Women in the Life of Balzac Part 8

During this journey Madame Marbouty was known as _Marcel_, this being the name of the devoted servant of Raoul de Nangis in Meyerbeer's masterpiece, _Les Huguenots_, which had been given for the first time on February 29, 1836. The two travelers had a delightful but very fatiguing journey, for there were so many things to see that they even took time from their sleep to enjoy the beauties of Italy. In writing to Madame Hanska of this trip, he spoke of having for companion a friend of Madame Carraud and Jules Sandeau.

Madame Marbouty was also a friend of Madame Carraud's sister, Madame Nivet, so that when Balzac visited Limoges he probably called on his former traveling companion.

When the second volume of the _Comedie humaine_ was published (1842), Balzac remembered this episode in his life and dedicated _La Grenadiere_ to his traveling companion:

"To Caroline, to the poetry of the journey, from the grateful traveler."

In explaining this dedication to Madame Hanska, Balzac states that the _poesie du voyage_ was merely the poetry of it and nothing more, and that when she comes to Paris he will take pleasure in showing to her this intimate friend of Madame Carraud, this charming, intellectual woman whom he has not seen since.

Balzac went to Madame Marbouty's home to read to her the first acts of _L'Ecole des Menages_, which she liked; a few days later, he returned, depressed because a great lady had told him it was _ennuyeux_, so she tried to cheer him. _Souvenirs inedits_, dated February, 1839, left by her, and a letter from her to Balzac dated March 12, 1840, in which she asks him to give her a ticket to the first performance of his play,[*] show that they were on excellent terms at this time. But later a coolness arose, and in April, 1842, Madame Marbouty wrote _Une fausse Position_. The personages in this novel are portraits, and Balzac appears under the name of Ulric. This explains why the dedication of _La Grenadiere_ was changed. Some writers seem to think that Madame Marbouty suggested to Balzac _La Muse du Departement_, a Berrichon bluestocking.

[*] The play referred to is doubtless _Vautrin_, played for the first time March 14, 1840.

Among the women in the _Comedie humaine_ who have been identified with women the novelist knew in the course of his life, Beatrix (Beatrix), depicting the life of the Comtesse d'Agoult, is one of the most noted.

Balzac says of this famous character: "Yes, Beatrix is even too much Madame d'Agoult. George Sand is at the height of felicity; she takes a little vengeance on her friend. Except for a few variations, _the story is true_."

Although Balzac wrote _Beatrix_ with the information about the heroine which he had received from George Sand, he was acquainted with Madame d'Agoult. Descended from the Bethmanns of Hamburg or Frankfort, she was a native of Touraine, and played the role of a "great lady" at Paris. She became a journalist, formed a _liaison_ with Emile de Girardin, and wrote extensively for the _Presse_ under the name of Daniel Stern. She had some of the characteristics of the Princesse Belgiojoso; she abandoned her children. Balzac never liked her, and described her as a dreadful creature of whom Liszt was glad to be rid.

She made advances to the novelist, and invited him to her home; he dined there once with Ingres and once with Victor Hugo, but he did not enjoy her hospitality. Notwithstanding the aversion which Balzac had for her, he sent her autograph to Madame Hanska, and met her at various places.

Among women Balzac's most noted literary friend was George Sand, whom he called "my brother George." In 1831 Madame Dudevant, having attained some literary fame by the publication of _Indiana_, desired to meet the author of _La Peau de Chagrin_, who was living in the rue Ca.s.sini, and asked a mutual friend to introduce her.[*] After she had expressed her admiration for the talent of the young author, he in turn complimented her on her recent work, and as was his custom, changed the conversation to talk of himself and his plans. She found this interview helpful and he promised to counsel her. After this introduction Balzac visited her frequently. He would go puffing up the stairs of the many-storied house on the quai Saint-Michel where she lived. The avowed purpose of these visits was to advise her about her work, but thinking of some story he was writing, he would soon begin to talk of it.

[*] Different statements have been made as to who introduced George Sand to Balzac. In her _Histoire de ma Vie_, George Sand merely says it was a friend (a man). Gabriel Ferry, _Balzac et ses Amies_, makes the same statement. Seche et Bertaut, _Balzac_, state that it was La Touche who presented her to him, but Miss K.

P. Wormeley, _A Memoir of Balzac_, and Mme. Wladimir Karenine, _George Sand_, state that it was Jules Sandeau who presented her to him. Confirming this last statement, the Princess Radziwill states that it was Jules Sandeau, and that her aunt, Madame Honore de Balzac, has so told her.

They seem to have had many enjoyable hours with each other. She relates that one evening when she and some friends had been dining with Balzac, after a rather peculiar dinner he put on with childish glee, a beautiful brand-new _robe de chambre_ to show it to them, and purposed to accompany them in this costume to the Luxembourg, with a candlestick in his hand. It was late, the place was deserted, and when George Sand suggested that in returning home he might be a.s.sa.s.sinated, he replied: "Not at all! If I meet thieves they will think me insane, and will be afraid of me, or they will take me for a prince, and will respect me." It was a beautiful calm night, and he accompanied them thus, carrying his lighted candle in an exquisite carved candlestick, talking of his four Arabian horses, which he never had had, but which he firmly believed he was going to have. He would have conducted them to the other end of Paris, if they had permitted him.

Once George Sand and Balzac had a discussion about the _Contes droletiques_ during which she said he was shocking, and he retorted that she was a prude, and departed, calling to her on the stairway: "_Vous n'etes qu'une bete!_" But they were only better friends after this.

Early in their literary career Balzac held this opinion of her: "She has none of the littleness of soul nor any of the base jealousies which obscure the brightness of so much contemporary talent. Dumas resembles her in this respect. George Sand is a very n.o.ble friend, and I would consult her with full confidence in my moments of doubt on the logical course to pursue in such or such a situation; but I think she lacks the instinct of criticism: she allows herself to be too easily persuaded; she does not understand the art of refuting the arguments of her adversary nor of justifying herself." He summarized their differences by telling her that she sought man as he ought to be, but that he took him as he is.

If Madame Hanska was not jealous of George Sand, she was at least interested to know the relations existing between her and Balzac, for we find him explaining: "Do not fear, madame, that Zulma Dudevant will ever see me attached to her chariot. . . . I only speak of this because more celebrity is fastened on that woman than she deserves; which is preparing for her a bitter autumn. . . . _Mon Dieu!_ how is it that with such a splendid forehead you can think little things! I do not understand why, knowing my aversion for George Sand, you make me out her friend." Since Madame Hanska was making a collection of autographs of famous people, Balzac promised to send her George Sand's, and he wished also to secure one of Aurore Dudevant, so that she might have her under both forms.

It is interesting to note that at various times Balzac compared Madame Hanska to George Sand. While he thought his "polar star" far more beautiful, she reminded him of George Sand by her coiffure, att.i.tude and intellect, for she had the same feminine graces, together with the same force of mind.

On his way to Sardinia, Balzac stopped to spend a few days with George Sand at her country home at Nohant. He found his "comrade George" in her dressing-gown, smoking a cigar after dinner in the chimney-corner of an immense solitary chamber. In spite of her dreadful troubles, she did not have a white hair; her swarthy skin had not deteriorated and her beautiful eyes were still dazzling. She had been at Nohant about a year, very sad, and working tremendously. He found her leading about the same life as he; she retired at six in the morning and arose at noon, while he retired at six in the evening and arose at midnight; but he conformed to her habits while spending these three days at her chateau, talking with her from five in the evening till five the next morning; after this, they understood each other better than they had done previously. He had censured her for deserting Jules Sandeau, but afterwards had the deepest compa.s.sion for her, as he too had found him to be a most ungrateful friend.

Balzac felt that Madame Dudevant was not lovable, and would always be difficult to love; she was a _garcon_, an artist, she was grand, generous, devoted, chaste; she had the traits of a man,--she was not a woman. He delighted in discussing social questions with a comrade to whom he did not need to show the _galanterie d'epiderme_ necessary in conversation with ordinary women. He thought that she had great virtues which society misconstrued, and that after hours of discussion he had gained a great deal in making her recognize the necessity of marriage. In discussing with him the great questions of marriage and liberty, she said with great pride that they were preparing by their writings a revolution in manners and morals, and that she was none the less struck by the objections to the one than by those to the other.

She knew just what he thought about her; she had neither force of conception, nor the art of pathos, but--without knowing the French language--she had _style_. Like him, she took her glory in raillery, and had a profound contempt for the public, which she called _Jumento_. Defending her past life, he says: "All the follies that she has committed are t.i.tles to fame in the eyes of great and n.o.ble souls.

She was duped by Madame Dorval, Bocage, Lammennais, etc., etc. Through the same sentiment she is now the dupe of Liszt and Madame d'Agoult; she has just realized it for this couple as for la Dorval, for she has one of those minds that are powerful in the study, through intellect, but extremely easy to entrap on the domain of reality."

During this week-end visit, Madame Dudevant related to Balzac the story of Liszt and Madame d'Agoult, which he reproduced in _Beatrix_, since in her position, she could not do so herself. In the same book, George Sand is portrayed as Mademoiselle des Touches, with the complexion, pale olive by day, and white under artificial light, characteristic of Italian beauty. The face, rather long than oval, resembles that of some beautiful Isis. Her hair, black and thick, falls in plaited loops over her neck, like the head-dress with rigid double locks of the statues at Memphis, accentuating very finely the general severity of her features. She has a full, broad forehead, bright with its smooth surface on which the light lingers, and molded like that of a hunting Diana; a powerful, wilful brow, calm and still.

The eyebrows, strongly arched, bend over the eyes in which the fire sparkles now and again like that of fixed stars. The cheek-bones, though softly rounded, are more prominent than in most women, and confirm the impression of strength. The nose, narrow and straight, has high-cut nostrils, and the mouth is arched at the corners. Below the nose the lip is faintly shaded by a down that is wholly charming; nature would have blundered if she had not placed there that tender smoky tinge.

Balzac admitted that this was the portrait of Madame Dudevant, saying that he rarely portrayed his friends, exceptions being G. Planche in Claude Vignon, and George Sand in Camille Maupin (Mademoiselle des Touches), both with their consent.

Madame Dudevant was an excessive smoker, and during Balzac's visit to her, she had him smoke a hooka and latakia which he enjoyed so much that he wrote to Madame Hanska, asking her to get him a hooka in Moscow, as he thought she lived near there, and it was there or in Constantinople that the best could be found; he wished her also, if she could find true latakia in Moscow, to send him five or six pounds, as opportunities were rare to get it from Constantinople. Later, on his visit to Sardinia, he wrote her from Ajaccio: "As for the latakia, I have just discovered (laugh at me for a whole year) that Latakia is a village of the island of Cyprus, a stone's throw from here, where a superior tobacco is made, named from the place, and that I can get it here. So mark out that item."[*]

[*] _Lettres a l'Etrangere. This contradicts the statement of S. de Lovenjoul, _Bookman_, that Balzac had a horror of tobacco and is known to have smoked only once, when a cigar given him by Eugene Sue made him very ill. He evidently had this excerpt of a letter in mind: "I have never known what drunkenness was, except from a cigar which Eugene Sue made me smoke against my will, and it was that which enabled me to paint the drunkenness for which you blame me in the _Voyage a Java_." This visit to George Sand was made five years after this letter was written. Or S. de Lovenjoul might have had in mind the statement of Theophile Gautier that Balzac could not endure tobacco in any form; he anathematized the pipe, proscribed the cigar, did not even tolerate the Spanish _papelito_, and only the Asiatic narghile found grace in his sight. He allowed this only as a curious trinket, and on account of its local color.

George Sand and Balzac discussed their work freely and did not hesitate to condemn either plot or character of which they did not approve. Some of Balzac's women shocked her, but she liked _La premiere Demoiselle_ (afterwards L'Ecole des Manages), a play which Madame Surville found superb, but which Madame Hanska discouraged because she did not like the plot. She aided him in a financial manner by signing one of his stories, _Voyage d'un Moineau de Paris_. At that time, Balzac needed money and Stahl (Hetzel) refused to insert in his book, _Scenes de la Vie privee de Animaux_ (2 vols., 1842), this story of Balzac's, who had already furnished several articles for this collection. George Sand signed her name, and in this way, Balzac obtained the money.

Madame Dudevant not only remained a true friend to Balzac in a literary and financial sense, but was glad to defend his character, and was firm in refuting statements derogatory to him. In apologizing to him for an article that had appeared without her knowledge in the _Revue independente_, edited by her, she asked his consent to write a large work about him. He tried to dissuade her, telling her that she would create enemies for herself, but, after persistence on her part, he asked her to write a preface to the _Comedie humaine_. The plan of the work, however, was very much modified, and did not appear until after Balzac's death.

Balzac dined frequently with Madame Dudevant and political as well as social and literary questions were discussed. He enjoyed opposing her views; after his return from his prolonged visit to Madame Hanska in St. Petersburg (1843), George Sand twitted him by asking him to give his _Impressions de Voyage_.

A story told at Issoudun ill.u.s.trates further the genial a.s.sociation of the two authors: Balzac was dining one day at the Hotel de la Cloche in company with George Sand. She had brought her physician, who was to accompany her to Nohant. The conversation turned on the subject of insane people, and the peculiar manner in which the exterior signs of insanity are manifested. The physician claimed to be an expert in recognizing an insane person at first sight. George Sand asked very seriously: "Do you see any here?" Balzac was eating, as always, ravenously, and his tangled hair followed the movement of his head and arm. "There is one!" said the Doctor; "no doubt about it!" George Sand burst out laughing, Balzac also, and, the introduction made, the confused physician was condemned to pay for the dinner.

Balzac expresses his admiration for her in the dedication of the _Memoires de deux jeunes mariees_:

"To George Sand.

"This dedication, dear George, can add nothing to the glory of your name, which will cast its magic l.u.s.ter on my book; but in making it there is neither modesty nor self-interest on my part. I desire to bear testimony to the true friendship between us which continues unchanged in spite of travels and absence,--in spite, too, of our mutual hard work and the maliciousness of the world.

This feeling will doubtless never change. The procession of friendly names which accompany my books mingles pleasure with the pain their great number causes me, for they are not written without anxiety, to say nothing of the reproach cast upon me for my alarming fecundity,--as if the world which poses before me were not more fecund still. Would it not be a fine thing, George, if some antiquary of long past literatures should find in that procession none but great names, n.o.ble hearts, pure and sacred friendships,--the glories of this century? May I not show myself prouder of that certain happiness than of other successes which are always uncertain? To one who knows you well it must ever be a great happiness to be allowed to call himself, as I do here,

"Your friend, "DE BALZAC."

CHAPTER IV

BUSINESS AND SOCIAL FRIENDS

MADAME BECHET--MADAME WERDET

A woman with whom Balzac was to have business dealings early in his literary career was Madame Charles Bechet, of whom he said: "This publisher is a woman, a widow whom I have never seen, and whom I do not know. I shall not send off this letter until the signatures are appended on both sides, so that my missive may carry you good news about my interests; . . ."

Thus began a business relation which, like many of Balzac's financial affairs, was to end unhappily. At first he liked her very much and dined with her, meeting in her company such noted literary men as Beranger, but as usual, he delayed completing his work, meanwhile resorting, in mitigation of his offense, to tactics such as the following words will indicate: ". . . a pretty watch given at the right moment to Madame Bechet may win me a month's freedom. I am going to overwhelm her with gifts to get peace."

Balzac often caused his publishers serious annoyance by re-writing his stories frequently, but at the beginning of this business relation he agreed with Madame Bechet about the cost of corrections. He says of the fair publisher: "The widow Bechet has been sublime: she had taken upon herself the expense of more than four thousand francs of corrections, which were set down to me. Is this not still pleasanter?"

But this could not last long, for she became financially embarra.s.sed and then had to be very strict with him. She refused to advance any money until his work was delivered to her and called upon him to pay for the corrections. This he resented greatly:

"Madame Bechet has become singularly ill-natured and will hurt my interests very much. In paying me, she charges me with corrections which amount on the twelve volumes to three thousand francs, and also for my copies, which will cost me fifteen hundred more. Thus four thousand five hundred francs and my discounts, diminish by six thousand the thirty-three thousand. She could not lose a great fortune more clumsily, for Werdet estimates at five hundred thousand francs the profits to be made out of the next edition of the _Etudes de Moeurs_. I find Werdet the active, intelligent, and devoted publisher that I want. I have still six months before I can be rid of Madame Bechet; for I have three volumes to do, and it is impossible to count on less than two months to each volume."

She evidently relented, for he wrote later that Madame Bechet had paid him the entire thirty-three thousand francs. This, however, did not end their troubles, and he longed to be free from his obligations, and to sever all connection with her.

In the spring of 1836, Madame Bechet became Madame Jacquillart.

Whether she was influenced by her husband or had become weary of Balzac's delays, she became firmer. The novelist felt that she was too exacting, for he was working sixteen hours a day to complete the last two volumes for her, and he believed that the suit with which she threatened him was prompted by his enemies, who seemed to have sworn his ruin. Madame Bechet lost but little time in carrying out her threat, for a few days after this he writes:

"Do you know by what I have been interrupted? By a legal notice from Bechet, who summons me to furnish her within twenty-four hours my two volumes in 8vo, with a penalty of fifty francs for every day's delay! I must be a great criminal and G.o.d wills that I shall expiate my crimes! Never was such torture! This woman has had ten volumes 8vo out of me in two years, and yet she complains at not getting twelve!"

There had been a question of a lawsuit as early as the autumn of 1835; to avoid this he was then trying to finish the _Fleur-des-Pois_ (afterwards _Le Contrat de Mariage_). But their relations were more cordial at that time, for a short time later, he writes: "My publisher, the sublime Madame Bechet, has been foolish enough to send the corrected proofs to St. Petersburg. I am told nothing is spoken of there but of the _excellence of this new masterpiece_."

Both Madame Bechet and Werdet were in despair over Balzac's journey to Vienna in 1835, but things grew even worse the next year. The novelist gives this glimpse of his troubles: