The Human Comedy
Authors: Honore de Balzac
HONORÉ DE BALZAC
(1799–1850), one of the greatest and most influential of novelists, was born in Tours and educated at the Collège de Vendôme and the Sorbonne. He began his career as a pseudonymous writer of sensational potboilers before achieving success with a historical novel,
The Chouans
. Balzac then conceived his great work,
La Comédie humaine
, an ongoing series of novels in which he set out to offer a complete picture of contemporary society and manners. Always working under an extraordinary burden of debt, Balzac wrote some eighty-five novels in the course of his last twenty years, including such masterpieces as
Père Goriot
,
Eugénie Grandet
,
Lost Illusions
, and
Cousin Bette
. In 1850, he married Eveline Hanska, a rich Polish woman with whom he had long conducted an intimate correspondence. Three months later he died. In addition to the present collection, NYRB Classics publishes a translation of Balzac’s
The Unknown Masterpiece
and
Gambara
.
PETER BROOKS
taught for many years at Yale, where he was Sterling Professor of Comparative Literature. He has written about Balzac in a number of books, including
The Melodramatic Imagination
,
Reading for the Plot
,
Henry James Goes to Paris
, and
Enigmas of Identity
. He is currently Andrew W. Mellon Scholar at Princeton and is at work on
Flaubert in the Ruins of Paris
.
LINDA ASHER
has translated works by Milan Kundera, Georges Simenon, Victor Hugo, Jean-Pierre Vernant, Restif de la Bretonne, and many others. A former fiction editor at
The New Yorker
, she has been awarded the French-American Foundation, Scott Moncrieff, and ASCAP Deems Taylor translation prizes and is a Chevalier of the Order of Arts and Letters of the French Republic.
CAROL COSMAN
is a translator of French literature and letters. Her work includes
Exile and the Kingdom
by Albert Camus,
Colonel Chabert
by Honoré de Balzac,
America Day by Day
by Simone de Beauvoir,
The Elementary Forms of Religious Life
by Emile Durkheim, and
The Family Idiot
(a study of Flaubert) by Jean-Paul Sartre.
JORDAN STUMP
is a professor of French at the University of Nebraska–Lincoln; the author, most recently, of
The Other Book: Bewilderments of Fiction
; and the translator of some twenty works of (mostly) contemporary French prose by authors such as Marie NDiaye, Eric Chevillard, Antoine Volodine, and Jean-Philippe Toussaint. His translation of Claude Simon’s
The Jardin des Plantes
won the French-American Foundation’s annual translation prize in 2001.
THE HUMAN COMEDY
Selected Stories
HONORÉ DE BALZAC
Edited and with an introduction by
PETER BROOKS
Translated from the French by
LINDA ASHER
CAROL COSMAN and
JORDAN STUMP
NEW YORK REVIEW BOOKS
New York
THIS IS A NEW YORK REVIEW BOOK
PUBLISHED BY THE NEW YORK REVIEW OF BOOKS
435 Hudson Street, New York, NY 10014
www.nyrb.com
Copyright © 2014 by NYREV, Inc.
Introduction copyright © 2014 by Peter Brooks
Translation copyright © 2014 by Linda Asher, Carol Cosman, and Jordan M. Stump
All rights reserved.
Cover image: Della Rocca,
An Embarrassment of Riches
(detail); The Bridgeman Art Library
Cover design: Katy Homans
Library of Congress has cataloged the earlier printing as follows:
Balzac, Honoré de, 1799–1850.
[Comédie humaine. Selections. English]
The human comedy : Selected Stories / By Honoré de Balzac ; edited and with an introduction By Peter Brooks ; [translated By] Linda Asher, Carol Cosman, Jordan Stump.
pages cm. — (New York Review Books Classics)
ISBN 978-1-59017-664-1 (pbk.)
I. Brooks, Peter, 1938- editor of compilation. II. Asher, Linda, translator. III. Title.
PQ2161.W813 2014
843'.7—dc23
2013026922
ISBN 978-1-59017-698-6
v1.0
For a complete list of books in the NYRB Classics series, visit
www.nyrb.com
or write to: Catalog Requests, NYRB, 435 Hudson Street, New York, NY 10014.
CONTENTS
Copyright and More Information
INTRODUCTION
H
ONORÉ DE BALZAC
is known for immensity, excess, all-night writing sessions in his monk’s robe sustained by countless cups of coffee, producing more than ninety novels and tales in the space of some twenty years. Rodin’s great, looming sculpture suggests a visionary who wanted to capture the whole of French society of his time, and more: the forces that animated it, the principles that made its wheels spin.
It may seem a paradox, then, to link Balzac’s vast
Human Comedy
to the adjective “short.” We think of Balzac as long, often too long—descriptions, explanations that correspond to the leisure associated with reading nineteenth-century novels, of a length for evenings without television or smartphones. His novels are often freighted with extended presentations of things and people, and weighty excurses on every imaginable subject. He was one of the first generation of writers to make a living from his work, and the need to generate ever more of it—since he was usually in debt—drove his pen. He produced masterpieces nonetheless, though not of the chiseled, perfect sort sought by Flaubert, for instance. Balzac’s claim lies rather in his capacity to invent, to imagine, to create literally hundreds of characters capable of playing out their dramas with convincing power. He stands as the first true realist in his ambition to see society as an organic system. Oscar Wilde came close to the heart of the matter when he declared: “The nineteenth century, as we know it, is largely an invention of Balzac’s.” Balzac “invents” the new century by being the first writer to represent its emerging urban agglomerations, its nascent capitalist dynamics, its rampant cult of the individual personality. By seeing and dramatizing changes that he mainly deplored, he initiated his readers into understanding the shape of the century. “Balzac’s great glory is that he pretended hardest,” declared his faithful disciple Henry James: In the art of make-believe, Balzac was the master.
Yet interspersed among the ninety-odd titles that make up
The Human Comedy
are a number of short stories and novellas that are among the best work Balzac did. Here he produces his striking effects, his thunderous climaxes, his acute psychological twists with greater economy than in the full-length novels. And he uses short fiction to try out some of his boldest imaginative flights. Here is the place to dramatize extremes of emotion: the loss of self in madness, artistic creation, and passion; the inventive forms taken by vengeance; the monomania of the artist; and, especially, the wilder shores of love, whether of a duchess, a castrato, or a panther. Somehow the short form works to liberate Balzac’s imagination from the need to be “the secretary of society,” as he put it. Not that society is missing here but rather that it, too, is given in its essence: as the conversation and interaction of social beings. In fact, Balzac’s short fiction tends to be extraordinarily fixed on the moment of oral exchange, on the telling of and the listening to stories. In this manner he renews an age-old tradition of oral storytelling, now given a new and knowing form. These stories, which often show us humanity in extreme situations, are also about the power of storytelling—and about the effect of that power on those listening.
Take for instance “Another Study of Womankind,” which opens at two o’clock in the morning. Félicité des Touches, herself a novelist, has asked the finest minds in her already select group of friends to linger after one of her large evening gatherings. The narrator, one of these chosen few, describes the scene:
Secrets artfully betrayed, exchanges both light and deep, everything undulates, spins, changes luster and color with each passing sentence. Keen judgments and breathless narrations follow one upon the next. Every eye listens, every gesture is a question, every glance an answer. There, in a word, all is perspicuity and reflection. Never did the phenomenon of speech, to which, when carefully studied and skillfully wielded, an actor or storyteller owes his glory, cast so overpowering a spell on me.
The phenomenon of speech stands at the very center of fictional creation, in the capacity to spin stories and to tell them to others. If, as Walter Benjamin tells us in “The Storyteller,” the novel is the form of the solitary modern individual—and a genre that one generally reads in solitude—Balzac’s many conversational tales take us back to an imagined golden age of storytelling where the living voice of the narrator is part of the story, and the reactions of listeners indicate the force of the story told and suggest also that there is a further story to be told about the relations of the tellers and the listeners. His characters evoke the spirit of an earlier age of sociability, all the while conscious that it is doomed by a world of commerce, journalism, and the devaluation of leisure. In “Another Study of Womankind,” the final episode is recounted by Horace Bianchon, the medical doctor who shows up repeatedly in
The Human Comedy
(we know several other guests as well from prior appearances in other novels and tales), and its effect is briefly registered: “The tale at an end, all the women rose from the table, and with this the spell Bianchon had cast on them was broken. Nevertheless, some had felt almost cold on hearing those final words.” This final tale of honor, vengeance, agony, and slow death casts a chill and breaks up the circle. Stories enchant but then leave us to meditate, alone, on their often sinister meanings.
Not only the tellers of stories but also the listeners to them are crucial here, and the scene of narrative exchange is itself dramatic. As Benjamin declared in his essay extolling the vanishing art of the oral tale, storytelling is about the transmission of wisdom. Something passes from teller to listener. It is this very process of transmission that matters to Balzac as much as the content of the tale. The act of narration can be dangerous, as the man who is about to begin telling the story of the origin of the Lanty family fortune warns the Marquise de Rochefide in “Sarrasine.” But she is impatient to hear. For his part, the narrator seems to believe that the intimacy of a late-night storytelling session alone with the marquise will bring an erotic reward. But the very subject of the story he has to tell proves difficult to manage, its effects uncontrollable. You can’t always get what you want by telling a story. You may be punished instead for what you have told.
A formalist critic would note that Balzac very often makes use of the “framed tale,” or the “embedded tale,” using an outer frame to establish the narrative situation and then turning the narration over to one of the characters. Sometimes, as in “Sarrasine,” the character who listens to the tale reemerges at the end to comment on it. In “Another Study of Womankind” there are multiple tellers and listeners, members of a privileged Parisian group that for Balzac retains the conversational art of prerevolutionary aristocratic society. In contrast, “The Red Inn” gives a Gothic twist to the embedded tale. Its recital of gore, guilt, and responsibility is chilling enough, but the main drama may come in its effect on one of its listeners. The tale is proto-Dostoyevsky, adumbrating elements of
Crime and Punishment
. Dostoyevsky was an admiring disciple of Balzac, and we often feel the French novelist giving a first sketch of those damned questions at the center of the Russian’s work.
Maybe it’s because these short stories often speak directly to the very process of creation itself that Balzac appears to enjoy himself and to let himself go here more than anywhere else. Nowhere is this more evident than in the short sketch entitled “Facino Cane,” where the embedded tale concerns an old blind musician—he lives in the Paris hospice for the blind—who claims to be a Venetian nobleman with secret knowledge of how to break into the hidden treasury of the doges, which is piled high with gold and diamonds. The reward for listening to his story—for believing in it—could be an immense fortune. The impoverished young writer to whom this story is confided, and who tells it to us, is dazzled by the possible payoff from what he’s heard. Living in a working-class district of Paris, he has so far been content with the riches found in his imaginative life. He uses his imagination to enter into the lives of those he meets or, simply, those he follows in his urban rambles. He makes the claim that “observation had already become an intuitive habit; it could penetrate into the soul without neglecting the body, or rather, so thoroughly did it grasp the external details that it moved immediately beyond: It allowed me to live a person’s life, let me put myself in his place, the way a dervish in
The Thousand and One Nights
would take over a person’s body and soul by pronouncing certain words over him.” Here the grim realities of the Parisian poor—and the narrator himself is living on only a few sous a day—are displaced or transformed by a movement of the imagination into another person, allowing the creative thinker to live vicariously. That’s not quite right: The imaginative leap here goes beyond what we normally think of as vicarious existence to a kind of identity theft. You can be yourself and another through your capacity to enter into others’ stories. “Listening to these people, I could join in their lives: I would feel their rags on my back, I would be walking in their tattered shoes; their longings, their needs would all move through my soul, or my soul through theirs.” The narrator wonders at the sources of his gift, fears it may carry a certain curse: “To what do I owe this gift? Is it some second sight? One of those talents whose overuse could lead to madness? I have never looked into the sources of this capacity—I have it and I use it, that’s all.”
