Оноре де Бальзак
The Thirteen
INTRODUCTION
The Histoire des Treize consists – or rather is built up – of three stories: Ferragus or the Rue Soly, La Duchesse de Langeais or Ne touchez-paz a la hache, and La Fille aux Yeux d’Or.
To tell the truth, there is more power than taste throughout the Histoire des Treize, and perhaps not very much less unreality than power. Balzac is very much better than Eugene Sue, though Eugene Sue also is better than it is the fashion to think him just now. But he is here, to a certain extent competing with Sue on the latter’s own ground. The notion of the “Devorants” – of a secret society of men devoted to each other’s interests, entirely free from any moral or legal scruple, possessed of considerable means in wealth, ability, and position, all working together, by fair means or foul, for good ends or bad – is, no doubt, rather seducing to the imagination at all times; and it so happened that it was particularly seducing to the imagination of that time. And its example has been powerful since; it gave us Mr. Stevenson’s New Arabian Nights only, as it were, the other day.
But there is something a little schoolboyish in it; and I do not know that Balzac has succeeded entirely in eliminating this something. The pathos of the death, under persecution, of the innocent Clemence does not entirely make up for the unreasonableness of the whole situation. Nobody can say that the abominable misconduct of Maulincour – who is a hopeless “cad” – is too much punished, though an Englishman may think that Dr. Johnson’s receipt of three or four footmen with cudgels, applied repeatedly and unsparingly, would have been better than elaborately prepared accidents and duels, which were too honorable for a Peeping Tom of this kind; and poisonings, which reduced the avengers to the level of their victim. But the imbroglio is of itself stupid; these fathers who cannot be made known to husbands are mere stage properties, and should never be fetched out of the theatrical lumber-room by literature.
La Duchesse de Langeais is, I think, a better story, with more romantic attraction, free from the objections just made to Ferragus, and furnished with a powerful, if slightly theatrical catastrophe. It is as good as anything that its author has done of the kind, subject to those general considerations of probability and otherwise which have been already hinted at. For those who are not troubled by any such critical reflections, both, no doubt, will be highly satisfactory.
The third of the series, La Fille aux Yeux d’Or, in some respects one of Balzac’s most brilliant effects, has been looked at askance by many of his English readers. At one time he had the audacity to think of calling it La Femme aux Yeux Rouges. To those who consider the story morbid or, one may say, bizarre, one word of justification, hardly of apology, may be offered. It was in the scheme of the Comedie Humaine to survey social life in its entirety by a minute analysis of its most diverse constituents. It included all the pursuits and passions, was large and patient, and unafraid. And the patience, the curiosity, of the artist which made Cesar Birotteau and his bankrupt ledgers matters of high import to us, which did not shrink from creating a Vautrin and a Lucien de Rubempre, would have been incomplete had it stopped short of a Marquise de San-Real, of a Paquita Valdes. And in the great mass of the Comedie Humaine, with its largeness and reality of life, as in life itself; the figure of Paquita justifies its presence.
Considering the Histoire des Treize as a whole, it is of engrossing interest. And I must confess I should not think much of any boy who, beginning Balzac with this series, failed to go rather mad over it. I know there was a time when I used to like it best of all, and thought not merely Eugenie Grandet, but Le Pere Goriot (though not the Peau de Chagrin), dull in comparison. Some attention, however, must be paid to two remarkable characters, on whom it is quite clear that Balzac expended a great deal of pains, and one of whom he seems to have “caressed,” as the French say, with a curious admixture of dislike and admiration.
The first, Bourignard or Ferragus, is, of course, another, though a somewhat minor example – Collin or Vautrin being the chief – of that strange tendency to take intense interest in criminals, which seems to be a pretty constant eccentricity of many human minds, and which laid an extraordinary grasp on the great French writers of Balzac’s time. I must confess, though it may sink me very low in some eyes, that I have never been able to fully appreciate the attractions of crime and criminals, fictitious or real. Certain pleasant and profitable things, no doubt, retain their pleasure and their profit, to some extent, when they are done in the manner which is technically called criminal; but they seem to me to acquire no additional interest by being so. As the criminal of fact is, in the vast majority of cases, an exceedingly commonplace and dull person, the criminal of fiction seems to me only, or usually, to escape these curses by being absolutely improbable and unreal. But I know this is a terrible heresy.
Henri de Marsay is a much more ambitious and a much more interesting figure. In him are combined the attractions of criminality, beauty, brains, success, and, last of all, dandyism. It is a well-known and delightful fact that the most Anglophobe Frenchmen – and Balzac might fairly be classed among them – have always regarded the English dandy with half-jealous, half-awful admiration. Indeed, our novelist, it will be seen, found it necessary to give Marsay English blood. But there is a tradition that this young Don Juan – not such a good fellow as Byron’s, nor such a grand seigneur as Moliere’s – was partly intended to represent Charles de Remusat, who is best known to this generation by very sober and serious philosophical works, and by his part in his mother’s correspondence. I do not know that there ever were any imputation on M. de Remusat’s morals; but in memoirs of the time, he is, I think, accused of a certain selfishness and hauteur, and he certainly made his way, partly by journalism, partly by society, to power very much as Marsay did. But Marsay would certainly not have written Abelard and the rest, or have returned to Ministerial rank in our own time. Marsay, in fact, more fortunate than Rubempre, and of a higher stamp and flight than Rastignac, makes with them Balzac’s trinity of sketches of the kind of personage whose part, in his day and since, every young Frenchman has aspired to play, and some have played. It cannot be said that “a moral man is Marsay”; it cannot be said that he has the element of good-nature which redeems Rastignac. But he bears a blame and a burden for which we Britons are responsible in part – the Byronic ideal of the guilty hero coming to cross and blacken the old French model of unscrupulous good humor. It is not a very pretty mixture or a very worthy ideal; but I am not so sure that it is not still a pretty common one.
The association of the three stories forming the Histoire des Treize is, in book form, original, inasmuch as they filled three out of the four volumes of Etudes des Moeurs published in 1834-35, and themselves forming part of the first collection of Scenes de la Vie Parisienne. But Ferragus had appeared in parts (with titles to each) in the Revue de Paris for March and April 1833, and part of La Duchesse de Langeais in the Echo de la Jeune France almost contemporaneously. There are divisions in this also. Ferragus and La Duchesse also appeared without La Fille aux Yeux d’Or in 1839, published in one volume by Charpentier, before their absorption at the usual time in the Comedie.
George Saintsbury
AUTHOR’S PREFACE
In the Paris of the Empire there were found Thirteen men equally impressed with the same idea, equally endowed with energy enough to keep them true to it, while among themselves they were loyal enough to keep faith even when their interests seemed to clash. They were strong enough to set themselves above all laws; bold enough to shrink from no enterprise; and lucky enough to succeed in nearly everything that they undertook. So profoundly politic were they, that they could dissemble the tie which bound them together. They ran the greatest risks, and kept their failures to themselves. Fear never entered into their calculations; not one of them had trembled before princes, before the executioner’s axe, before innocence. They had taken each other as they were, regardless of social prejudices. Criminals they doubtless were, yet none the less were they all remarkable for some one of the virtues which go to the making of great men, and their numbers were filled up only from among picked recruits. Finally, that nothing should be lacking to complete the dark, mysterious romance of their history, nobody to this day knows who they were. The Thirteen once realized all the wildest ideas conjured up by tales of the occult powers of a Manfred, a Faust, or a Melmoth; and to-day the band is broken up or, at any rate, dispersed. Its members have quietly returned beneath the yoke of the Civil Code; much as Morgan, the Achilles of piracy, gave up buccaneering to be a peaceable planter; and, untroubled by qualms of conscience, sat himself down by the fireside to dispose of blood-stained booty acquired by the red light of blazing towns.
After Napoleon’s death, the band was dissolved by a chance event which the author is bound for the present to pass over in silence, and its mysterious existence, as curious, it may be, as the darkest novel by Mrs. Radcliffe, came to an end.
It was only lately that the present writer, detecting, as he fancied, a faint desire for celebrity in one of the anonymous heroes to whom the whole band once owed an occult allegiance, received the somewhat singular permission to make public certain of the adventures which befell that band, provided that, while telling the story in his own fashion, he observed certain limits.
The aforesaid leader was still an apparently young man with fair hair and blue eyes, and a soft, thin voice which might seem to indicate a feminine temperament. His face was pale, his ways mysterious. He chatted pleasantly, and told me that he was only just turned of forty. He might have belonged to any one of the upper classes. The name which he gave was probably assumed, and no one answering to his description was known in society. Who is he, do you ask? No one knows.
Perhaps when he made his extraordinary disclosures to the present writer, he wished to see them in some sort reproduced; to enjoy the effect of the sensation on the multitude; to feel as Macpherson might have felt when the name of Ossian, his creation, passed into all languages. And, in truth, that Scottish advocate knew one of the keenest, or, at any rate, one of the rarest sensations in human experience. What was this but the incognito of genius? To write an Itineraire de Paris a Jerusalem is to take one’s share in the glory of a century, but to give a Homer to one’s country – this surely is a usurpation of the rights of God.
The writer is too well acquainted with the laws of narration to be unaware of the nature of the pledge given by this brief preface; but, at the same time, he knows enough of the history of the Thirteen to feel confident that he shall not disappoint any expectations raised by the programme. Tragedies dripping with gore, comedies piled up with horrors, tales of heads taken off in secret have been confided to him. If any reader has not had enough of the ghastly tales served up to the public for some time past, he has only to express his wish; the author is in a position to reveal cold-blooded atrocities and family secrets of a gloomy and astonishing nature. But in preference he has chosen those pleasanter stories in which stormy passions are succeeded by purer scenes, where the beauty and goodness of woman shine out the brighter for the darkness. And, to the honor of the Thirteen, such episodes as these are not wanting. Some day perhaps it may be thought worth while to give their whole history to the world; in which case it might form a pendant to the history of the buccaneers – that race apart so curiously energetic, so attractive in spite of their crimes.
When a writer has a true story to tell, he should scorn to turn it into a sort of puzzle toy, after the manner of those novelists who take their reader for a walk through one cavern after another to show him a dried-up corpse at the end of the fourth volume, and inform him, by way of conclusion, that he has been frightened all along by a door hidden somewhere or other behind some tapestry; or a dead body, left by inadvertence, under the floor. So the present chronicler, in spite of his objection to prefaces, felt bound to introduce his fragment by a few remarks.
Ferragus, the first episode, is connected by invisible links with the history of the Thirteen, for the power which they acquired in a natural manner provides the apparently supernatural machinery.
Again, although a certain literary coquetry may be permissible to retailers of the marvelous, the sober chronicler is bound to forego such advantage as he may reap from an odd-sounding name, on which many ephemeral successes are founded in these days. Wherefore the present writer gives the following succinct statement of the reasons which induced him to adopt the unlikely sounding title and sub-title.
In accordance with old-established custom, Ferragus is a name taken by the head of a guild of Devorants, id est Devoirants or journeymen. Every chief on the day of his election chooses a pseudonym and continues a dynasty of Devorants precisely as a pope changes his name on his accession to the triple tiara; and as the Church has its Clement XIV., Gregory XII., Julius II., or Alexander VI., so the workmen have their Trempe-la-Soupe IX., Ferragus XXII., Tutanus XIII., or Masche-Fer IV. Who are the Devorants, do you ask?
The Devorants are one among many tribes of compagnons whose origin can be traced to a great mystical association formed among the workmen of Christendom for the rebuilding of the Temple at Jerusalem. Compagnonnage is still a popular institution in France. Its traditions still exert a power over little enlightened minds, over men so uneducated that they have not learned to break their oaths; and the various organizations might be turned to formidable account even yet if any rough-hewn man of genius arose to make use of them, for his instruments would be, for the most part, almost blind.
Wherever journeymen travel, they find a hostel for compagnons which has been in existence in the town from time immemorial. The obade, as they call it, is a kind of lodge with a “Mother” in charge, an old, half-gypsy wife who has nothing to lose. She hears all that goes on in the countryside; and, either from fear or from long habit, is devoted to the interests of the tribe boarded and lodged by her. And as a result, this shifting population, subject as it is to an unalterable law of custom, has eyes in every place, and will carry out an order anywhere without asking questions; for the oldest journeyman is still at an age when a man has some beliefs left. What is more, the whole fraternity professes doctrines which, if unfolded never so little, are both true enough and mysterious enough to electrify all the adepts with patriotism; and the compagnons are so attached to their rules, that there have been bloody battles between different fraternities on a question of principle. Fortunately, however, for peace and public order; if a Devorant is ambitious, he takes to building houses, makes a fortune, and leaves the guild.
A great many curious things might be told of their rivals, the Compagnons du Devior, of all the different sects of workmen, their manners and customs and brotherhoods, and of the resemblances between them and the Freemasons; but there, these particulars would be out of place. The author will merely add, that before the Revolution a Trempe-la-Soupe had been known in the King’s service, which is to say, that he had the tenure of a place in His Majesty’s galleys for one hundred and one years; but even thence he ruled his guild, and was religiously consulted on all matters, and if he escaped from the hulks he met with help, succor, and respect wherever he went. To have a chief in the hulks is one of those misfortunes for which Providence is responsible; but a faithful lodge of devorants is bound, as before, to obey a power created by and set above themselves. Their lawful sovereign is in exile for the time being, but none the less is he their king. And now any romantic mystery hanging about the words Ferragus and the devorants is completely dispelled.
As for the Thirteen, the author feels that, on the strength of the details of this almost fantastic story, he can afford to give away yet another prerogative, though it is one of the greatest on record, and would possibly fetch a high price if brought into a literary auction mart; for the owner might inflict as many volumes on the public as La Contemporaine.1
The Thirteen were all of them men tempered like Byron’s friend Trelawney, the original (so it is said) of The Corsair. All of them were fatalists, men of spirit and poetic temperament; all of them were tired of the commonplace life which they led; all felt attracted towards Asiatic pleasures by all the vehement strength of newly awakened and long dormant forces. One of these, chancing to take up Venice Preserved for the second time, admired the sublime friendship between Pierre and Jaffir, and fell to musing on the virtues of outlaws, the loyalty of the hulks, the honor of thieves, and the immense power that a few men can wield if they bring their whole minds to bear upon the carrying out of a single will. It struck him that the individual man rose higher than men. Then he began to think that if a few picked men should band themselves together; and if, to natural wit, and education, and money, they could join a fanaticism hot enough to fuse, as it were, all those separate forces into a single one, then the whole world would be at their feet. From that time forth, with a tremendous power of concentration, they could wield an occult power against which the organization of society would be helpless; a power which would push obstacles aside and defeat the will of others; and the diabolical power of all would be at the service of each. A hostile world apart within the world, admitting none of the ideas, recognizing none of the laws of the world; submitting only to the sense of necessity, obedient only from devotion; acting all as one man in the interests of the comrade who should claim the aid of the rest; a band of buccaneers with carriages and yellow kid gloves; a close confederacy of men of extraordinary power, of amused and cool spectators of an artificial and petty world which they cursed with smiling lips; conscious as they were that they could make all things bend to their caprice, weave ingenious schemes of revenge, and live with the life in thirteen hearts, to say nothing of the unfailing pleasure of facing the world of men with a hidden misanthropy, a sense that they were armed against their kind, and could retire into themselves with one idea which the most remarkable men had not, – all this constituted a religion of pleasure and egoism which made fanatics of the Thirteen. The history of the Society of Jesus was repeated for the Devil’s benefit. It was hideous and sublime.
The pact was made; and it lasted, precisely because it seemed impossible. And so it came to pass that in Paris there was a fraternity of thirteen men, each one bound, body and soul, to the rest, and all of them strangers to each other in the sight of the world. But evening found them gathered together like conspirators, and then they had no thoughts apart; riches, like the wealth of the Old Man of the Mountain, they possessed in common; they had their feet in every salon, their hands in every strong box, their elbows in the streets, their heads upon all pillows, they did not scruple to help themselves at their pleasure. No chief commanded them, nobody was strong enough. The liveliest passion, the most urgent need took precedence – that was all. They were thirteen unknown kings; unknown, but with all the power and more than the power of kings; for they were both judges and executioners, they had taken wings that they might traverse the heights and depths of society, scorning to take any place in it, since all was theirs. If the author learns the reason of their abdication, he will communicate it.
And now the author is free to give those episodes in the History of the Thirteen which, by reason of the Parisian flavor of the details or the strangeness of the contrasts, possessed a peculiar attraction for him.
Paris