# Honore de Balzac, His Life and Writings/Chapter XI

          1836 - 1840
    "Louise"—Drawing-room in Rue des Batailles—The "Cheval Rouge"—Balzac's second visit to Italy—Conversation with Genoese merchant—Buys Les Jardies at Sevres—Travels to Sardinia to obtain silver from worked-out mines—Disappointment—Balzac goes on to Italy—Takes up his abode in Les Jardies—Life there—He hopes to write a successful play—"L'Ecole des Menages"—Balzac's half-starved condition—He defends Peytel.
It is curious to find that during the events recorded in the last chapter, when, to put the matter mildly, Balzac's spare time was limited, he yet managed to conduct a sentimental correspondence with "Louise," a lady he never met and whose name he did not know. Apparently, in the midst of his troubles, he was seized by an overmastering desire to pour out his feelings in writing to some kindred soul. Madame Hanska was far away, and could not answer promptly; besides, though passionately loved, she was not always sympathetic, the solid quality of her mind not responding readily to the quickness and delicacy of Balzac's emotions. Louise, to whom in 1844 he dedicated "Facino Cane," was close at hand; she was evidently mournful, sentimental, and admiring; she sent him flowers when he was in prison, and at another time a sepia drawing. Besides, her shadowy figure was decked for him with the fascination of the unknown, and there was excitement in the wonder whether the veil enveloping her would ever be lifted, and, like Madame Hanska, she would emerge a divinity of flesh and blood. However, in spite of Balzac's entreaties she refused to reveal her identity; and after about a year's correspondence, during which time Louise suffered from a great misfortune, the nature of which she kept secret, the letters between them ceased altogether.
Balzac had now left his garret, and was established in the drawing-room on the second floor of 13, Rue des Batailles, which is exactly described in "La Fille aux Yeux d'Or." The room was very luxurious, and the details had been thought out with much care. One end of it had square corners, the other end was rounded, and the corners cut off to form the semicircle were connected by a narrow dark passage, and contained—one a camp bedstead, and the other a writing-table. A secret door led to this hiding-place, and here Balzac took refuge when pursued by emissaries from the Garde Nationale, creditors, or enraged editors. The scheme of colour in the room was white and flame-colour shading to the deepest pink, relieved by arabesques of black. A huge divan, fifty feet long and as broad as a mattress, ran round the horseshoe. This, like the rest of the furniture, was covered in white cashmere decked with flame-coloured and black bows, and the back of it was higher than the numerous cushions by which it was adorned. Above it the walls were hung with pink Indian muslin over red material, the flame-colour and black arabesques being repeated. The curtains were pink, the mantelpiece clock and candlesticks white marble and gold, the carpet and portieres of rich Oriental design, and the chandelier and candelabra to light the divan of silver gilt. About the room were elegant baskets containing white and red flowers, and in the place of honour on the table in the middle was M. de Hanski's magnificent gold and malachite inkstand. Balzac showed the glories of this splendid apartment with infantile pride and delight to visitors; and here, reckless of his pecuniary embarrassments, he gave a grand dinner to Theophile Gautier, the Marquis de Belloy, and Boulanger, and entertained them in the evening with good stories "a la Rabelais."
About this time Balzac started the association he called the "Cheval Rouge," which was intended to be a mutual help society among a number of friends, who were to push and praise each other's compositions, and to rise as one man against any one who dared to attack a member of the alliance. The idea was a good one; but there was a comic side to it as conducted by Balzac, and the "Cheval Rouge," after five or six meetings, ceased to exist without having seriously justified its existence. Theophile Gautier, Jules Sandeau, and Leon Gozlan were among the members; and so dazzling were the pictures drawn by Balzac of the powers and scope of the society, that each one saw himself in imagination with a seat in the French Academy, and in succession peer of France, minister, and millionaire. It was sad that with these lofty aims the association should have been dissolved because most of its members were not able to pay their fifteen francs subscription. The first meeting was held at the Cheval Rouge, a very modest restaurant on the "Quai de l'Entrepot," from which the society took its name. The members were summoned by a card with a little red horse on it, and under this the words "Stable such a day, such a place." Everything was carried on with the greatest secrecy and mystery, and the arrangements, which were conducted by Balzac with much seriousness, afforded him intense pleasure. The "Cheval Rouge" might have been a dangerous political society from the precautions he took. In order to avoid suspicion one member was always to greet another member coldly in society; and Balzac would pretend to meet Gautier with much ceremony for the first time in a drawing-room, and then by delighted winks and grimaces would point out to him how well he was acting.
In March, 1837, Balzac paid a second visit to Italy; travelling through a part of Switzerland, stopping at Milan, Venice, Genoa, and Florence, and returning to Paris on May 3rd. His health was, he said, detestable at this time, and he required rest and change. He went alone, as Gautier, who had intended to be his companion, was kept in Paris by the necessity of writing criticisms on the pictures in the Salon. One object of Balzac's journey was to visit Florence to see Bartolini's bust of Madame Hanska, of which he evidently approved, as he asked M. de Hanski's permission to have a small copy made of it which he could always keep on his writing-table; but this was never sent to him. He was delighted with Venice, which he now saw for the first time; and in Florence was specially charmed with the pictures at the Pitti, though he found travelling by himself rather dull, and decided that his next journey should be undertaken at a time when Gautier could accompany him. At Genoa he met a wily merchant, to whom he unfortunately confided the last brilliant scheme for making his fortune which was floating through his active brain.
He had read in Tacitus that the Romans found silver in Sardinia; and it occurred to him, that, as the ancients were not learned in extracting metals, silver might still be found among the lead which was turned out of the mines as refuse. The Genoese merchant appeared much interested in Balzac's conversation, and remarked that, owing to the carelessness of the Sardinians, whole mountains of dross, containing lead, and most probably silver, were left in the vicinity of the mines. He was most obliging: he promised to send Balzac a specimen of the dross that it might be submitted to Parisian experts, and if the result were satisfactory, Balzac and he were to ask for a permit from the Government at Turin, and would work the mines together. When this had been arranged Balzac departed in high spirits, determined to keep his secret carefully, and feeling that at last he was on the high road to fortune. On the way back he was detained in quarantine for some time, and partly from economy, partly because he wanted to see Neufchatel, where he had first met Madame Hanska, he travelled back by Milan and the Splugen, and reached Paris in perfect health.
Here fresh misfortunes awaited him, as Werdet was bankrupt, and, as a consequence, his creditors pursued Balzac. Never in future would he be answerable or sign his name for any one, he cried in despair. He had forestalled the money allowed him by his treaty with Bohain, was working day and night, and in a few days would retire into an unknown garret, and live as he had done in the Rue Lesdiguieres. Nevertheless, in his anxiety to see Madame Hanska, he had begun to think out economical ways of getting to Ukraine. He was not very well at this time, and in August he went to Sache, to see whether his native air would revive him.
His next action would be astonishing to any one unacquainted with his extraordinary recklessness. In October 1837 he gave up the rooms at the Rue Cassini, which he had kept during the time of his residence at Passy; and in order to escape what he termed "an atrocious law" on the subject of his abhorrence the Garde Nationale, he bought a piece of land in the Ville d'Avray, at Sevres, on which he began to build a house, planned by himself. This soon acquired celebrity as "Les Jardies," and gave much amusement to the Parisians, who were never tired of inventing stories about Balzac's villa. In March, 1838, before he settled in his new abode, he started on a journey to Sardinia to investigate matters himself about the mines. It was a year since the Genoese merchant had promised to send him a specimen of the dross, and as nothing had yet arrived, he was beginning to feel anxious.
The object of his journey was kept absolutely secret; owing to the dangers of the post even Madame Hanska being told only that "it is neither a marriage, nor anything adventurous, foolish, frivolous, or imprudent. It is a serious and scientific affair, about which it is impossible for me to tell you a word, because I am bound to the most absolute secrecy." He had to borrow from his mother and from a cousin, and to pawn his jewellery to obtain money for his expedition. On the way he stayed with the Carrauds at Frapesle, where he was ill for a few days; and he went from there to pay his "comrade" George Sand a three days' visit at Nohant. He found her in man's attire, smoking a "houka," very sad, and working enormously; and he and she had long talks, lasting from five in the evening till five in the morning, and ranging over manners, morals, love affairs, and literature. She approved of "La Premiere Demoiselle," a play planned in February, 1837, which Madame Hanska had discouraged because she did not like the plot; and Balzac determined to work at it seriously now that "Cesar Birotteau" was finished. This brilliant picture of the Parisian bourgeoisie had been published in December, 1837, under the title of "Histoire de la Grandeur et de la decadence de Cesar Birotteau." Since then, Balzac had produced nothing new in book form, though he was writing "La Maison de Nucingen" for La Presse, and working at "Massimilla Doni," and at the second part of "Illusions Perdues." He was also preparing to bring out a "Balzac Illustre," which was to be a complete edition of his works with pictures; but of this only one volume, "La Peau de Chagrin," was ever published.
From Nohant he went to Marseilles, and from there he sent letters both to his mother and to Madame Carraud, written in a very different frame of mind from his usual one when he embarked on a scheme for making his fortune. "Now that I am almost at my destination, I begin to have a thousand doubts; anyhow, one cannot risk less to gain more. I do not fear the journey, but what a return if I fail!"
He crossed from Marseilles to Ajaccio, and suffered much on the voyage, though he travelled on the mail steamer from Toulon, and spent a great deal of money by doing this. However, he was really trying to be economical, as on his way to Marseilles he had lived on ten sous' worth of milk a day, and when he reached there he put up at an hotel where his room cost fifteen sous and his dinner thirty.
The scenery of Corsica was, he said, magnificent; but he did not much appreciate Ajaccio, where he had to wait some time for a boat to take him to Sardinia, and said the civilisation was as primitive as that of Greenland. His only consolation about the delay was in the idea that he would have time to go on with "La Premiere Demoiselle," for which George Sand predicted a great success, while his sister told him it was superb. Therefore, as he had written the "Physiologie du Mariage" and "La Peau de Chagrin" against the advice of Madame de Berny, he determined to continue his play in spite of Madame Hanska's disapproval. His five days' journey to Sardinia was most uncomfortable, as he travelled in a rowing-boat belonging to French coral fishers. The food caught consisted of execrable soup, made from the fish caught by the fishermen during the voyage; and Balzac had to sleep on the bridge, where he was devoured by insects. To add to his misfortunes, the boat was kept for five days in quarantine in view of the port, and the inhabitants refused to give the occupants any food, or to allow them in a bad storm to attach their cables to the port-rings. This they managed at last to do, in spite of the objections of the governor, who, determined to assert his authority, decreed that the cable should be taken off as soon as the sea became calm: a regulation which, as Balzac said, was absurd, because either the people would by that time have caught the cholera, or they would not catch it at all.
When Balzac at last landed, he felt as though he were in Central Africa or Polynesia, as the inhabitants wore no clothes, and were bronzed like Ethiopians. He was much horrified at their misery and savage condition. Their dwellings he describes as dens without chimneys, and their food in many parts consisted of a horrible bread made of acorns ground, and mixed with clay.
No doubt he was not disposed to take a particularly favourable view of Sardinia, as it was to him the scene of a bitter disappointment. He had been right in his calculations about the value of the refuse from the mines: the dross contained 10 per cent of lead, and the lead 10 per cent of silver. But a Marseilles company as well as his Genoese friend had been beforehand with him, had obtained from the Government at Turin the right to work the mines, and were already in possession. Balzac's monetary sacrifices, and the hardships he had suffered on his journey, were in vain; he must return to sleepless nights of work, and must redouble his efforts in the endeavour to pay back the money he had borrowed for his expedition. He showed his usual pluck at this juncture; there were no complaints in his letters, and with singular forbearance he does not even abuse the faithless Genoese merchant. His expedition was useful to others, if not to himself; as he travelled on to Italy, and made a long stay at Milan in order to work for the interests of the Viscontis, whose property, without his efforts, would have been sequestrated owing to political complications. It is significant that Madame Hanska, who was always suspicious about Madame Visconti, was not informed of this reason for his long sojourn at Milan, which we hear of from a letter to his sister. Balzac was terribly low-spirited at this time; his whole life seemed to have been a failure, and he was approaching the age of forty, the date at which he had always determined to give up his aspirations, to fight no more, and to join the great company of the resigned. He was tired out, and very homesick. He admired the Cathedral, the churches, the pictures; but he was weary of Italy, and longed for France with its grey skies and cold winds. Behind this longing, and possibly the origin of it, was a passionate desire in his disappointment and disgust of life to be again near his "polar star."
It was a comfort when, the affairs of the Viscontis being at last satisfactorily arranged, he was able on June 6th to start on his journey back to France. He travelled by the Mont Cenis, and was nearly blinded by clouds of fine dust, so that he was unable to write for some days.
When he reached Paris he only remained for a short time in the Rue des Batailles, as in July, 1838, in defiance of his doctor's warnings about damp walls, he took up his residence at Les Jardies, having at the same time a pied-a-terre in Paris at the house of Buisson, his tailor, 108, Rue Richelieu. Les Jardies was a quaint abode. Built on a slippery hill, it overlooked the Ville d'Avray with smoky Paris below, and in the distance there was a view of the plain of Mont-rouge and the road to Orleans, which led also to Balzac's beloved Tours. The principal staircase was outside, because Balzac, in designing the house, found that a staircase seriously interfered with the symmetry of the rooms. Therefore he placed it in an inconspicuous position in a special construction at the back, and owing to the extremely steep slope the visitor entered by the top floor, and made his way down instead of up. There were three stories, the lowest containing the drawing-room and dining-room, the second a bedroom and dressing-room, and the third Balzac's study. All round the house, which was painted to represent bricks, was a verandah supported by black columns, and the cage in the rear which held the staircase was painted red. About sixty feet behind this curious habitation was the real living-place of Les Jardies, where Balzac kept his servants. Part of this he let at a later date to the Viscontis, and they had charge of his rich library, and of the beautiful furniture brought from the Rue des Batailles, which might, if kept by its owner, have been seized by his creditors.
The interior of this charming abode was intended to be adorned with the utmost magnificence, but it was never finished; there were no curtains, and no furniture to speak of. Years after, descriptions such as the following were still scrawled in charcoal on the bare stucco: "Here is a veneering of Parian marble"; "Here is a mantelpiece in cipolin marble"; "Here is a ceiling painted by Eugene Delacroix." Balzac laughed himself at these imaginary decorations, and was much delighted when Leon Gozlan wrote in large letters in his study, which was as bare as the other rooms, "Here is a priceless picture by Raphael." However, there was one thing at Les Jardies of which he was really proud; and that was his system of bell-ringing, which he considered a chef-d'oeuvre. Instead of having hanging wires with "big, stupid, indiscreet bells" at the end of them, his bells were hidden ingeniously in an angle of the wall; and his pride in this brilliant invention made him forget any possible deficiencies in the decorations and appointments of the mansion.
The great feature, however, at Les Jardies, and the torment, the delight, and the despair of Balzac's life, was the piece of land round the house where the garden ought to have been. He had beautiful plans about this when first he arrived at Les Jardies. The soil was then absolutely bare; but, as he remarked, it was possible to buy everything in Paris, and as money was, of course, no object with him, he intended in the autumn to have good-sized magnolias, limes, poplars, and willows transported there, and to make a little Eden of sweet scents, covered with plants and bushes. No doubt, in imagination he already saw his beautiful flowers, and wandered in this delightful and well-kept garden, which, as nothing with Balzac could possibly be ordinary, was to be "surprising." The reality, however, was sadly different from his expectations. In vain, by his orders asphalt paths were made in all directions, and landscape gardeners worked for months, trying with stones cunningly inserted to prop up the steep, slippery slope, and to form little terraces on which something might have a chance of growing. With the slightest shower, down tumbled these plateaus; and the work of building had to begin again. It was amusing, Leon Gozlan tells us, to see the amazement of the actor Frederick Lemaitre when he came to see Balzac; and found himself expected to walk up the side of a hill, with the ground at each step slipping under his feet. To support himself he stuck stones behind his heels, and Balzac meanwhile walked by his side with the calmness of a proprietor who is thoroughly used to the vagaries of his own territory, and scorns foreign assistance.
Occasionally, however, even Balzac came to the end of his equanimity. The wall, which separated his property from that of the neighbour below him, was a continual anxiety. In spite of all possible precautions it tumbled down constantly, and scattered stones and mortar over the ground on each side of it. After this had happened two or three times, and Balzac, while investigating the extent of the damage on one of these occasions, had fallen and injured his leg, so that he was in bed for forty days, a meeting of experts was held, and it was decided that the angle at which the wall had been built was not sufficiently acute. The error was rectified, and there were general rejoicings and congratulations; but the next day it rained, and in the evening news was brought to Balzac that the whole structure had toppled over, and was reposing in ruins in his neighbour's garden. This was serious, as the neighbour promptly sent in an enormous bill for damages done to his carrots and turnips; and it was probably on this occasion that Balzac wrote in March 1839 a despairing letter to Madame Carraud, containing the words: "To you, sister of my soul, I can confide my greatest secrets; I am now in the midst of terrible misery. All the walls of Les Jardies have fallen down through the fault of the builder, who did not make any foundations." No builder, however, managed to effect the feat of making this unfortunate wall stand upright; and in the end, to allow it to come down in peace and comfort whenever it felt so disposed, Balzac bought the strip of his neighbour's land which bordered it, and after that, ceased to feel anguish at its vagaries.
The wall was decidedly important, as Balzac's fortune was to be made by the contents of the garden at Les Jardies, and it would not have been satisfactory for strangers to be able to wander there at will. Balzac's new plan for becoming rich was to cover most of his territory with glass houses, and to plant 100,000 feet with pineapples. Owing to the warmth of the soil, he considered that these pineapples would not need much heat, and could be sold at five francs apiece, instead of the louis charged for them in Paris. They would therefore be quickly disposed of, and 500,000 francs would be made, which, deducting 100,000 francs for expenses, would mean a clear profit of 400,000 francs a year. "And this money will be made without a page of copy," said poor Balzac. He was, of course, absolutely confident about the success of this new undertaking, and Theophile Gautier, who tells the story, says that a search was made for a shop in which to sell these pineapples of the future. This shop was to be painted black with lines of gold, and was to have on it in huge letters the announcement, "Ananas des Jardies"; but Gautier managed to persuade Balzac in order to avoid useless expense, not to hire it till the next year, when the pineapples would have had time to grow. However, perhaps Balzac was discouraged by the sight of the snow falling silently on his slope, or possibly his desire to make a fabulous sum of money by a successful play had for a time blotted out all other ambitions; at any rate, we hear no more of the pineapples of Les Jardies.
Balzac's terribly embarrassed condition in 1837 caused him to return with new ardour to the idea which haunted him all his life, that of an immense theatrical success which should put an end for ever to his pecuniary embarrassments. References to projected plays, to the difficulty he found in writing them, and to his hope of finally freeing himself from debt by producing a masterpiece at the theatre, occur constantly in his letters. "Marie Touchet" and "Philippe le Reserve"—afterwards to become "Les Ressources de Quinola"—were the names of some of the plays he intended to write. In February, 1837, as we have already seen, he planned out "La Premiere Demoiselle," which he abandoned for the time, but which he worked at with much energy during his ill-fated expedition to Sardinia, and continued at Les Jardies during the summer and autumn of 1838. Before starting for Sardinia he wrote to Madame Carraud: "If I fail in what I undertake, I shall throw myself with all my might into writing for the theatre." He kept his word, and "La Premiere Demoiselle," a gloomy bourgeois tragedy, which soon received the name of "L'Ecole des Menages," was the result.
With the distrust in himself, which always in matters dramatic mingled with his optimistic self-confidence, Balzac determined to have a collaborator, and chose a young man named Lassailly, who was peculiarly unfitted for the difficult post. In doing this he only gave one instance out of many of the wide gulf which separated Balzac the writer, gifted with the psychological powers which almost amounted to second sight, and Balzac in ordinary life, many of whose misfortunes had their origin in an apparent want of knowledge of human nature, which caused him to make deplorable mistakes in choosing his associates.
The agreement between Balzac and his collaborator stipulated that the latter should be lodged and fed at the expense of Balzac, and should, on his side, be always at hand to help his partner with dramatic ideas. Balzac performed his part of the treaty nobly, and Lassailly remembered long afterwards the glories of the fare at Les Jardies; but his life became a burden to him from his incapacity to do what was expected of him, and he was nearly killed by Balzac's nocturnal habits. He was permitted to go to bed when he liked; but at two or three in the morning Balzac's peremptory bell would summon him to work, and he would rise, frightened and half stupefied with sleep, to find his employer waiting for him, stern and pale from his vigil. "For," Leon Gozlan says, "the Balzac fighting with the demon of his nightly work had nothing in common with the Balzac of the street and of the drawing-room." He would be asked severely what help he could give, and, as a result of his terrified and drowsy stammerings would be sent to bed for another hour to see whether in that time inspiration would visit him. Six or eight times in the course of the night would this scene be repeated; and at last Lassailly, who was delicate, became seriously ill and had to leave Les Jardies, ever after looking back on the terrible Balzac and his appalling night-watches, as a nightmare to be recalled with a shudder.
Balzac, deprived of Lassailly's valuable assistance, worked on alone; and at first everything seemed likely to go well with "L'Ecole des Menages." The Renaissance, a new theatre which had opened on November 8th, 1838, with the first representation of Victor Hugo's "Ruy Blas," seemed willing to take Balzac's play to follow this; and M. Armand Pereme, a distinguished antiquary whom Balzac had met at Frapesle, was most active in conducting the negotiations. However, in the end the Renaissance refused the drama. Balzac was terribly dilatory, and irritated every one by not keeping his engagements, and he was also high-handed about the arrangements he considered necessary to the success of his tragedy. His unfortunate monetary embarrassments, too, made it necessary for him to ask for 16,000 francs before the play was written, a request which the Renaissance Theatre was rather slow in granting. However, the real reason for the rejection of the drama, which took place on February 26th, 1839—just at the time when Balzac was in despair because the wall at Les Jardies had fallen down—was want of money on the part of the managers of the theatre. The only thing that could save the Renaissance from ruin was a great success; and Alexandre Dumas, with whom the directors had formerly quarrelled, had now made peace with them, and had offered them "L'Alchimiste," which would be certain to attract large audiences. They accepted this in place of Balzac's play, and "L'Ecole des Menages," of which the only copy extant is in the possession of the Vicomte de Spoelberch de Lovenjoul, has never been acted.
Balzac was in terrible trouble about the rejection of the drama from which he had hoped so much. He wrote to Madame Carraud in March, 1839: "I have broken down like a foundered horse. I shall certainly require rest at Frapesle. The Renaissance had promised me 6,000 francs bounty to write a piece in five acts; Pereme was the agent, everything was arranged. As I wanted 6,000 francs at the end of February, I set to work. I spent sixteen nights and sixteen days at it, only sleeping three hours out of the twenty-four; I employed twenty workmen at the printer's office, and I managed to write, make and compose the five acts of 'L'Ecole des Menages' in time to read it on February 25th. The directors had no money, or perhaps Dumas, who had not acted fairly to them, and with whom they were angry, had returned to them; they would not hear my piece, and refused it. So here I am, worn out with work, sixteen days lost, 6,000 francs to pay, and nothing! This blow has crushed me, I have not yet recovered from it. My career at the theatre will have the same course as my literary career, my first work will be refused. A superhuman courage is necessary for these terrible hurricanes of misfortune."
In the midst of his troubles, he thought with bitter regret of Madame de Berny, who would have understood everything, and have known how to help and console him. He was in a miserable state, was chased like a hare by creditors, and was on the point of lacking bread, candles, and paper. Then to add to his misery would come a sensible letter from the far-distant Madame Hanska, blaming his frivolity and levity; and, in his state of semi-starvation, poor Balzac would be almost driven frantic by words of reproach from his divinity.
A little earlier than this he had found time for an enormous amount of work which would seem completely out of his province, and had written letter after letter in the Siecle, and spent 10,000 francs, in defence of Peytel, a notary of Belley, who had been condemned to death on August 26th, 1839, for the murder of his wife and servant. Peytel appealed against his sentence, and Balzac, who had met him several times, espoused his cause with vehemence. There did not seem to be much satisfactory defence available for the prisoner, who admitted the fact that while driving in a carriage not far from Belley, he had shot both his wife and the coachman. Balzac, however, was urgent in upholding Peytel's contention that his crime had been homicide, not murder, and brought forward the plea of "no premeditation." His energetic efforts were of no avail: Peytel was executed at Bourg on November 28th, 1839, and Balzac, who had espoused his cause with quixotic enthusiasm, was genuinely sorry. He wrote to Madame Hanska in September: "I am extremely agitated by a horrible case, the case of Peytel. I have seen this poor fellow three times. He is condemned; I start in two hours for Bourg." On November 30th he continues: "You will perhaps have heard that after two months of unheard-of efforts to save him from his punishment Peytel went two days ago to the scaffold, like a Christian, said the priest; I say, like an innocent man."
Another disappointment this year was the fact that Balzac considered it his duty, after presenting himself as candidate for the Academie and paying many of the prescribed visits, to retire in favour of Victor Hugo. As early as 1833 he had aspired to become some day "un des Quarante," and he then said half jokingly to his sister: "When I shall work at the dictionary of the Academy!" He was never destined to receive the honour of admittance to this august body, though after his first attempt in 1839, when he himself withdrew, he again tried his fortune in 1843 and in 1849. His normal condition of monetary embarrassment was one reason for his failure, and no doubt some of the members of l'Academie Francaise disapproved of certain of his books, and perhaps did not admire his style. At any rate, as his enemy Saint-Beuve expressed it concisely: "M. de Balzac est trop gros pour nos fauteuils," and while men who are now absolutely unknown entered the sacred precincts without difficulty, the door remained permanently closed to the greatest novelist of the age.

## Footnotes

* ↑ See "Honore de Balzac" in "Portraits Contemporains," by Theophile Gautier.
* ↑ "Lettres a l'Etrangere."
* ↑ "Correspondance," vol. i. p. 394.
* ↑ "Correspondance," vol. i. p. 453.
* ↑ "Portraits Contemporains—Honore de Balzac," by Theophile Gautier.
* ↑ "Balzac en Pantoufles," by Leon Gozlan.
* ↑ See "L'Ecole des Menages" in "Autour de Honore de Balzac," by the Vicomte de Spoelberch de Lovenjoul.
* ↑ "Correspondance," vol. i. p. 454.
* ↑ "Lettres a l'Etrangere."
* ↑ "Balzac, sa Vie et ses Oeuvres," par Mme. L. Surville (nee de Balzac).