Women in the Life of Balzac

ADAME DE GIRARDIN-MADAME DE

lchra filia

mile de Girardin, and Isaure, to Theodore Garre, son of Madame Sophie Gail, an intimate friend of Madame Gay. These two women were known as "Sophie la belle" and "Sophie la laide" or "Sophie de la parole" and "Sophie de la musique." Together they composed an /opera-comique/ which had some success. In 1814, Madame Gay wrote /A

ectoire/, had been rather prominent under the Empire, and under the Restoration took delight in condemning the government of the Bourbons. Introduced into this company, though yet unknown to fame, Balzac forcibly impressed all those who met him, and while his physique was far from charming, the intelligence of his eyes rev

xty-five, were only a few of the number of bizarre things, which astonished for a moment his feminine friends, and which he laughingly called /reclame/. Like many writers of this epoch, Balzac was not polished in the art of conversing. His conversation was but little more than an amusing monologue, bright and at times noisy, but uniquely filled with hi

r ready to mention some count, baron or marquis. In her drawing-room, Balzac found a direct contrast to the Royalist salon of the beautiful Duchesse de Castries which he frequen

Empire is not clear, but she was a confidential friend of Chateaubriand, lived in the noted house called the /Madeleine/, near the forest of Fontainebleau, and wrote about it as did Madame de Sevigne about /Les Rochers/. While living there, she received her Bonapartist friends as well as her Legitimist friends. Having lived in a society where life means enjoyment, she had many anecdotes to relate. She was a fine equestrienne, a most beautiful dancer, apparently naturally graceful, and bore the sobriquet of /la jolie laide/. Her marriage to the banke

under of the /Presse/. Possessing in her youth, a /bellezza folgorante/, Madame de Girardin was then in all the splendor of her beauty; her magnificent features, which might have been too pronounced for a young girl, were admirably suited to the woman and harmonized beautifully

tier, this was her coquetry, her luxury. If in some salon, some one-as was not unusual at that time-attacked one of her friends, with what eloquent anger did she defend them! What keen reparte

did woman possess to so high a degree as Delphine,-we were allowed to call her by this familiar name among ourselves-the gift of drawing out the wit of her guests. With her, we always found ourselves in poetical raptures, and each left her salon amaze

s given them was incorrect, only a family of honest citizens living there, and the old mother became angry at being taken for a sorceress. They had to make an ignominious retreat, but Balzac insisted that this really was the place and muttered maledictions on the old woman. Madame de Girardin pr

tried to win over those who were inimical towards her. For twenty-five years she played the diplomat among all the rivals in talent and in glory who frequented her salon in the rue Laffitte or in the Champs-Elysees. She prevented Victor Hugo from breaking with Lamartine; she remained the friend of Balzac when

that an habitue of the opera who could so transform himself so as to paint the admirable Abbe Birotteau, could certainly surpass her in writing /une preface de femme/. She did, however, write the sonnet on the /Marguerite/ which Lucien de Rubempre displayed as one of the samples of his volume of verses to the publisher Dauriat; also /Le Chardon/. Balzac made use of this poem, how

ed" on the novels of the /Comedie humaine/. The invitation she wrote Balzac runs as follows: "M. de Lamartine is to dine with me Sunday, and wishes absolutely to dine with you. Nothing would give him greater pleasure. Come then and be obliging. H

if one knew her thoroughly, it was impossible not to love her as a woman. She had some passion, but no hatred. Her thunderbolts were only electricity; her imprecations against the enemies of her husband were only anger; that passed with the storm. It was always beautiful in her soul, her days of hatred had no morrow. . . . She knew my desire t

eople who knew where he was hiding on account of his debts. Balzac was appreciative of the many courtesies extended to

zac took his Verdugo to M. de Girardin which appeared in /La Mode/ in which Madame de Girardin and her mother were collaborating; but these two men were too domineering and too violent to have amicable business dealings with each other for any length of time. Balzac, while be

he would be lacking in friendship; if she agreed with him, she would be both disrespectful to her husband and unjust. Like the clever woman that she was, she said both were wrong, and when she thought their anger had passed, she wrote a charming letter to Balzac urging him to come dine with her, since he owed her this much because he had refused her a short time before. She begged that they m

o show his gratitude for what she had done for him; but Balzac was so fiery and so mortified b

e that I broke off, point-blank. A disagreeable affair came near following; but my susceptibility as man of the pen was calmed by

aker from making another attempt. Taking advantage of her husband's absence a few weeks later, she invited Balzac to lunch with Madame O'Donnel and herself. But time had not yet done its work, so Balzac declined, saying it would be

which had made an impression on me. But indeed I can not come. . . . Your /salon/ was almost the only one where I found myself on a footing of friendship. You will hardly perceive my absence; and I remain alone. I thank yo

nsieur de Balzac/. In describing this cane as a sort of club made of turquoises, gold and marvelous chasings, Madame de Girardin incidentally compliments Balz

l appearance. He describes it to Madame Hanska (March 30, 1835), as bubbling with turquoise on a chased gold knob. The description of M. Werdet can not be relied on, for he states that Gosselin brought him the cane in October, 1836, and that Balzac conceived the idea of it while at a banquet in prison, but, as has been shown, the cane was in existence as early as March, 1835, and Madame de Girardin's book appeared in May, 1836. As to the description of the cane given by Paul Lacroix, the

irardin. But one difficulty was scarcely settled before another began, and the ever faithful Delphine was continually occupied in trying to establish peace. Her numerous letters to Balzac are filled with such expressions as: "Come to-morrow, come to dinner. Come, we can not get along without you! Come, Paris i

gements with him." Then she counseled her husband to have Theophile Gautier direct this part of the /Presse/ in order not to contend with Balzac, but the novelist was so unreasonable that M. de Girardin had to intervene. "My beautiful Queen," once wrote Theophile to Delphine, "if this continues, rathe

ot encounter her husband. M. de Girardin retired early in the evening; his wife received her literary friends after the theater or opera. At

he work was received by the committee of the Theatre-Francais, but the censors stopped the performance. Balzac was angry at this interdiction, for he too disliked journalists, but Madame de Girardin took the censorship philosophically. In he

ttle Greek temple in the Champs-Elysees, she was nearer Balzac, who was living at that time in the rue Basse at Passy, so their relations became more intimate. Yet when, after his return from St. Petersb

her influence with them in his behalf; when, after all her solicitude, he failed to gain a place among the "forty immortals," she had bitter words for their poor judgment, Balzac at that time being at the zenith of his reputation. Some time before this,

Countess," but never having seen her, she felt that Madame Hanska did not fully reciprocate the passionate love of her /moujik/. Becoming ironical, she called Balzac a /Vetturino per amore/, and told him she had heard that Madame Hanska was, to be sure, excee

lattering introduction written by Madame de Girardin. She continued to entertain the novelist, sending him many amusing invit

seriously affected Balzac's financial matters. After the death of Madame O'Donnel, in 1841, Madame de Girardin's friendship lost a part of its charm for Balzac and the rest of it vanished in these troubles. Since the great

with smallpox. He was grateful to her for the service she rendered him in arranging for the first presentation of his play /Vautrin/, throughout the misfortune attending this production she proved to be a true friend. Although he accepted her hospitality frequently, at times being invited to meet foreigners, among them the German Mlle. De Hahn, enjoying h

nd, on regaining consciousness, wept bitterly over the premature death of her fried. A few years before her own death, in 1855, Madame de Girardin was greatly depressed by

ose economy and many privations, she prepared herself for this work. At this time she contracted a /habit/ of suffering which passed into her life. She played at the /Opera Comique/ and recited well, but did not sing. At the age of twenty her private griefs compelled her to give up singing, for the sound of her own voice made her weep. So from music she

e was so sensitive and felt so unworthy that she did not call for her pension after it was secured for her by her friends, Madame Recamier and M. de Latouche. A letter written by her to Antoine de Latour (October 15, 1836) gives a general idea of her life: "I do not know how I have slippe

t of song. . . . Her verses were doubtless the expression of her life; in them she is reflected in hues both warm and br

(December 7, 1841), shows what part s

her misfortunes, and because she is dear to me. I have made such a moan, that I have obtained the sympathy and assistance of-whom do you guess?-poor Thisbe, who spends her life in the service of the /litterrateur/. She talked and insinuated and insisted, unt

is seen in a letter w

ed a recollection of the heart in which she awoke an echo, she and all her poetry of every kind.' We are natives of the same country, madame, the country of tears and poverty. We are as much neighbors and fellow- citizens as prose and poetry can be in France; but I draw near to you by the feeling with

p for the poetess, which began so early in his literary life, was a permanent one. Just before leaving for his prolonged visit in Russia, he wrote her a most compliment

he traits of his noted character, Cousin Bette. He made Douai, her native place, the setting of /La Rec

ine Desbor

one of its modern glories, I dedicate

BALZ

e turned again to this field of literature. Having written several plays, he was acquainted, naturally, with the leading actresses of his day; among these was Madame Dorval, whom he liked. He purposed giving her the m

e/). To their disappointment, however, the theater director, Hostein, gave the heroine's part to Madame Lacressoniere; the tragedy was produced in 1848

Brancadori in /Les Ressources de Quinola/, presente

preserve her autograph in order to send it to his "Polar Star," when

ESSE D'

nded like

d'Abrantes. She was an intimate friend of Madame de Girardin and it was in

children (Josephine, Constance, Napoleon and Alfred) to support, her life was a constant struggle to obtain a fortune and a position for her children. But as she had no financial ability, and had acquired very extravagant habits, the money she was constan

elf by means of her pen. She might well have recalled the wise words of Madame de Tencin when she warned Marmontel to beware of depending on t

the necessity of frequenting the salon, saying that the first requisite of a novelist is to be well-bred; he must move in society as much as possible and converse w

claimed: "This woman has seen Napoleon as a child, she has seen him occupied with the ordinary things of life, then she has seen him develop, rise and cover the world with his name! She is for me a saint come to sit beside me, after having lived in heaven with God!: T

rty years of age. It is probably she whom he describes thus, un

e been some lingering trace of the indelible feminine foible in the minute care bestowed upon her hand and foot; yet, if she allowed them to be seen with some pleasure, it would have tasked the utmost malice of a rival to discover any affectation in her gestures, so natural did they seem, so much a part of old childish habit, that her careless grace absolves this vestige of vanity. All these little characteristics, the nameless trifles which combine to make up the sum of a woman's beauty or ugliness, her charm or lack of charm, can not be indicated, especially when the soul is the bond of all the details and imprints on them a delightful unity. Her manner was in perfect accord with her figure and

in a pavilion which she called her /ermitage/. In /La Femme de trente Ans/, Balzac has described her retreat as a country house between the church and the barrier of Montreuil, on the road which leads to t

y had the same literary aspirations, the same love for work, the same love of luxury and e

one who could give him precise information of the details of the /Directoire/ and of the Empire, an instruction begun by the /commere Gay/. Thus the Duchesse d'Abrantes was to exercise over him, though in a less degree,

ired and melancholy life, and the brilliant and colorful language of Balzac, fifteen years her junior, aroused her heart from its torpor, and her friendship for him took a peculiar tinge of sentiment which she all

court, and her autumnal sunshine, its rays still glowing with warmth as well as brightness, compelled Balzac to perceive for the second time in his life the insatiability of the woman who has passed her first youth-the woman of thirty,

han of the heart, was flattered-it must be confessed-in having made the conquest of a duchess. Concealing her wrinkles and troubles under an adorable smile, no woman was better adapted tha

rdies/, was at Ville-d'

s old friend, Madame Carraud, announcing his marriage with Madame Hanska: "Three days ago I married the only woman I

hen the beautiful Duchesse de Castries was for a short time complete mistress of his heart,[*] and was in her turn to be replaced by Madame Hanska? The Duchess could probably understand his inconstancy, for she not on

he fascinating Austrian ambassador, Comte de Metternich, and the Duchess who was to take her place,

ss breathed her last, he could write to Madame Hanska on his return to Paris: "The newspapers have told you of the deplorable end of

a "mysterious pavilion" is connected with their manner of communication. For a while she visited him frequently in his d

im tender letters inviting him to dine with her, or to meet some of her friends, assuring him that in her /ermitage/ he

lie. . . . You are not only my friend, but my sincere and good friend. I have kept for you a profound affection, and this affection is of a nature that does not change. . . . Here is /Catherine/, here is my fi

ritten (October, 1835) in the album of her daughter, Madame Aubert. He sympathized with the unfortun

o express it in any language, but it is scarcely a recollection, and you cannot judge what your future life will be by that which is past. How many have begun to lead a fresh, lovely, and peaceful life at a much more advanced a

Spanish and Italian, and by writing novels, in the construction of which, Balzac advised her. As she had

thousand d'Abrantes,' as they say in their slang. Besides, I see daylight for a third and larger edition. If Mamifere (Mame) does not behave well, say to him, 'My dear sir, M. de Balzac has my business in his charge still as he had on the day he presented you to me; you must feel he has the priority over the preference you ask for.' This done, wait for me. I shall make you laugh when I tell you what I have concocted. If Everat appears again, tell him that I have

tirely d

E BAL

rs. But if Balzac aided the Duchess, he caused her publishers much annoyance, and more than onc

ized with the idea that she had it in her power to do for a brilliant epoch what Madame Roland attempted to do for one of grief and glory. He felt that she had witnesse

death, /La Femme aban

e the Duches

r devote

E DE B

n the life of Madame d'Abrantes, how is

s of those with whom he was closely associated. In the /Avant-propos de la Comedie humaine/, he writes: "In composing types by putting togethe

ever I find it;" accordingly one would naturally look for

s as being past forty and /un peu homme/, which reminds one that the Countess Dash describes Madame d'Abrantes as being rather masculine, with an /organe de rogome/, and a virago when past forty. Calyste became e

mind a few years later when he said of Mademoiselle de Mortsauf in /Le Lys dans la Vallee/: "The girl's clear sight had, though only of late, seen to the bottom of her mother's heart. . . ." for Mademoiselle Josephine entered the convent for various reasons, one being in order to relieve the financial strain and make marriage possible for her younger sist

ates that here he is merely the humble secretary of two women. He is d

oration surprised her and caused her downfall; she had become a hermit. The other, young, beautiful, was playing at that time, in Paris, the role of a fashionable woman. They were friends, for the one being forty yea

the Duchesse d'Abrantes in incontestably the other. For a different opin

de Beauseant resembles the Duches

tion, a faint semblance of irony suggestive of craft and insolence. It would have been difficult to refuse forgiveness to those two feminine failings in her in thinking of her misfortunes, of the passion that had almost cost her her life. Was it not an imposing spectacle (still further magnified by reflection) to see in that vast, silent salon

had in mind the Duchesse d'Abrantes: ". . . Then, with her other hand, she made a gesture as if to pull the bell-rope. The charming gesture, the gracious threat, no doubt, called up some sad thought, some memory of her happy life, of the time when she could be wholly charming and graceful, when the gladness of her heart justified every caprice, and gave one more charm to her sli

o Balzac, among others, a book of Jean-Jacques Rousseau, a few leaves

he most part envy and condemn, especially when youth and beauty in some way excuse the transgression." Can it be that the novelist thus

ound in /La Femme abandonnee/, and allusions are made to min

just arrived in Paris at the beginning of the Restoration, he writes: "He met several of those women who will be spoken of in the

out whom the Duchess had told him. Again, many characteristics of her son, Napoleon

The Duchess gave him encouragement and confidence, and Balzac might have been thinking of her when he made the beautiful Lady Dudley say: "I alone have divin

n anecdote which is told in the same book abut General Rapp, who had been an intimate friend of General Junot. At this time Balzac knew few women of the Empire; he did not frequent the

ame d'Abrantes that he

es in the period of the

mation about the captu

e writes /Une ten

senator was still living at the time Madame d'Abrantes wrote her account of the affair, his death not having occurred until 1827. In her /Memoires/, Madame d'Abrantes refers frequently to the kindness of the great Emperor, and it is doubtless to please her that Balzac, in the /denouement/ of

ce for General Junot is noticeable when he wishes to mention some hero of the army of the Republic or of the Empire; the Duc and Duchesse d'Abrantes are included

/ and others, she was probably the direct author of several observations regarding Napoleon that impress one as being strikingly true. Balzac read to her his s

zac; she enlightened him also about women, painti

lished, one will be able to determine exactly the role she has played in the formation of the talent of the writer, and in the

h became impaired; yet she continued to write when unable to sit up, so great was her need for money. From her high rank she had fallen to the depth of misery! When evicted from her poverty-stricken home by the bailiff, her maid at first conveyed her to a hospital in the rue de Chaillot, but there payment was demanded in advance. That being impossible, the

MADAME MARBOUTY.- LA COMT

air, Italian-white complexion, thin, and playing the vampire. She has the good fortune to displease me, though she is clever

r, who had been connected with the /Conciliatore/. His home was the rendezvous of the artistic and literary celebrities of the day; but beneath the surface lay conspiracy. At the age of sixt

mous for wit, learning and beauty, equaling that of Madame Recamier; Balzac was among the number. If Madame de Girardin was the Tenth Muse, the Princesse Belgiojoso was the

r pen. After her departure, the finding of the corpse of Stelzi in her cupboard caused her to be compared to the Spanish Juana Loca, but she was only eccentric. While in th

strange woman was veiled in a haze of mystery, and a halo of martyrdom hung over her head. Notwithstanding her eccentricities and exaggerations, she wielded an

in writing about her to Madame Hanska. He regarded her as a courtesan, a beautiful /Imperia/, but of the extreme blue-stocking type. She was superficial in her critic

ate of Alfred de Musset. He was, however, greatly impressed by her beauty, and in the much discussed letter to his sister Laure he speaks of Madame Hanska as a masterpiece of beauty who

written in part by Madame Hanska, and dedicated to her. In the first edition this book was dedicated to a foreign lady, but seein

sse de Belgiojos

riting under the pseudonym of /Claire Brune/. Her work consisted of a small volume of poetry and several novels. She was much pleased at being taken frequently for George Sand, whom she resembled very much; and like her, she dre

it was a charming, clever, virtuous woman, who never having had the opportunity of breathing the Italian air and being able to escape the ennui of housekeeping for a few weeks, had relied upon his honor. She knew

d 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

ister, Madame Nivet, so that when Balzac visited Limoge

of the /Comedie humaine

is episode in his li

o his traveli

poetry of the journ

vel

e poetry of it and nothing more, and that when she comes to Paris he will take pleasure in showing to h

y 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 P

ubtless /Vautrin/, played for

icting 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

nalist, 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 gl

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. Af

akes 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/, stat

e 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 assassinated, 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." I

e said he was shocking, and he retorted that she was a prude, and departed, calling to her

ge Sand is a very noble 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 to

ak 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

e he thought his "polar star" far more beautiful, she reminded him of George Sand by her coiffure,

teriorated 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 spendin

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 m

ich she called /Jumento/. Defending her past life, he says: "All the follies that she has committed are titles to fame in the eyes of great and noble souls. She was duped by Madame Dorval, Bocage, Lammennais, etc., etc. Through the same sentiment

l 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

is was the portrait of

ed his friends, except

rge Sand in Camille Ma

oth with th

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:

ss 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 s

y 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 (

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 en

re discussed. He enjoyed opposing her views; after his return from his prolonged visit to Madame Hansk

bject 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

admiration for her in

e deux jeun

eorge

rld. 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

r fr

BALZ