Women in the Life of Balzac Part 17

"_Albert Savarus_ has had much success. You will read it in the first volume of the _Comedie humaine_, almost after the _fausse Maitresse_, where with childish joy I have made the name _Rzewuski_ shine in the midst of those of the most ill.u.s.trious families of the North. Why have I not placed Francesca Colonna at Diodati? Alas, I was afraid that it would be too transparent.

Diodati makes my heart beat! Those four syllables, it is the cry of the _Montjoie Saint-Denis!_ of my heart."

Francesca Colonna, the Princess Gandolphini, is the heroine of _l'Ambitieux par Amour_, a novel supposed to have been published by Albert Savarus and described in the book which bears his name. Using her name, the hero is represented as having written the story of the d.u.c.h.esse d'Argaiolo and himself, he taking the name of Rodolphe. Here are given, in disguise again, the details of Balzac's early relations to Madame Hanska. Albert Savarus, while traveling in Switzerland, sees a lady's face at the window of an upper room, admires it and seeks the lady's acquaintance. She proves to be the d.u.c.h.esse d'Argaiolo, an Italian in exile. She had been married very young to the Duke d'Argaiolo, who was rich and much older than she. The young man falls in love with this beautiful lady, and she promises to be his as soon as she becomes free.

Gabriel Ferry states that Balzac first saw Madame Hanska's face at a window, and the Princess Radziwill says that Balzac went to the hotel to meet her aunt. It is to be noted that the year 1834 is that in which Balzac and Madame Hanska were in Geneva together.

The Villa Diodati, noted for having been inhabited by Lord Byron, is situated on Lake Geneva, at Cologny, not far from Pre Leveque,[*]

where M. de Hanski and his family resided in the _maison Mirabaud-Amat_.

[*] Balzac preserved a remembrance of the happy days he had spent with Madame Hanska at Pre-Leveque, Lake Geneva, by dating _La d.u.c.h.esse de Langeais_, January 26, 1834, Pre-Leveque.

There are numerous allusions to Diodati in Balzac's correspondence, from which one would judge that he had some very unhappy a.s.sociations with Madame de Castries, and some very happy ones with Madame Hanska in connection with Diodati:

"When I want to give myself a magnificent fete, I close my eyes, lie down on one of my sofas, . . . and recall that good day at Diodati which effaced a thousand pangs I had felt there a year before. You have made me know the difference between a true affection and a simulated one, and for a heart as childlike as mine, there is cause there for an eternal grat.i.tude. . . . When some thought saddens me, then I have recourse to you; . . . I see again Diodati, I stretch myself on the good sofa of the Maison Mirabaud. . . . Diodati, that image of a happy life, reappears like a star for a moment clouded, and I began to laugh, as you know I can laugh. I say to myself that so much work will have its recompense, and that I shall have, like Lord Byron, my Diodati. I sing in my bad voice: 'Diodati, Diodati!'"

Another excerpt shows that Balzac had in mind his own life in connection with Madame Hanska's in writing _Albert Savarus_:

". . . It is six o'clock in the morning, I have interrupted myself to think of you, reminded of you by Switzerland where I have placed the scene of _Albert Savarus_.--Lovers in Switzerland,--for me, it is the image of happiness. I do not wish to place the Princess Gandolphini in the _maison Mirabaud_, for there are people in the world who would make a crime of it for us. This Princess is a foreigner, an Italian, loved by Savarus."

Many of Balzac's traits are seen in Albert Savarus. Like Balzac, Albert Savarus was defeated in politics, but hoped for election; was a lawyer, expected to rise to fame, and was about three years older than the woman he loved. Like Madame Hanska, the d.u.c.h.esse d'Argaiolo, known as the Princess Gandolphini, was beautiful, n.o.ble, a foreigner, and married to a man very rich and much older than she, who was not companionable. It was on December 26 that Albert Savarus arrived at the Villa on Lake Geneva to visit his princes, while Balzac arrived December 25 to visit Madame Hanska at her Villa there. The two lovers spent the winter together, and in the spring, the Duc d'Argaiolo (Prince Gandolphini) and his wife went to Naples, and Albert Savarus (Rodolphe) returned to Paris, just as M. de Hanski took his family to Italy in the spring, while Balzac returned to Paris.

Albert Savarus was falsely accused of being married, just as Madame Hanska had accused Balzac. The letters to the d.u.c.h.ess from Savarus are quite similar to some Balzac wrote to Madame Hanska. Like Balzac, Savarus saw few people, worked at night, was poor, ever hopeful, communed with the portrait of his adored one, had trouble in regard to the delivery of her letters, and was worried when they did not come; yet he was patient and willing to wait until the Duke should die. Like Madame Hanska, the d.u.c.h.ess feared her lover was unfaithful to her, and in both cases a woman sowed discord, though the results were different.[*]

[*] Miss K. P. Wormeley does not think that _Albert Savarus_ was inspired by Balzac's relations with Madame Hanska. For her arguments, see _Memoir of Balzac_.

Madame Hanska did not care for this book, but Balzac told her she was not familiar enough with French society to appreciate it.

Miss Mary Hanford Ford thinks that Madame Hanska inspired another of Balzac's works: "It is probable that in Madame de la Chanterie we are given Balzac's impa.s.sioned and vivid idealization of the woman who became his wife at last. . . . Balzac's affection for Madame Hanska was to a large degree tinged with the reverence which the Brotherhood shared for Madame de la Chanterie. . . ." While the Freres de la Consolation adored Madame de la Chanterie in a beautiful manner, neither her life nor her character was at all like Madame Hanska's.

This work is dated December, 1847, Wierzchownia, and was doubtless finished there, but he had been working on it for several years.

In the autumn of 1842,[*] Madame Hanska went to St. Petersburg. She complained of a sadness and melancholy which Balzac's most ardent devotion could not overcome. He became her _pat.i.to_, and she the queen of his life, but he too suffered from depression, and even consented to wait three years for her if she would only permit him to visit her.

He insisted that his affection was steadfast and eternal, but in addition to showing him coldness, she unjustly rebuked him, having heard that he was gambling. She had a prolonged lawsuit, and he wished her to turn the matter over to him, feeling sure that he could win the case for her.

[*] Emile f.a.guet, _Balzac_, says that it was in 1843 that Madame Hanska went to St. Petersburg. He has made several such slight mistakes throughout this work.

Thus pa.s.sed the year 1842. She eventually consented to let him come in May to celebrate his birthday. But alas! A great _remora_ stood in the way. Poor Balzac did not have the money to make the trip. Then also he had literary obligations to meet, but he felt very much fatigued from excessive work and wanted to leave Paris for a rest. Her letters were so unsatisfactory that he implored her to engrave in her dear mind, if she would not write it in her heart, that he wished her to use some of her leisure time in writing a few lines to him daily. As was his custom when in distress, he sought a fortune-teller for comfort, and as usual, was delighted with his prophecy. The notorious Balthazar described to him perfectly the woman he loved, told him that his love was returned, that there would never be a cloud in their sky, in spite of the intensity of their characters, and that he would be going to see her within six months. The soothsayer was correct in this last statement, at least, for Balzac arrived at St. Petersburg soon after this interview.

Madame Hanska felt that she was growing old, but Balzac a.s.sured her that he should love her even were she ugly, and he relieved her mind of this fear by writing in her _Journal intime_ that although he had not seen her since they were in Vienna, he thought her as beautiful and young as then--after an interval of seven years.[*]

[*] Balzac should have said an interval of _eight_ years instead of _seven_, for he visited her in Vienna in May and June, 1835, and he wrote this in September 1843. This is only one of the novelist's numerous mistakes in figuring, seen throughout his entire works.

Balzac arrived in St. Petersburg on July 17_29, and left there late in September,[*] 1843, stopping to visit in Berlin and Dresden. Becoming very ill, he cut short his visit to Mayence and Cologne and arrived in Paris November 3, in order to consult his faithful Dr. Nacquart.

Excess of work, the sorrow of leaving Madame Hanska, disappointment, and deferred hopes were too much for his nervous system. His letters to Madame Hanska were, if possible, filled with greater detail than ever concerning his debts, his household and family matters, his works and society gossip. The _tu_ frequently replaces the _vous_, and having apparently exhausted all the endearing names in the French language, he resorted to the Hebrew, and finds that _Lididda_ means so many beautiful things that he employs this word. He calls her _Liline_ or _Line_; she becomes his _Louloup_, his "lighthouse," his "happy star," and the _sicura richezza, senza brama_.

[*] Unless the editor of _Lettres a l'Etrangere_ is confusing the French and Russian dates, he has made a mistake in dating certain of Balzac's letters from St. Petersburg. He had two dated October 1843, St. Petersburg, and on his way home from there Balzac writes from Taurogen dating his letter September 27-October 10, 1843.

Hence the exact date of his departure from St. Petersburg is obscure.

Madame Hanska and Balzac seem to have had many idiosyncrasies in common, among which was their _penchant_ for jewelry, as well as perfumes. Since their meeting at Geneva, the two exchanged gifts of jewelry frequently, and the discussion, engraving, measuring, and exchanging of various rings occupied much of Balzac's precious time.

His fondness for antiques was another extravagance, and he invested not a little in certain pieces of furniture which had belonged to Marie de Medicis and Henri IV; this purchase he regretted later, and talked of selling, but, instead, added continually to his collection.

He was constantly sending, or wanting to send some present to Madame Hanska or to her daughter Anna, but nothing could be compared with the priceless gift he received from her. The Daffinger miniature arrived February 2, 1844.

As a New Year's greeting for 1844, Balzac dedicated to Madame Hanska _Les Bourgeois de Paris_, later called _Les pet.i.ts Bourgeois_, saying that the first work written after his brief visit with her should be inscribed to her. This dedication is somewhat different from the one published in his OEuvres:

"To Constance-Victoire:[*]

"Here, madame and friend is one of those works which fall, we know not whence, into an author's mind and afford him pleasure before he can estimate how they will be received by the public, that great judge of our time. But, almost sure of your good-will, I dedicate it to you. It belongs to you, as formerly the t.i.the belonged to the church, in memory of G.o.d from whom all things come, who makes all ripen, all mature! Some lumps of clay left by Moliere at the base of his statue of Tartufe have been molded by a hand more audacious than skilful. But, at whatever distance I may be below the greatest of humorists, I shall be satisfied to have utilized these little pieces of the stage-box of his work to show the modern hypocrite at work. That which most encouraged me in this difficult undertaking is to see it separated from every religious question, which was so injurious to the comedy of _Tartufe_, and which ought to be removed to-day. May the double significance of your name be a prophecy for the author, and may you be pleased to find here the expression of his respectful grat.i.tude.

"DE BALZAC.

"January 1, 1844."

[*] _Constance_ was either one of Madame Hanska's real names, or one given her by Balzac, for he writes to her, in speaking of Mademoiselle Borel's entering the convent: "My most sincere regards to _Soeur Constance_, for I imagine that Saint Borel will take one of your names." Although Balzac hoped at one time to have _Les pet.i.ts Bourgeois_ completed by July 1844, it was left unfinished at his death, and was completed and published in 1855.

During the winter of 1844, Madame Hanska wrote a story and then threw it into the fire. In doing this she carried out a suggestion given her by Balzac several years before, when he wrote her that he liked to have a woman write and study, but she should have the courage to burn her productions. She told the novelist what she had done, and he requested her to rewrite her study and send it to him, and he would correct it and publish it under his name. In this way she could enjoy all the pleasure of authorship in reading what he would preserve of her beautiful and charming prose. In the first place, she must paint a provincial family, and place the romantic, enthusiastic young girl in the midst of the vulgarities of such an existence; and then, by correspondence, _make a transit_ to the description of a poet in Paris. A friend of the poet, who is to continue the correspondence, must be a man of decided talent, and the _denouement_ must be in his favor against the great poet. Also the manias and the asperities of a great soul which alarm and rebuff inferior souls should be shown; in doing this she would aid him in earning a few thousand francs.

Her story, in the hands of this great wizard, grew like a mushroom, without pain or effort, and soon developed into the romantic novel, _Modeste Mignon_. She had thrown her story into the fire, but the fire had returned it to him and given him power, as did the coal of fire on the lips of the great prophet, and he wished to give all the glory to his adored collaborator.

When reading this book, Madame Hanska objected to Balzac's having made the father of the heroine scold her for beginning a secret correspondence with an author, feeling that Balzac was disapproving of her conduct in writing to him first, but Balzac a.s.sured her that such was not his intention, and that he considered this _demarche_ of hers as _royale and reginale_. Another trait, which she probably did not recognize, was that just as the great poet Ca.n.a.lis was at first indifferent to the letters of the heroine, and allowed Ernest de la Briere to answer them, so was Balzac rather indifferent to hers, and Madame Carraud--as already stated--is supposed to have replied to one of them.

There is no doubt that Balzac had his _Louloup_ in mind while writing this story, for in response to the criticism that Modest was too clever, he wrote Madame Hanska that she and her cousin Caliste who had served him as models for his heroine were superior to her. He first dedicated this work to her under the name of _un Etrangere_, but seeing the mistake the public made in ascribing this dedication to the Princesse Belgiojoso, he at a later date specified the nationality, and inscribed the book:

"To a Polish Lady:

"Daughter of an enslaved land, an angel in love, a demon in imagination, a child in faith, an old man in experience, a man in brain, a woman in heart, a giant in hope, a mother in suffering and a poet in your dreams,--this work, in which your love and your fancy, your faith, your experience, your suffering, your hopes and your dreams are like chains by which hangs a web less lovely than the poetry cherished in your soul--the poetry whose expression when it lights up your countenance is, to those who admire you, what the characters of a lost language are to the learned--this work is yours.

"DE BALZAC."

In _La fausse Maitresse_, Balzac represented Madame Hanska in the role of the Countess Clementine Laginska, who was silently loved by Thaddee Paz, a Polish refugee. This Thaddee Paz was no other than Thaddee Wylezynski, a cousin who adored her, and who died in 1844. Balzac learned of the warm attachment existing between Madame Hanska and her cousin soon after meeting her, and compared his faithful friend Borget to her Thaddee. On hearing of the death of Thaddee, he writes her: "The death of Thaddee, which you announce to me, grieves me. You have told me so much of him, that I loved one who loved you so well, _although_! You have doubtless guessed why I called Paz, Thaddee. Poor dear one, I shall love you for all those whose love you lose!"

Balzac longed to be free from his debts, and have undisturbed possession of _Les Jardies_, where they could live _en pigeons heureux_. Ever inclined to give advice, he suggested to her that she should have her interests entirely separate form Anna's, quoting the axiom, _N'ayez aucune collision d'interet avec vos enfants_, and that she was wrong in refusing a bequest from her deceased husband. She should give up all luxuries, dismiss all necessary employees and not spend so much of her income but invest it. He felt that she and her daughter were lacking in business ability; this proved to be too true, but Balzac was indeed a very poor person to advise her on this subject; however, her lack of accuracy in failing to date her letters was, to be sure, a great annoyance to him.

On the other hand, she suspected her _Nore_, had again heard that he was married, and that he was given to indulging in intoxicating liquors; she advised him not to a.s.sociate so much with women.

Having eventually won her lawsuit, she returned to Wierzchownia in the spring of 1844, after a residence of almost two years in St.

Petersburg. Her daughter Anna had made her debut in St. Petersburg society, and had met the young Comte George de Mniszech, who was destined to become her husband. Balzac was not pleased with this choice, and felt that the _protege_ of the aged Comte Potocki would make a better husband, for moral qualities were to be considered rather than fortune.

After spending the summer and autumn at her home, Madame Hanska went to Dresden for the winter. As early as August, Balzac sought permission to visit her there, making his request in time to arrange his work in advance and secure the money for the journey, in case she consented. While in St. Petersburg, she had given him money to buy some gift for Anna, so he planned to take both of them many beautiful things, and _une cave de parfums_ as a gift _de nez a nez_. If she would not consent to his coming to Dresden, he would come to Berlin, Leipsic, Frankfort, Aix-la-Chapelle, or anywhere else. He became impatient to know his fate, and her letters were so irregular that he exclaimed: "In heaven's name, write me regularly three times a month!"

Poor Balzac's dream was to be on the way to Dresden, but this was not to be realized. It will be remembered, that Madame Hanska's family did not approve of Balzac nor did they appreciate his literary worth, they felt that the marriage would be a decided _mesalliance_, and exerted their influence against him. Discouraged by them and her friends, she forbade his coming. While her family called him a _scribe exotique_, Balzac indirectly told her of the appreciation of other women, saying that Madame de Girardin considered him to be one of the most charming conversationalists of the day.

This uncertainty as to his going to visit his "Polar Star" affected him to such a degree that he could not concentrate his mind on his work, and he became impatient to the point of scolding her:

"But, dear Countess, you have made me lose all the month of January and the first fifteen days of February by saying to me: 'I start --to-morrow--next week,' and by making me wait for letters; in short, by throwing me into rages which I alone know! This has brought a frightful disorder into my affairs, for instead of getting my liberty February 15, I have before me a month of herculean labor, and on my brain I must inscribe this which will be contradicted by my heart: 'Think no longer of your star, nor of Dresden, nor of travel; stay at your chain and work miserably!

. . . Dear Countess, I decidedly advise you to leave Dresden at once. There are princesses in that town who infect and poison your heart, and were it not for _Les Paysans_, I should have started at once to prove to that venerable invalid of Cythera how men of my stamp love; men who have not received, like her prince, a Russian pumpkin in place of a French heart from the hands of hyperborean nature. . . . Tell your dear Princess that I have known you since 1833, and that in 1845 I am ready to go from Paris to Dresden to see you for a day; and it is not impossible for me to make this trip; . . ."

In the meantime she had not only forbidden his coming to visit her, but had even asked him not to write to her again at Dresden, to which he replies:

"May I write without imprudence, before receiving a counter-order?