in Bearn. Much of his information has been secured from Dr. Closmadeuc, who lived at Vannes and who attended Madame de Valette in her late years; also, from her adopted daughter, Mlle. Le Gallo.

After the death of Madame de Valette, the Baron Larrey, in memory of her relations with Balzac, presented to the city of Tours the corrected proofs of _Beatrix_, and a portrait of Balzac which he had received from her.

Among Balzac's numerous Russian friends was Mademoiselle Sophie Kozlowska. "Sophie is the daughter of Prince Kozlowski, whose marriage was not recognized; you must have heard of that very witty diplomat, who is with Prince Paskevitch in Warsaw."[*]

[*] _Lettres a l'Etrangere_. By explaining to Madame Hanska who Sophie is, one would not suppose that Balzac met her at Madame Hanska's home, as M. E. Pilon states in his article.

This friendship seems to have been rather close for a while, Balzac addressing her as _Sofka_, _Sof_, _Sophie_ and _carissima Sofi_. Just before the presentation of his play _Quinola_ he wrote her, asking for the names and addresses of her various Russian friends who wished seats, as many enemies were giving false names. He wanted to place the beautiful ladies in front, and wished to know in what party she would be, and the definite number of tickets and location desired for each friend.

In this same jovial vein he writes her: "Mina wrote me that you were ill, and that dealt me a blow as if one had told Napoleon his aide-de-camp was dead." His att.i.tude towards her changed some months after writing this; she became the means of alienating his friend Gavault from him, or at least he so suspected, and thought that she was influenced by Madame Visconti. This coldness soon turned to enmity, and she completely won from him his former friend, Gavault, who had become very much enamored with her. The novelist expressed the same bitterness of feeling for her as he did for Madame Visconti, but as the years went by, either his aversion to these two women softened, or he thought it good policy to retain their good will, for he wished their names placed on his invitation list.

Balzac's feeling of friendship for her must have been sincere at one time, for he dedicated _La Bourse_:

"To Sofka.

"Have you not observed, mademoiselle, that the painters and sculptors of the Middle Ages, when they placed two figures in adoration, one on each side of a fair Saint, never fail to give them a family likeness? On seeing your name among those who are dear to me, and under whose auspices I place my works, remember that touching harmony, and you will see in this not so much an act of homage as an expression of the brotherly affection of your devoted servant, "DE BALZAC."

LA COMTESSE TURHEIM--LA COMTESSE DE BOCARME--LA COMTESSE MERLIN --LA PRINCESSE GALITZIN DE GENTHOL--LA BARONNE DE ROTHSCHILD --LA COMTESSE MAFFEI--LA COMTESSE SERAFINA SAN-SERVERINO --LA COMTESSE BOLOGNINI

"I have found a letter from the kind Comtesse Loulou, who loves you and whom you love, and in whose letter your name is mentioned in a melancholy sentence which drew tears to my eyes; . . . I am going to write to the good Loulou without telling her all she has done by her letter, for such things are difficult to express, even to that kind German woman. But she spoke of you with so much soul that I can tell her that what in her is friendship, in me is worship that can never end."

The Countess Louise Turheim called "Loulou" by her intimate friends and her sister Princess Constantine Razumofsky, met Madame Hanska in the course of her prolonged stay in Vienna in 1835, and the three women remained friends throughout their lives. The Countess Loulou was a canoness, and Balzac met her while visiting in Vienna; he admired her for herself as well as for her friendship for his _Chatelaine_.

Her brother-in-law, Prince Razumofsky, wished Balzac to secure him a reader at Paris, but since there was limitation as to the price, he had some trouble in finding a suitable one. This made a correspondence with the Countess necessary, as it was she who made the request; but Madame Hanska was not only willing that Balzac should write to her but sent him her address and they exchanged messages frequently about the canoness.

In 1842, _Une double Famille_, a story written in 1830, was dedicated:

"To Madame la Comtesse de Turheim

"As a token of remembrance and affectionate respect.

"DE BALZAC."

The Countess de Bocarme, nee du Chasteler, was an artist who helped Balzac by painting in water-colors the portraits of her uncle, the field-marshal, and Andreas Hofer; he wished these in order to be able to depict the heroes of the Tyrol in the campaign of 1809. She painted also the entire armorial for the _Etudes de Moeurs_; this consisted of about one hundred armorial bearings, and was a masterpiece. She promised to paint his study at Pa.s.sy in water-colors, which was to be a souvenir for Madame Hanska of the place where he was to finish paying his debts. All this pleased the novelist greatly, but she presented him with one gift which he considered as in bad taste. This was a sort of monument with a muse crowning him, another writing on a folio: _Comedie humaine_, with _Divo Balzac_ above.

Madame de Bocarme had been reared in a convent with a niece of Madame Rosalie Rzewuska, had traveled much, and was rather brilliant in describing what she had seen. She visited Balzac while he was living _aux Jardies_. She was a great friend of the Countess Chlendowska, whose husband was Balzac's bookseller, and the novelist counted on her to lend the money for one of his business schemes. Being fond of whist, she took Madame Chlendowska to Balzac's house during his illness of a few weeks, and they entertained him by playing cards with him.

Balzac called her _Bettina_, and after she left Paris for the Chateau de Bury in Belgium, he took his housekeeper, Madame de Brugnolle, to visit her. Madame de Chlendowska was there also, but he did not care for her especially, as she pretended to know too much about his intimacy with his "polar star." Madame de Bocarme had one fault that annoyed him very much; she, too, was inclined to gossip about his a.s.sociation with Madame Hanska.

In 1843, Balzac erased from _Le Colonel Chabert_ the dedication to M.

de Custine, and replaced it by one to Madame la Comtesse Ida de Bocarme, nee du Chasteler.

One of the most attractive salons in Paris at the beginning of the Monarchy of July was that of Countess Merlin, where all the celebrities met, especially the musicians. Born in Havana, the young, beautiful, rich and talented Madame Merlin added to the poetic grace of a Spaniard the wit and distinction of a French woman. General Merlin married her in Madrid in 1811, and brought her to Paris, where she created a sensation. Being an accomplished musician, she gave delightful concerts, and though also gifted as a writer she was as simple and unpretentious as if she had been created to remain obscure.

In addition, she was so truly good that she had almost no enemies; her charity was inexhaustible, and she possessed one of those hearts which live only to do good and to love.

It was Balzac's good fortune to be introduced into the salon. He explained to Madame Hanska that he went there to play lansquenet in order to escape becoming insane! He was anxious to have Madame Merlin present at the first presentation of his _Quinola_, where she wished to have Martinez de la Rosa with her, but the novelist dissuaded her from this.

Madame Merlin was a friend of Madame de Girardin, and ridiculed the Princesse Belgiojoso when these two were rival candidates for the presidency of the new Academy that was being formed.

During Madame Hanska's secret visit to Paris in 1847, Balzac declined an invitation to dinner with Madame Merlin, excusing himself on the ground of lack of time, but promised to call upon her soon. A few months before this (1846), he dedicated to her _Les Marana_, a short story written in 1832. _Juana_ is inscribed to her also.

As has been seen, Balzac frequently depicted the features, lives, or peculiarities of various friends under altered names, but toward the close of _Beatrix_ he laid aside all disguise in comparing the appearance of one of his famous women to the beauty of the Countess: "Madame Schontz owed her fame as a beauty to the brilliancy and color of a warm, creamy complexion like a creole's, a face full of original details, with the clean-cut, firm features, of which the Countess de Merlin was the most famous example and the most perennially young . . ."

In 1846, Balzac dedicated _Un Drame au Bord de la Mer_, written several years before, to Madame La Princesse Caroline Galitzin de Genthod, nee Comtesse Walewska. Balzac doubtless met her while visiting Madame Hanska in Geneva in 1834, as she was living at Genthod. He met a Princesse Sophie Galitzin, whom he considered far more attractive, and later met another Princesse Galitzin. One of these ladies evidently aroused the suspicions of Madame Hanska, but the novelist a.s.sured her that there was no cause for her anxiety.

Another woman whom Balzac honored with a dedication of one of his books, but for whom he apparently cared little, was Madame la Baronne de Rothschild, wife of the founder of the banking house in Paris.

Balzac had met Baron James de Rothschild and his wife at Aix, where she coquetted with him. He had business dealings with this firm, and planned, several years later, to present to Madame de Rothschild as a New Year's greeting some of his works handsomely bound; the volumes were delayed, and he accordingly made a change in some of his business matters, for this was evidently a gift with a motive. The dedication to her of _L'Enfant Maudit_ in 1846, as well as that of _Un Homme d'Affaires_ to her husband in 1845, was perhaps for financial reasons or favors, since he never seemed to care for the couple in society.

In the winter of 1837, Countess San-Severino Porcia wrote from Paris to her friend in Milan, the Countess Clara Maffei, that Balzac was coming to her city, and suggested that she receive him in her salon.

This distinguished and cultured woman had visited the novelist in Paris, and had been much surprised at the kind of home in which he was living, how like a hermit he was secluded from the world and the persecutions of his creditors; she was amazed when he received her in his celebrated monastic role.

The Countess Maffei retained her t.i.tle after her marriage (in 1832) with the poet, Andrea Maffei, who was many years older than she. She was a great friend of the Princess Belgiojoso, and during the stirring times of 1848 the Princess had been a frequent visitor in her salon.

Six years younger than the Princess, the Countess threw herself heart and soul into the political and literary life of Milan.