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

          1846 - 1848
    Balzac buys a house in the Rue Fortunee—Madame Hanska's visit to Paris—Balzac burns her letters—Final breach with Emile de Girardin—Balzac's projects for writing for the theatre—He goes to Wierzchownia—Plan for transporting oaks from Russia to France—Balzac returns to Paris at the eve of the Revolution of 1848—Views on politics—Stands for last time as deputy.
Much of Balzac's time, whenever he was in Paris in 1845 and 1846, was taken up with house-hunting; and some of his still unpublished letters to Madame Hanska contain long accounts of the advantages of the different abodes he had visited. He was now most anxious to be permanently settled, as there was no room for his art treasures in the Rue Basse; but as Madame Hanska's tastes had to be consulted as well as his own, it was necessary to be very careful in his choice. However, in October, 1846, he at last found something which he thought would be suitable. This was the villa which had formerly belonged to the financier Beaujon, in the Rue Fortunee, now the Rue Balzac. The house was not large, it was what might now be described as a "bijou residence," but though out of repair, it had been decorated with the utmost magnificence by Beaujon, and Balzac's discriminating eye quickly discerned its aesthetic possibilities.
In front of the house was a long narrow courtyard, the pavement of which was interrupted here and there by flower-beds. This courtyard was bordered by a wall, and above the wall nothing could be seen from the road but a cupola, which formed the domed ceiling of the financier's boudoir. Some of the inside adornments possessed a delightful fitness for the uses to which they were destined. For instance, what could have been a more graceful compliment to the Mniszechs than to lodge them during their visits to Paris, which would of course be frequent, in a set of rooms painted with brilliant exotic butterflies, poised lightly on lovely flowers? Apparently foreseeing, as Balzac remarks, that a "Lepidopterian Georges" would at some time inhabit the mansion, Beaujon had actually provided a beautiful bedroom and a little drawing-room decorated in this way. It seemed quite providential!
Balzac was very happy superintending the building operations, deciding exactly where his different treasures would look best in his new abode, and hunting for fresh acquisitions to make every detail perfect. Later on, his letters from Russia to his mother when she was taking charge of the house—then furnished and decorated—show how dearly he loved all his household goods, and how well he was acquainted with their peculiarities; how he realised the danger, unless it were held by the lower part, of moving the greenish-grey china vase with cracked glaze, which was to stand on one of the consoles in black wood and Buhl marqueterie; and how he thought anxiously about the candle ornaments of gilt crystal, which were only to be arranged after the candelabra had been put up in the white drawing-room. In 1846 and 1847, his letters are instinct with the passion of the confirmed collector, who has no thought beyond his bric-a-brac. His excitement is intense because Madame Hanska has discovered that a tea service in his possession is real Watteau, and because he has had the "incredible good fortune" to find a milk jug and a sugar basin to match it exactly. When we remember that the man who thus expresses his delight was in the act of writing "Les Parents Pauvres," and of evoking scenes of touching pathos and gloomy horror, we are once more amazed at the extraordinary versatility of Balzac's mind and genius.
The deep thinker, the pessimistic believer in the omnipotence of vice and in the helpless suffering of virtue, who drags to light what is horrible from among the dregs of the people, seems to have nothing in common with the charming, playful figure of "le vieux Bilboquet," who gave Madame Hanska's daughter and her son-in-law a big place in his heart, and was never jealous when, avowedly for their sakes, his wishes, feelings, and health were unconsidered; whose servants, hard-worked though they were, adored him; and who never forgot his friends, or failed to help them when adversity fell upon them.
At the beginning of 1847, peace for a time visited Balzac's restless spirit. In February he went to Germany to fetch Madame Hanska, and leaving the Mniszechs to go back alone to Wierzchownia, she travelled with him to Paris, and remained there till April. It is significant, as the Vicomte de Spoelberch de Lovenjoul remarks, that during the time of her stay in Paris, when Balzac's mind was no longer disturbed by his constant longing to see her, he accomplished the last serious bout of work in his life, beginning the "Depute D'Arcis" in L'Union, "La Cousine Bette" in the Constitutionnel, and "La Derniere Incarnation de Vautrin" in La Presse.
He had other duties at the same time, being occupied with what he calls the most beautiful work of his life, that of preventing "a mother separated from so adorable a child as her Grace the Countess Georges, from dying of grief." He writes to the Mniszechs on February 27th, 1847: "Our dear adored Atala is in a charming and magnificent apartment (and not too dear). She has a garden; she goes a great deal to the convent" (to see Mlle. Henriette Borel). "I try to distract her and to be as much as possible Anna to her; but the name of her dear daughter is so daily and continually on her lips, that the day before yesterday, when she was enjoying herself immensely at the Varietes—in fits of laughter at the 'Filleul de Tout le Monde,' acted by Bouffe and Hyacinthe—in the midst of her gaiety, she asked herself in a heartbroken voice, which brought tears to my eyes, how she could laugh and amuse herself like this, without her 'dear little one.' I allow, dear Zephirine, that I took the liberty of telling her, that you were amusing yourself enormously without her, with your lord and master, His Majesty the King of the Coleoptera; that I was sure that you were at this time one of the happiest women in the world; and I hope that Gringalet, on whom I drew this bill of exchange, will not contradict me. I have four tolerably strong attractions to bring forward against the thought of you: 1st, the Conservatoire; 2nd, the Opera; 3rd, the Italian Opera; 4th, the Exhibition."
Balzac's hands were certainly pleasantly full at this time. His power of writing, which had temporarily deserted him, seemed now to have returned in full vigour; and he had made forty or fifty thousand francs in three months, so was hopeful of paying off his debts, a point on which Madame Hanska wisely laid much stress. She still refused to decide anything definitely about the date of their marriage; but the house was to a great extent her property, and at this time she identified herself completely with Balzac in all the arrangements to do with it. Though he kept on his rooms in the Rue Basse and left his effects there, he moved in April 1847 to the Rue Fortunee, that he might be better able to superintend the building and decorating, and might himself keep watch over his treasures, which must gradually be unpacked and bestowed to the best advantage. About the middle of April he conducted Madame Hanska to Forbach on her way back to Wierzchownia, and himself returned to Paris to finish the house, put his affairs in order, and then follow her to Wierzchownia. There he hoped the wedding would quickly take place, and that Monsieur and Madame Honore de Balzac would return to Paris, and would live to a ripe old age in married happiness; he writing many masterpieces, she helping with advice, and forming a salon where her social position, cleverness, and charm would surround her with the highest in the land. The prospect was intoxicating; surely no one was ever so near the attainment of his most radiant visions!
On Balzac's return to Paris, however, he was confronted by realities of the most terrible nature.
When he arrived at the Rue Basse, he found to his horror that the lock of his precious casket had been forced, and some of Madame Hanska's letters had been abstracted. It was a case of blackmail, as the thief demanded 30,000 francs, in default of which the letters would at once be handed over to the Czar. If this were to happen, Balzac's hopes of happiness were annihilated, and the consequences to Madame Hanska would be even more serious. Unless approached with the utmost caution, the Czar would certainly refuse his consent to the marriage of a Russian subject with a foreigner, and would be furious if he were to discover a secret love affair between the French novelist and one of his most important subjects. Yet how could Balzac find 30,000 francs?
Already in the grip of heart disease the agony he endured at this time took him one stage further down the valley of death. In the end he managed by frightening the thief, to effect the return of the letters without any immediate payment; but the anguish he had passed through, and the thought of the terrible consequences only just evaded, decided him to burn all the letters he had received from Madame Hanska. It was a terrible sacrifice. He describes in an unpublished letter to her his feelings, as he sat by the fire, and watched each letter curl up, blacken, and finally disappear. He had read and re-read them till they had nearly dropped to pieces, had been cheered and comforted by the sight of them when the world had gone badly, and had owned them so long that they seemed part of himself. There was the first of all, the herald of joy, the opening of a new life; and almost as precious at this moment seemed the one which discovered to him the identity of his correspondent, and held out hopes of a speedy meeting. One after another he took them out of the box which had held some of them for many years, and each seemed equally difficult to part with. However, as he wrote to Madame Hanska, he knew that he was doing right in destroying them, and that the painful sacrifice was absolutely necessary.
Meanwhile, Emile de Girardin was naturally becoming impatient about the continuation of "Les Paysans," which he had never received. He wrote to Balzac at the end of April, 1847, that the printer had been ready for the finish of the book since the November before, and that unless Balzac could produce it in June, the idea of its appearance in La Presse must be given up altogether; and in this case he must ask the author to settle with M. Rouy about the advances of money already made to him. He further remarked with scathing though excusable distrust in Balzac's fulfilment of his business engagements, that he refused to continue to bring out the work at all, unless he were absolutely certain that it was completely written and that no further interruption would ensue. Friendly social relations still subsisted, however, between Balzac and the Girardins, as, about the same time that Emile penned this uncompromising epistle, the following note reached Balzac, the last he ever received from the peace-making Madame de Girardin:
"It is the evening of my last Wednesday. Come, cruel one. Mrs. Norton will be here. Do you not wish me to have the glory of having presented you to this English 'Corinne'? Emile tells me that 'La Derniere Incarnation de Vautrin' is admirable. The compositors declare that it is your chef-d'oeuvre.
"Only till this evening, I implore you.
    "DELPHINE GAY DE GIRARDIN."
Balzac on his side, was now most anxious to finish "Les Paysans," especially as his penniless state at this time would render it most difficult for him to pay back the money advanced to him by La Presse. He was in special difficulties, as he had lately borrowed ten or fifteen thousand francs from the impecunious Viscontis, giving them as guarantee some shares in the unfortunate Chemin de Fer du Nord, and as the railway was a failure, and these shares were a burden instead of a benefit, Balzac was bound in honour to relieve his friends of their troublesome possession, and to pay back what he owed them. This necessity was an additional incentive to action, and Balzac's letters to Madame Hanska about this time, contain several indications of his anxiety about "Les Paysans." On June 9th he speaks of his desire to bring it to a close; and on the 15th he writes that he must certainly finish it at once, to avoid the lawsuit with which he has been for so long threatened by La Presse. However, he seems to have experienced an unconquerable difficulty in its composition, as in that of "Seraphita," the other book about which he had cherished a peculiarly lofty ideal. Therefore in July the termination of "Les Paysans" had not yet reached the office of La Presse, and on the 13th of the month Balzac received the following letter:
    "PARIS, July 13th, 1847
"'Le Piccinino' will be finished this week. Only seven numbers of 'Les Paysans' are completed in advance. We are therefore at the mercy of an indisposition, of any chance incident, things of which it is necessary for me to see the possibility, and to which I must not expose myself.
"Really you high dignitaries of the periodical are insupportable, and you will manage so cleverly that the periodical will some day fail you completely.
"For my part, my resolution on this matter is taken, and firmly taken, and if I had not a remainder of the account to work out, I would certainly not publish 'Les Paysans,' as I have not received the last line.
    "EMILE DE GIRARDIN."
Balzac's answer to this missive is lost. It must have been despatched at once, and was evidently not conciliatory, as it was answered on the same day in the following terms:
    "PARIS, July 13th, 1847.
"I only publish 'Les Paysans' because we have an account to settle. Otherwise I certainly should not publish it, and the success of 'La Derniere Incarnation de Vautrin' would certainly not impel me to do it.
"Therefore if you are able without inconvenience to pay back to the Presse what it advanced to you, I will willingly give up 'Les Paysans.' Otherwise I will publish 'Les Paysans,' and will begin on Monday next, the 19th. But I insist that there shall be no interruption. I count on this.
    "EMILE DE GIRARDIN."
Girardin's bitter resentment is excusable, when we remember that it was in September, 1844, nearly three years before, that Balzac had received 9,000 francs in advance for "Les Paysans." Since then only one number of the promised work had been produced, and the great writer's only explanation for his long delay in finishing the book was the inadequate one, that Dujarier had interrupted "Les Paysans" after the first chapters had been published, to be able to begin Alexandre Dumas' novel "La Reine Margot," before the end of 1844.
In Balzac's reply, written next day, he definitely withdrew "Les Paysans" from publication, and said that he would pay what he owed La Presse within the space of twenty days, and would not charge for what had not yet been printed; though it had been written and composed specially for La Presse, and at the request of the Presse. As to Emile de Girardin's insinuations about the failure of "La Derniere Incarnation de Vautrin," Balzac remarked that this had been written for L'Epoque, not for La Presse, and that it had not been necessary for Girardin to purchase it from the moribund journal, unless he had approved of it. Girardin had hurt him on his tenderest point when he branded his works as failures. With pride and bitterness in his heart he went through the accounts with Mr. Rouy, and found that out of the 9,000 francs received from La Presse, he still owed 5,221 francs 85 centimes. How he raised the money it is impossible to guess, but on August 5th he paid 2,500 francs, and on September 1st 2,000 more, so that only 721 francs 85 centimes remained of his debt, and he made his preparations to start for Wierzchownia with his mind at rest.
He heard from Emile de Girardin again, as we shall see later on, but he had seen Madame de Girardin for the last time. She did not forget him, however, and the news of his death was so terrible a shock that she fainted away. She died in 1855, and was deeply mourned by her friends. Theophile Gautier, in his admiring account of her, says that for some years before her death, she became a prey to depression and discouragement at the conditions surrounding her. It may have been that her brilliant, exciting life led naturally to a partly physical reaction, and that she became too tired by the emotions she had gone through, to adapt herself with buoyancy to the ever variable conditions of existence. At all events she is a refreshing figure in the midst of much that is unsatisfactory—a woman witty, highly gifted, a queen of society, who was yet kindly, generous, and absolutely free from literary jealousy.
Before the middle of September when Balzac left for Wierzchownia, we hear once of him again. He was still dreaming of the theatre as a means of relief from all his embarrassments, and on a hot day in August, 1847, he went to Bougival, to pay a visit to M. Hostein, the director of the Theatre Historique, a new theatre which had not yet been opened six months. There, sitting in the shade on the towing path by the river, he unfolded to the manager his design of writing a grand historical drama on Peter I. and Catherine of Russia, to be entitled "Pierre et Catherine." Nothing was written, it was all still in his head; but he at once sketched the first scene to the manager, and talked with enthusiasm of the enormous success which would be caused by the novelty of introducing the Russian peasant on the stage. The play could be written very quickly; and M. Hostein, carried away by Balzac's extraordinarily persuasive eloquence, already began to reflect about suitable scenery, dresses, and decorations, for the framing of his masterpiece. However, to his disappointment Balzac returned in a few days, to announce that there would be some delay in the production of his play, as he wished to study local colouring on the spot, and was on the point of starting for Russia. He said that when he returned to Paris in the spring, he would bring M. Hostein a completed play, and with this promise the manager was obliged to be satisfied.
Balzac was in an enormous hurry to reach Wierzchownia, and set himself with much energy to the task of finishing the house in the Rue Fortunee. His efforts in this direction were doubtless the reason that the writing of "Pierre et Catherine" was postponed till the moujik could be studied in his native land. At last, however, the work of decoration was complete, and his mother left in charge, with minute directions about the care of his treasures. He had toiled with breathless haste, and managed after all to start earlier than he had expected. Once on the journey his northern magnet drew him with ever-increasing strength, and regardless of fatigue, he travelled for eight days in succession without stoppage or rest, and arrived ten days before his letter announcing his departure from Paris. The inhabitants of the chateau were naturally much surprised at his sudden appearance, and Balzac considers that they were touched, or rather—though he does not say this—that She was touched by his empressement.
He was much delighted with his surroundings. Wierzchownia was a palace, and he was interested and amused with the novelty of all he saw. He writes: "We have no idea at home of an existence like this. At Wierzchownia it is necessary to have all the industries in the house: there is a confectioner, a tailor, and a shoemaker." He was established in a delicious suite of rooms, consisting of a drawing-room, a study, and a bedroom. The study was in pink stucco, with a fireplace in which straw was apparently burnt, magnificent hangings, large windows, and convenient furniture. In this Louvre of a Wierzchownia there were, as Balzac remarks with pleasure, five or six similar suites for guests. Everything was patriarchal. Nobody was bored in this wonderful new life. It was fairy-like, the fulfilment of Balzac's dreams of splendour, an approach of reality to the grandiose blurred visions of his hours of creation. He who rejoiced in what was huge, delighted in the fact that the Count Georges Mniszech had gone to inspect an estate as big as the department of Seine-et-Marne, with the object of dismissing a prevaricating bailiff. It gave him intense satisfaction to record the wonders of this strange new life: to tell those at home of the biting cold, which rendered his pelisse of Siberian fox of no more protection than a sheet of blotting-paper; or to mention casually that all the letters were carried by a Cossack across sixty "verstes" of steppes.
The Russians were eager to show their admiration of the celebrated French novelist, and Balzac experienced the truth of the adage, that a prophet is not without honour save in his own country. On the journey out the officials were charmingly polite to him, and when he went to Kiev to pay his respects to the Governor-General, and to obtain permission for a lengthy sojourn in Russia, he was overwhelmed with attentions. A rich moujik had read all his books, burnt a candle for him every week to St. Nicholas, and had promised a sum of money to the servants of Madame Hanska's sister, if they could manage that he might see the great man. This atmosphere of adoration was very pleasant to one whose reward in France for the production of masterpieces, seemed sometimes to consist solely in condemnation and obloquy. Balzac enjoyed himself for the time, and rested from his literary labours, except for working at the second part of "L'Envers de l'Histoire Contemporaine," which is called "L'Initie," and writing the play which he had promised Hostein as a substitute for "Pierre et Catherine."
His ever-active brain had now evolved a plan for transporting sixty thousand oaks to France, from a territory on the Russian frontier belonging to Count Georges Mniszech and his father. He was anxious that M. Surville should undertake the matter, as, after abstruse and careful calculations—which have the puzzling veneer of practicality always observable in Balzac's mad schemes—he considered that 1,200,000 francs might be made out of the affair, and that of course the engineer who arranged the transport would reap some of the benefit. The blocks of wood would be fifteen inches in diameter at the base, and ten at the top. They would first be conveyed to Brody, from there by high road to Cracow, and thence they would travel to France by the railway, which would be finished in a few days. Unfortunately, there were no bridges at Cologne over the Rhine, or at Magdeburg over the Elbe; but Balzac was not discouraged by the question of the transshipment of sixty thousand oaks, any more than in his old days in the Rue Lesdiguieres, he had been deterred from the idea of having a piano, by the attic being too small for it. M. Surville was to answer categorically, giving a detailed schedule of the costs of carriage and of duty from Cracow to France; and to this, Balzac would add the price of transport from Brody to Cracow. He discounted any natural astonishment his correspondent would feel, at the neglect hitherto of this certain plan for making a fortune, by remarking that the proprietors were Creoles, who worked their settlements by means of moujiks, so that the spirit of enterprise was entirely absent. M. Surville, however, received this brilliant proposition without enthusiasm, and did not even trouble to write himself about the matter, but sent back an answer by his wife, that the price of transporting the freight from one railway to another at Breslau, Berlin, Magdeburg, and Cologne, would render the scheme impossible. Balzac showed unusual docility at this juncture; he was evidently already half-hearted about the enterprise, and remarked that since his first letter he had himself thought of the objections pointed out by M. Surville, and had remembered hearing that a forest purchased in Auvergne, had ruined the buyer, owing to the difficulty of transport.
Balzac was very happy at Wierzchownia, though the fulfilment of the great desire of his life seemed still distant. Madame Hanska's hesitation continued: she considered herself indispensable to her children; besides, owing to the unfortunate state of the Chemin de Fer du Nord, Balzac's pecuniary affairs would certainly be in an embarrassed condition for the next two years. Living in the same house with her, seeing her every day, and feeling sure of her affection, and of a certain happy consummation to his long probation, would not after all have been very painful, except for one great drawback, which increased continually as time went on; and that was the terrible effect of the inclement climate on Balzac's health. He had suffered from heart disease for some years, and in a letter to his sister, he traces its origin to the cruelty of the lady about whom she knows—possibly Madame de Castries. His abuse of coffee, however, and the unnatural life which he had led with the object of straining the tension of every power to its uttermost, and thus of forcing the greatest possible quantity and quality of literary work out of himself, had done much to ruin his robust constitution. Nevertheless, if he had been able to take up his abode with his wife in the Rue Fortunee, and to enjoy the freedom from anxiety which her fortune would have assured to him; if he had been happy with her, and surrounded by his beautiful things, had at last lived the life for which he had so long yearned, it seems as though several years at least might have remained to him. The enormous labours of his earlier years would indeed have been impossible, but "Les Parents Pauvres" had shown that his intellect was now at its best, and material for many masterpieces was still to be found in that capacious brain and fertile imagination. However, the rigours of the Russian climate, aided no doubt by the privations and anxieties Balzac suffered in Paris after the Revolution of 1848, and by the barbarous treatment which he underwent at the hands of the doctor at Wierzchownia, rendered his case hopeless; and at this time only one more stone was destined to be laid on the unfinished edifice of the "Comedie Humaine."
In February, 1848, it was absolutely necessary that Balzac should go to Paris, as money must at once be found, to meet the calls which the ill-fated Chemin de Fer du Nord was making on its shareholders. Balzac suffered terribly from cold on the journey, and arrived at the Rue Fortunee at a most unfortunate time, just before the Revolution of February, 1848.
In consequence of the disturbed state of the political atmosphere, the outlook for literature was tragic; and Balzac, who was in immediate want of money, found himself in terrible straits. Living with two servants in his luxurious little house, surrounded by works of art which had cost thousands of francs, he was almost dying of hunger. His food consisted of boiled beef, which was cooked and eaten hot once a week, and the remaining six days he subsisted on the cold remains. It seemed impossible to raise money for his present pressing necessities. He managed to sell "L'Initie," at a ridiculously small price, to an ephemeral journal called Le Spectateur Republicain, but only received in return bills at a long date, and it was doubtful whether he was ever paid the money due to him.
Nevertheless, whatever effects his privations may have had on his health, they did not subdue his spirits, as both Lemer and Champfleury, who each spent several hours with him in the Rue Fortunee, talk of his undiminished vivacity, his hearty fits of laughter, and his confident plans for the future. Lemer, who had known him before, does indeed remark that he seemed much aged; but Champfleury, who saw him for the first time, is only struck with his strength, animal spirits, and keen intelligence. In the midst of the despondent unhealthy tendencies of the literary talent of his day, he was still, with his joie de vivre, a man apart. Naif, full of a charming pride, he loved literature "as the Arab loves the wild horse he has found a difficulty in subduing." Nevertheless, material prosperity, as ever, occupied an important place in the foreground of his scheme of life, and his mind was still running on the theatre, as the great means of gaining money. He warned Champfleury not to follow his example, which led after the production of many books to an existence of deplorable poverty, but to write only three novels a year, so that ten months annually should be left for making a fortune by working for the theatre, "car il faut que l'artiste mene une vie splendide."
Schemes still coursed each other through his quick-moving brain. He wished to create an association of all the great dramatists of the day, who should enrich the French stage with plays composed in common. He was rather despondent about this, however, as he said that most writers were cowardly and idle, and he as afraid they would therefore refuse to join his society. Scribe was the only one who would work; "Mais quelle litterature que 'Les Memoires d'un Colonel de Hussards!'" he exclaimed in horror. Another plan for becoming colossally rich of which he talked seriously, was to gain a monopoly of all the arts, and to act as auctioneer to Europe: to buy the Apollo Belvedere, for instance, let all the nations compete for it against each other, and then to sell to the highest bidder.
He took a gloomy view of the political situation, because, though he had a great admiration for Lamartine, he feared that the poet would not have sufficient strength of mind, to take advantage of the great majority he would doubtless have in the next Assemblee Constituante, and to make himself the chief of a strong government, when he might justify his magnificent role, by presiding at the accomplishment of the great social and administrative reforms, demanded by justice, and material, moral, and intellectual progress. In one of his remarks was a touch of sadness. He told Lemer that, at the present crisis, all authors should sacrifice their writing for a time, and throw themselves with energy into politics. "Et pour cela il faut etre jeune," he added with a sigh; "et moi, je suis vieux!"
However, on March 18th, 1848, a letter written by him appeared in the Constitutionnel, in which he stated that he would stand as deputy if requested to do so. In consequence, the "Club de la Fraternite Universelle" wrote to inform him that his name had been put on the list of candidates for election, and invited him to explain his political views at a meeting of the Club. In the Constitutionnel of April 19th Balzac answered this request by refusing to go to the meeting, and at the same time announced that he had no intention of canvassing, and wished to owe his election solely to votes not asked for, but given voluntarily. He further commented on the fact that from 1789 to 1848 France had changed its constitution every fifteen years, and asked if it were not time, "for the honour of our country, to find, to found, a form, an empire, a durable government; so that our prosperity, our commerce, our arts, which are the life of our commerce, the credit, the glory, in short, all the fortune of France, shall not be periodically jeopardised?"
Naturally, these uncompromising views did not meet with favour from the "citoyens membres du Club de la Fraternite Universelle," and Balzac was not elected a member of the Assemblee Nationale.

## Footnotes

* ↑ "Correspondance," vol. ii. p. 289.
* ↑ "Correspondance," vol. ii. p. 337.
* ↑ "La Genese d'un Roman de Balzac," p. 194
* ↑ "Correspondance," vol. ii. p. 312.
* ↑ "La Genese d'un Roman de Balzac," by the Vicomte de Spoelberch de Lovenjoul, from which the whole account of Balzac's rupture with Girardin is taken.
* ↑ "La Genese d'un Roman de Balzac," by the Vicomte de Spoelberch de Lovenjoul, p. 262
* ↑ "La Genese d'un Roman de Balzac," by the Vicomte de Spoelberch de Lovenjoul, p. 268.
* ↑ "Honore de Balzac," by Edmond Bire.
* ↑ "Historiettes et Souvenirs d'un Homme de Theatre," by M. Hostein.
* ↑ "Correspondance," vol. ii. p. 324.
* ↑ "Correspondance," vol. ii. p. 321.
* ↑ "Balzac, sa Vie, son Oeuvre," by Julien Lemer.
* ↑ "La Genese d'un Roman de Balzac," by the Vicomte de Spoelberch de Lovenjoul.
* ↑ "Balzac, sa Vie, son Oeuvre," by Julien Lemer.
* ↑ "Grandes Figures d'Hier et d'Aujourd'hui," by Champfleury.
* ↑ "Notes Historiques sur M. de Balzac," by Champfleury.
* ↑ "Honore de Balzac," by Edmond Bire.