While Balzac naturally met Lirette in his visits to Madame Hanska, it was while he was at St. Petersburg in the summer of 1843 that he became more intimate with her, for she had decided to become a nun, and consulted him on many points. Since she was to enter a convent at Paris, he visited a priest there for her, secured the necessary doc.u.ments, and advised her about many matters, especially her property and the convent she should enter. Though he aided her in every way he could, he did not approve of this step, but when she arrived in Paris, he entertained her in his home, giving up his room for her. At various times he went with her to the convent and his housekeeper, Madame de Brugnolle, also was very kind to her.

Lirette impressed the novelist as being very stupid, and he wondered how his "Polar Star" could have ever made a friend of her. She was as blind a Catholic as she had been a blind Protestant. She seemed willing now to have him marry Madame Hanska, after many years of aversion to him. He tried to impress upon her that a rich nun was much better treated than a poor one, but she would not listen to him, and insisted on making what he considered a premature donation of everything she possessed to her convent. She annoyed him very much while he was trying to save her property, yet he was pleased to do this for the sake of his _Predilecta_ and Anna. He looked after her with the same solicitude that a father would have for his child, and after doing everything possible for her, he conducted her to the _Convent de la Visitation_ without a word of thanks from her, though he had made sacrifices for her, and though his housekeeper had slept on a mattress on the floor, giving up her room in order that Lirette should have suitable quarters. But although hurt by her ingrat.i.tude he had enjoyed talking with her, for she brought him news from his friends in Russia.

Lirette evidently did not realize what she was doing in the matter of the convent, and was displeased with many things after entering it.

Balzac was vexed at what she wrote to Madame Hanska, but felt that she was not altogether responsible for her actions, believing that it was a very personal sentiment which caused her to enter the convent.[*] He could not understand her indifference to her friends, she did penance by keeping a letter from Anna eighteen days before opening it. He found her stupidity unequaled, but he sent his housekeeper to see her, and visited her himself when he had time.

[*] It has been stated that Mademoiselle Borel was so impressed by the chants, lights and ceremony at the funeral of M. de Hanski in November 1841, that it caused her to give up her protestant faith and enter the convent. Miss Sandars (_Balzac_) has well remarked: "We may wonder, however, whether tardy remorse for her deceit towards the dead man, who had treated her with kindness, had not its influence in causing this sudden religious enthusiasm, and whether the Sister in the Convent of the Visitation in Paris gave herself extra penance for her sins of connivance." Mademoiselle died in this convent, rue d'Enfer, in 1857.

In addition to all this, the poor novelist had one more trial to undergo; this was to see her take the vows (December 2, 1845). He was misinformed as to the time of the ceremony, so went too soon and wasted much precious time, but he remained through the long service in order to see her afterwards. But in all this Lirette was to accomplish one thing for him. As she had helped in his correspondence, she was soon to be the means of bringing him and his _Chatelaine_ together again; the devotion of Madame Hanska and Anna to the former governess being such that they came to Paris to see her.

In the home of the de Hanskis in the Russian waste were two other women, Mesdemoiselles Severine and Denise Wylezynska, who were to play a small part in Balzac's life. Both of these relatives probably came with M. de Hanski and his family to Switzerland in 1833; their names are mentioned frequently in his letters to Madame Hanska, and soon after his visit at Neufchatel the novelist asks that Mademoiselle Severine preserve her gracious indifference. These ladies were cousins of M. de Hanski, and probably were sisters of M. Thaddee Wylezynski, mentioned in connection with Madame Hanska. After her husband's death, Madame Hanska must have invited these two ladies to live with her, for Balzac inquires about the two young people she had with her.

Mademoiselle Denise has been suspected of having written the first letter for Madame Hanska, and the dedication of _La Grenadiere_ has been replaced by the initials "A. D. W.," supposed to mean "a Denise Wylezynska"; the actual dedication is an unpublished correction of Balzac himself.

The relative that caused Balzac the most discomfort was the Countess Rosalie Rzewuska, nee Princess Lubomirska, wife of Count Wenceslas Rzewuski, Madame Hanska's uncle. She seems to have been continually hearing either that he was married, or something that was detrimental, and kept him busy denying these reports:

"I have here your last letter in which you speak to me of Madame Rosalie and of _Seraphita_. Relative to your aunt, I confess that I am ignorant by what law it is that persons so well bred can believe such calumnies. I, a gambler! Can your aunt neither reason, calculate nor combine anything except whist? I, who work, even here, sixteen hours a day, how should I go to a gambling-house that takes whole nights? It is as absurd as it is crazy. . . . Your letter was sad; I felt it was written under the influence of your aunt. . . . Let your aunt judge in her way of my works, of which she knows neither the whole design nor the bearing; it is her right. I submit to all judgements. . . . Your aunt makes me think of a poor Christian who, entering the Sistine chapel just as Michael-Angelo has drawn a nude figure, asks why the popes allow such horrors in Saint Peter's. She judges a work from at least the same range in literature without putting herself at a distance and awaiting its end. She judges the artist without knowing him, and by the sayings of ninnies. All that give me little pain for myself, but much for her, if you love her. But that you should let yourself be influenced by such errors, that does grieve me and makes me very uneasy, for I live by my friendships only."

In spite of this, Balzac wished to obtain the good will of "Madame Rosalie," and sympathized with her when she lost her son. But she had a great dislike for Paris, and after the death of M. de Hanski, she objected to her niece's going there. The novelist felt that she was his sworn enemy, and that she went too far in her hatred of everything implied in the word _Paris_[*]; yet he pardoned her for the sake of her niece.

[*] The reason why Madame Rosalie had such a horror of Paris was that her mother was guillotined there,--the same day as Madame Elizabeth. Madame Rosalie was only a child at that time, and was discovered in the home of a washerwoman.

It was Caliste Rzewuska, the daughter of this aunt, whom Balzac had in mind when he sketched _Modeste Mignon_. She was married to M.

Michele-Angelo Cajetani, Prince de Teano and Duc de Sermoneta, to whom _Les Parents pauvres_ is dedicated.

Balzac seems to have had something of the same antipathy for Madame Hanska's sister Caroline that he had for her aunt Rosalie, but since he wrote to his _Predilecta_ many unfavorable things of a private nature about his family, she may have done the same concerning hers, so that he may not have had a fair opportunity of judging her. He was friendly towards her at times, and she is the Madame Cherkowitch of his letters.

It was probably Madame Hanska's sister Pauline, Madame Jean Riznitch, whose servants were to receive a reward from a rich _moujik_ in case they could arrange to have him see Balzac. This _moujik_ was a great admirer of the novelist, had read all his books, burnt a candle to Saint Nicholas for him every week, and was anxious to meet him. Since Madame Riznitch lived not far from Madame Hanska, he hoped to see Balzac when he visited Wierzschownia.

The relative whose a.s.sociation with Balzac seems to have caused Madame Hanska the most discomfort was her cousin, the Countess Marie Potocka.

He met her when he visited his _Chatelaine_ in Geneva_, where the Countess Potocka entertained him, and after his return to Paris, he called on Madame Appony, wife of the Austrian amba.s.sador, to deliver a letter for her. Before going to Geneva he had heard of her, and had confused her ident.i.ty with that of the _belle Grecque_ who had died several years before.

During his visit to Geneva the novelist deemed it wise to explain his attentions to Madame P-----: "It would have seemed ridiculous (to the others) for me to have occupied myself with you only. I was bound to respect you, and in order to talk to you so much, it was necessary for me to talk to Madame P-----. What I wrote you this morning is of a nature to show you how false are your fears. I never ceased to look at you while talking to Madame P-----."

After his return to Paris he wrote a letter to Madame P-----, and was careful to explain this also:

"Do not be jealous of Madame P-----'s letter; that woman must be _for us_. I have flattered her, and I want her to think that you are disdained. . . . My enemies are spreading a rumor of my _liaison_ with a Russian princess; they name Madame P----- . . .

Oh! my love, I swear to you I wrote to Madame P----- only to prevent the road to Russia being closed to me."

He received a letter from her which he did not answer, for he wished to end this correspondence. It is within the bounds of possibility that Balzac cared more for the Countess Potocka than he admitted to his "Polar Star," but several years later, when she had become avaricious, he formed an aversion to her and warned Madame Hanska to beware of her cousin.

CONCLUSION

"I live by my friendships only."

Many people write their romances, others live them; Honore de Balzac did both. This life so full of romantic fiction mingled with stern reality, where the burden of debt is counter-balanced by dramatic pa.s.sion, where hallucination can scarcely be distinguished from fact, where the weary traveler is ever seeking gold, rest, or love, ever longing to be famous and to be loved, where the hero, secluded as in a monastery, suddenly emerges to attend an opera, dressed in the most gaudy attire, where he lacks many of the comforts of life, yet suddenly crosses half the continent, allured by the fascinations of a woman, this life is indeed a _roman balzacien par excellence_!

He tried to shroud his life, especially his a.s.sociation with women, in mystery. Now since the veil is partially lifted, one can see how great was the role they played. It has been said that twelve thousand letters were written to Balzac by women, some to express their admiration, some to recognize themselves in a delightful personage he had created, others to thank him or condemn him for certain att.i.tudes he had sustained towards woman.

For him to have so thoroughly understood the feminine mind and temperament, to have given to this subtle chameleon its various hues, to have portrayed woman with her many charms and caprices, and to have described woman in her various cla.s.ses and at all ages, he must have observed her, or rather, he must have known her. He very justly says in his _Avant-propos_:

"When Buffon described the lion, he dismissed the lioness with a few phrases; but in society the wife is not always the female of the male. There may be two perfectly dissimilar beings in one household. The wife of a shopkeeper is sometimes worthy of a prince and the wife of a prince is often worthless compared with the wife of an artisan. The social state has freaks which are not found in the natural world; it is nature _plus_ society. The description of the social species would thus be at least double that of the animal species, merely in view of the two s.e.xes."

Thus, he made a special study of woman, penetrated, like a father confessor, into her innermost secrets, and if he has not painted the d.u.c.h.esses with the delicacy due them, it was not because he did not know or had not studied them, but probably because he was picturing them with his Rabelaisian pen.

He knew many women who were active during the reign of Louis XVI, women who were conspicuous under the Empire, and women who were prominent in society during the Restoration, hence, one would naturally expect to find traces of them in his works.

But it is not only this type of woman that Balzac has presented. He painted the _bourgeoise_ in society, as seen in the daughters of _Pere Goriot_, and many others, the various types of the _vieille fille_ such as Mademoiselle Zephirine Guenic (_Beatrix_) who never wished to marry, Cousine Bette who failed in her matrimonial attempts, and Madame Bousquier (_La vieille Fille) who finally succeeded in hers.

The working cla.s.s is represented in such characters as Madame Remonencq (_Le Cousin Pons_) and Madame Cardinal (_Les pet.i.ts Bourgeois_), while the servant cla.s.s is well shown in the person of the _grand_ Nanon (_Eugenie Grandet_), the faithful f.a.n.n.y (_La Grenadiere_), and many others. As has been seen, there is a trace of his old servant, Mere Comin, in the person of Madame Vaillant (_Facino Cane_), and Mere Cognette and La Rabouilleuse (_La Rabouilleuse_) are said to be people he met while visiting Madame Carraud. The novelist must have known many such women, for his mother and sisters had servants, and in the homes of Madame de Berny, Madame Carraud and Madame de Margonne, he certainly knew the servants, not to mention those he observed at the cafes and in his wanderings.

Balzac knew several young girls at different periods of his life. His sister Laure was his first and only companion in his earlier years, and he knew his sister Laurence especially well in the years immediately preceding her marriage. Madame Carraud was a schoolmate of Madame Surville and visited in his home as a young girl. He was not only acquainted with the various daughters of Madame de Berny, but at one time there was some prospect of his marrying Julie. Josephine and Constance, daughters of Madame d'Abrantes, were acquaintances of his during their early womanhood. He must have known Mademoiselle de Trumilly as he presented himself as her suitor, and being entertained in her home frequently, doubtless saw her sisters also. Since he accompanied his sister to b.a.l.l.s in his youth, it is natural to suppose that he met young girls there, even if there is no record of it.

A few years later he became devoted to the two daughters of his sister Laure, and lived with her for a short time. He knew Madame Hanska's daughter Anna in her childhood, but was most intimate with her when she was about twenty. While Madame de Girardin was not so young, he met her several years before her marriage, called her Delphine, and regarded her somewhat as his pupil. He liked Marie de Montbeau and her mother, Camille Delannoy, who was a friend of his sister Laure and the daughter of the family friend, Madame Delannoy. Though not intimate with her, he met and observed Eugenie, the daughter of Madame de Bolognini at Milan, and probably was acquainted with Inez and Hyacinthe, the two daughters of Madame Desbordes-Valmore.

In his various works, he has portrayed quite a number of young girls varying greatly in rank and temperament, among the most prominent being Marguerite Claes (_La Recherche de l'Absolu_), noted for her ability and her strength of character, headstrong and much petted Emilie de Fontaine (_Le Bal de Sceaux_), Laurence de Cinq-Cygne, the very zealous Royalist (_Une tenebreuse Affaire_), romantic Modeste Mignon, pitiable Pierrette Lorrain, dutiful and devout Ursule Mirouet, unfortunate Fosseuse (_Le Medecin de Campagne_), bold and unhappy Rosalie de Watteville (_Albert Savarus_), and the well-known Eugenie Grandet.

The novelist has revealed to us that he modeled one of these heroines on a combination of the woman who later became his wife, and her cousin, a most charming woman. It is quite possible that some if not all of the other heroines would be found to have equally interesting sources, could they be discovered.

Concerning the much discussed question as to whether Balzac portrayed young girls well, M. Marcel Barriere remarks:

"There are critics stupid enough to say that Balzac knew nothing of the art of painting young girls; they make use of the inelegant, unpolished word _rate_ to qualify his portraits of this _genre_.

To be sure, Balzac's triumph is, we admit, in his portraits of mothers or pa.s.sionate women who know life. Certain authors, without counting George Sand, have given us sketches of young girls far superior to Balzac's, but that is no reason for scoffing in so impertinent a manner at the author of the _Comedie humaine_, when his unquestionable glory ought to silence similar pamphletistic criticisms. We advise those who reproach Balzac for not having understood the simplicity, modesty and graces so full of charm, or often the artifice of the young girl, to please reread in the _Scenes de la Vie privee_ the portraits of Louise de Chaulieu, Renee de Maucombe, Modeste Mignon, Julie de Chatillonest, Honorine de Beauvan, Mademoiselle Guillaume, Emilie de Fontaine, Mademoiselle Evangelista, Adelaide du Rouvre, Ginervra di Piombo, etc., without mentioning, in other _Scenes_, Eugenie Grandet, Eve Sechard, Pierrette Lorrain, Ursule Mirouet, Mesdemoiselles Birotteau, Hulot d'Ervy, de Cinq-Cygne, La Fosseuse, Marguerite Claes, Juana de Mancini, Pauline Gaudin, and I hope they will keep silence, otherwise they will cause us to question their good sense of criticism."

Balzac said it would require a Raphael to create so many virgins; accordingly, from time to time the type of woman of the other extreme is also seen. She is portrayed in the _grande dame_ and in the _courtisane_, that is, at the top and the bottom of the social ladder.

On the one side are the Princesse de Cadignan, the Comtesse de Seriby, etc., while on the other are Esther Gobseck, Valerie Marneffe, and others. Some of the novelist's most striking ant.i.theses were attained by placing these horrible creatures by the side of his n.o.blest and purest creations.

In his _Avant-propos_, he criticized Walter Scott for having portrayed his women as Protestants, saying: "In Protestantism there is no possible future for the woman who has sinned; while, in the Catholic Church, the hope of forgiveness makes her sublime. Hence, for the Protestant writer there is but one woman, while the Catholic writer finds a new woman in each new situation." Naturally, most of the women of the _Comedie humaine_ are Catholic, but among the exceptions is Madame Jeanrenaud (_L'Interdiction_), who is a Protestant; Josepha Mirah and Esther Gobseck are of Jewish origin. In portraying various women as Catholics, convent life for the young girl is seen in _Memoires de deux jeunes mariees_, and for the woman weary of society, in _La d.u.c.h.esse de Langeais_. Extreme piety is shown in Madame de Granville (_Une double Famille_), and Madame Graslin devoted herself to charity to atone for her crime.

Various pictures are given of woman in the home. Ideal happiness is portrayed in the life of Madame Cesar Birotteau. Madame Grandet, Madame Hulot (_La Cousine Bette_), and Madame Claes (_La Recherche de l'Absolu_) were martyrs to their husbands, while Madame Serizy made a martyr of hers. Beautiful motherhood is often seen, as in Madame Sauviat (_Le Cure de Village_), yet some of the mothers in Balzac are most heartless. A few professions among women are represented, actresses, artists, musicians and dancers being prominent in some of the stories.

It is quite possible and even probable that Balzac pictured many more women whom he knew in real life than have been mentioned here, and these may yet be traced. For obvious reasons, he avoided exact portraiture, yet in a few instances he indulged in it, notably in the sketch of George Sand as Mademoiselle des Touches. And lest one might not recognize the appearance of Madame Merlin as Madame Schontz (_Beatrix_), he boldly made her name public.

In presenting the women whom we know, the novelist was usually consistent. As has been seen, he regarded the home of Madame Carraud at Frapesle as a haven of rest, and went there like a wood-pigeon regaining its nest. The suffering Felix de Vandenesse (_Le Lys dans la Vallee_) could not, therefore, find calm until he went to the chateau de Frapesle to recuperate. The novelist could easily give this minute description of Frapesle with its towers, as well as the chateau de Sache, the home of M. de Margonne, having spent so much of his time at both of these places.

The reader, having seen in the early pages of this book, Balzac's relation to his mother,--in case Felix de Vandenesse represents Balzac himself--is not surprised to learn that the mother of Felix was cold and tyrannical, indifferent to his happiness, that he had but little or no money to spend, that his brother was the favorite, that he was sent away to school early in life and remained there eight years, that his mother often reproached him and repressed his tenderness, and that to escape all contact with her he buried himself in his reading.

Felix was in this unhappy state when he met Madame de Mortsauf, whose shoulders he kissed suddenly, and whose love for him later made him forget the miseries of childhood; in the same manner, Balzac made his first declaration to Madame de Berny. Madame de Mortsauf could easily be Madame de Berny with all her tenderness and sympathy, or she could be Madame Hanska. The intense maternal love of the heroine could represent either, but especially the latter. M. de Mortsauf could be either M. de Berny or M. de Hanski. Balzac left Madame de Berny and became enraptured with Madame de Castries, and had had a similar infatuation for Madame d'Abrantes, just as Felix made Madame de Mortsauf jealous by his devotion to Lady Arabelle Dudley. It will be remembered that Madame Hanska was suspicious of Balzac's relations with an English lady, Countess Visconti, although the novelist states that he had written this work before he knew Madame Visconti. The novelist has doubtless combined traits of various women in a single character, but the fact still remains that he was depicting life as he knew it, even if he did not attempt exact portraiture.

While the famous Vicomtesse de Beauseant (_La Femme abandonnee_) has many characteristics of the d.u.c.h.esse d'Abrantes, and some of those of Madame de Berny, and _La Femme abandonnee_ was written the year Balzac severed his relations with his _Dilecta_. But it is especially in the gentleness and patience portrayed in Madame Firmiani, in the affection and self-sacrifice of Pauline de Villenoix for Louis Lambert, and the devotion of Pauline Gaudin to Raphael in _La Peau de Chagrin_ that Madame de Berny is most strikingly represented. She was all this and more to Balzac. Furthermore, he may have obtained from her his historical color for _Un Episode sous la Terreur_, just as he was influenced by Madame Junot in writing stories of the Empire and Corsican vengeance.

It was perhaps to avoid recognition of the heroine and to revenge himself on Madame de Castries that he made the d.u.c.h.esse de Langeais enter a convent and die, after her failure to master the Marquis de Montriveau, while for his part the hero soon forgot her.

Soon after introducing Madame de Mortsauf (_Le Lys dans la Vallee_), Balzac compares her to the fragrant heather gathered on returning from the Villa Diodati. After studying carefully his long period of a.s.sociation with Madame Hanska, one can see the importance which the Villa Diodati had in his life. This is only another incident, small though it be, showing how this woman impressed herself so deeply on the novelist that almost unconsciously he brought memories of his _Predilecta_ into his work. It has been shown that she served as a model for some of his most attractive heroines; was honored, under different names, with the dedication of three works besides the one dedicated to her daughter; and was the originator of one of his most popular novels for young girls, while many traces of herself and her family connections are found throughout the whole _Comedie humaine_.

Though by far the most important of them all, she was only one of the many _etrangeres_ he knew. As has been observed, he knew women of Russia, Poland, Germany, Austria, England, Italy and Spain, and had traveled in most of these countries; hence one is not surprised at the large number of foreign women who have appeared in his work. Among the most noted of these are Lady Brandon (_La Grenadiere_); Lady Dudley (_Le Lys dans la Vallee_); Madame Varese (_Ma.s.similla Doni_); la d.u.c.h.esse de Rhetore (_Albert Savarus_), who was in reality Madame Hanska, although presented as being Italian; Madame Claes (_La Recherche de l'Absolu_), of Spanish origin though born in Brussels; Paquita Valdes (_La Fille aux Yeux d'Or_); and the Corsican Madame Luigi Porta (_La Vendetta_).