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+The Project Gutenberg EBook of Introduction to the Dramas of Balzac
+by Epiphanius Wilson, J Walker McSpadden
+
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+Title: Introduction to the Dramas of Balzac
+
+Author: Epiphanius Wilson, J Walker McSpadden
+
+Release Date: July, 2005 [EBook #8598]
+[Yes, we are more than one year ahead of schedule]
+[This file was first posted on July 27, 2003]
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+Edition: 10
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+Language: English
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+Character set encoding: ASCII
+
+*** START OF THE PROJECT GUTENBERG EBOOK INTRO. DRAMAS OF BALZAC ***
+
+
+
+
+Produced by John Bickers and Dagny
+
+
+
+
+
+                 INTRODUCTION TO THE DRAMAS OF BALZAC
+
+                                  BY
+
+                          EPIPHANIUS WILSON
+                                 AND
+                         J. WALKER MCSPADDEN
+
+
+
+                               CONTENTS
+
+  Balzac as a Dramatist
+  By Epiphanius Wilson
+
+  Introduction
+  By J. Walker McSpadden
+
+
+
+                        BALZAC AS A DRAMATIST
+
+                                  BY
+
+                          EPIPHANIUS WILSON
+
+Honore de Balzac is known to the world in general as a novel-writer, a
+producer of romances, in which begin the reign of realism in French
+fiction. His /Comedie Humaine/ is a description of French society, as
+it existed from the time of the Revolution to that of the Restoration.
+In this series of stories we find the author engaged in analyzing the
+manners, motives and external life of the French man and woman in all
+grades of society. When we open these volumes, we enter a gallery of
+striking and varied pictures, which glow with all the color,
+chiaroscuro and life-like detail of a Dutch panel. The power of Balzac
+is unique as a descriptive writer; his knowledge of the female heart
+is more profound, and covers a far wider range than anything exhibited
+by a provincial author, such as Richardson. But he has also the
+marvelous faculty of suggesting spiritual facts in the life and
+consciousness of his characters, by the picturesque touches with which
+he brings before us their external surroundings--the towns, streets
+and houses in which they dwell; the furniture, ornaments and
+arrangement of their rooms, and the clothes they wear. He depends upon
+these details for throwing into relief such a portrait as that of Pons
+or Madame Hulot. He himself was individualized by his knobbed cane
+abroad, and his Benedictine habit and statuette of Napoleon at home;
+but every single one of his creations seems to have in some shape or
+other a cane, a robe or a decorative attribute, which distinguishes
+each individual, as if by a badge, from every other member of the
+company in the Comedy of Life.
+
+The art of characterization exhibited by the author fascinates us; we
+gaze and examine as if we were face to face with real personages,
+whose passions are laid bare, whose life is traced, whose countenance
+is portrayed with miraculousness, distinctness and verisimilitude. All
+the phenomena of life in the camp, the court, the boudoir, the low
+faubourg, or the country chateau are ranged in order, and catalogued.
+This is done with relentless audacity, often with a touch of grotesque
+exaggeration, but always with almost wearying minuteness. Sometimes
+this great writer finds that a description of actuality fails to give
+the true spiritual key to a situation, and he overflows into allegory,
+or Swendenborgian mysticism, just as Bastien-Lepage resorts to a
+coating of actual gilt, in depicting that radiant light in his Jeanne
+d'Arc which flat pigment could not adequately represent.
+
+But this very effort of Balzac to attain realistic characterization
+has resulted in producing what the ordinary reader will look upon as a
+defect in his stories. When we compared above the stories of this
+writer to a painting, we had been as near the truth, if we had likened
+them to a reflection or photograph of a scene. For in a painting, the
+artist at his own will arranges the light and shade and groups, and
+combines according to his own fancy the figures and objects which he
+finds in nature. He represents not what is, but what might be, an
+actual scene. He aims at a specific effect. To this effect everything
+is sacrificed, for his work is a synthesis, not a mere analysis.
+Balzac does not aim at an effect, above and independent of his
+analysis. His sole effort is to emphasize the facts which his analysis
+brings to light, and when he has succeeded in this, the sole end he
+aims at is attained. Thus action is less important in his estimation
+than impression. His stories are therefore often quite unsymmetrical,
+even anecdotic, in construction; some of them are mere episodes, in
+which the action is irrelevant, and sometimes he boldly ends an
+elaborate romance without any dramatic denouement at all. We believe
+that Honore de Balzac was the first of European writers to inaugurate
+the novel without denouement, and to give the world examples of the
+literary torso whose beauty and charm consist not in its completeness,
+but in the vigor and life-like animation of the lines, features, and
+contours of a detached trunk.
+
+It is not surprising, therefore, that when we come to study the dramas
+of Balzac we find that the very qualities that give effectiveness to a
+stage representation are wanting in them. For the qualities which make
+a realistic tale impressive render a play intolerable. Thus Balzac's
+stage pieces are interesting, exciting and vivid in many passages, but
+they cannot stand the searching glare of the footlights. Balzac, in
+the first place, looked upon the drama as a department of literature
+inferior to that of romance, and somewhat cavalierly condescended to
+the stage without reckoning on either its possibilities or its
+limitations. He did not take to play-writing because he had exhausted
+his vein of fiction, but because he was in need of money. This was
+during the last years of his life. In this period he wrote the five
+plays which are included in the authorized edition of his works.
+
+Balzac's first play was /Vautrin/, and Vautrin appears as the name of
+the most astonishing and most original character which Balzac has
+created and introduced in the five or six greatest novels of the
+Comedy. So transcendent, super-human and satanic is Vautrin, Herrera,
+or Jacques Collin, as he is indifferently called, that a French critic
+has interpreted this personage as a mere allegorical embodiment of the
+seductions of Parisian life, as they exist side by side with the
+potency and resourcefulness of crime in the French metropolis.
+
+Vautrin is described in the /Comedie Humaine/ as the tempter and
+benefactor of Lucien de Rubempre, whom he loves with an intense
+devotion, and would exploit as a power and influence in the social,
+literary and political world. The deep-dyed criminal seems to live a
+life of pleasure, fashion and social rank in the person of this
+protege. The abnormal, and in some degree quixotic, nature of this
+attachment is a purely Balzacian conception, and the contradictions
+involved in this character, with all the intellectual and physical
+endowments which pertain to it, are sometimes such as to bring the
+sublime in perilous proximity to the ridiculous. How such a fantastic
+creation can be so treated as to do less violence to the laws of
+artistic harmony and reserve may be seen in Hugo's Valjean, which was
+undoubtedly suggested by Balzac's Vautrin. In the play of /Vautrin/,
+the main character, instead of appearing sublime, becomes absurd, and
+the action is utterly destitute of that plausibility and coherence
+which should make the most improbable incidents of a play hang
+together with logical sequence.
+
+Balzac in the /Resources of Quinola/ merely reproduces David Sechard,
+though he places him in the reign of Philip the Second of Spain. He
+went far out of his way to make Fontanares the first inventor of the
+steamboat; the improbability of such a supposition quite forfeits the
+interest of the spectators and, in attempting to effect a love
+denouement, he disgusts us by uniting the noble discoverer with the
+vile Faustine. Even the element of humor is wanting in his portrayal
+of Quinola--who is a combination of the slave in a Latin comedy and
+the fool, or Touchstone of Shakespeare. This play is, however,
+ingenious, powerful and interesting in many passages.
+
+/Pamela Giraud/ is fantastic and painful in its plot. Balzac's ideal
+woman, the Pauline of the /Peau de Chagrin/, is here placed in a
+situation revolting even to a Parisian audience; but the selfish
+worldliness of the rich and noble is contrasted with the pure
+disinterestedness of a poor working girl in all of Balzac's strongest,
+most searching style. The denouement is well brought about and
+satisfactory, but scarcely atones for the outrageous nature of the
+principal situation.
+
+Balzac was especially a novelist of his own period, and the life of
+his romances is the life he saw going on around him. The principal
+character in /The Stepmother/ is a Napoleonist general typical of many
+who must have lived in the first half of the nineteenth century. The
+ruling passion of General de Grandchamp is hatred for those who
+deserted the cause or forsook the standard of the First Consul. This
+antipathy is exaggerated by Balzac into murderous hatred, and is the
+indirect cause of death to the General's daughter, Pauline, and her
+lover, the son of a soldier of the First Empire, who, by deserting
+Napoleon, had fallen under the Comte de Grandchamp's ban. The
+situation is, however, complicated by the guilty passion which
+Gertrude, the stepmother of Pauline and wife of the General's old age,
+feels for the lover of Pauline. The main interest of the drama lies in
+the struggle between these two women, every detail of which is
+elaborated with true Balzacian gusto and insight. We expect to see
+virtue triumphant, and Pauline united to the excellent Ferdinand. When
+they both die of poison, and Gertrude becomes repentant, we feel that
+the denouement is not satisfactory. The jealousy of the woman and the
+hatred of the man have not blended properly.
+
+But there can be no doubt at all that if Balzac had lived, he might
+have turned out a successful playwright. When he began his career as a
+dramatic writer he was like a musician taking up an unfamiliar
+instrument, an organist who was trying the violin, or a painter
+working in an unknown medium. His last written play was his best.
+Fortunately, the plot did not deal with any of those desperate love
+passions which Balzac in his novels has analyzed and described with
+such relentless and even brutal frankness. It is filled throughout
+with a genial humanity, as bright and as expressive as that which
+fills the atmosphere of /She Stoops to Conquer/ or /A School for
+Scandal/. The characters are neither demons, like Cousin Betty, nor
+reckless debauchees, like Gertrude in /The Stepmother/. The whole
+motif is comic. Moliere himself might have lent a touch of his refined
+and fragrant wit to the composition; and the situation is one which
+the author could realize from experience, but had only learned to
+regard from a humorous standpoint in the ripeness of his premature old
+age. Balzac makes money rule in his stories, as the most potent factor
+of social life. He describes poverty as the supreme evil, and wealth
+as the object of universal aspiration. In line with this attitude
+comes /Mercadet/ with his trials and schemes. Scenes of ridiculous
+surprises succeed each other till by the return of the absconder with
+a large fortune, the greedy, usurious creditors are at last paid in
+full, and poetic justice is satisfied by the marriage of Julie to the
+poor man of her choice.
+
+EPIPHANIUS WILSON.
+
+
+
+                             INTRODUCTION
+
+                                  BY
+
+                         J. WALKER MCSPADDEN
+
+The greatest fame of Balzac will rest in the future, as in the past,
+upon his novels and short stories. These comprise the bulk of his work
+and his most noteworthy effort--an effort so pronounced as to hide all
+side-excursions. For this reason his chief side-excursion--into the
+realms of drama--has been almost entirely overlooked. Indeed, many of
+his readers are unaware that he ever wrote plays, while others have
+passed them by with the idea that they were slight, devoid of
+interest, and to be classified with the /Works of Youth/. Complete
+editions--so-called--of Balzac's works have fostered this belief by
+omitting the dramas; and it has remained for the present edition to
+include, for the first time, this valuable material, not alone for its
+own sake, but also in order to show the many-sided author as he was,
+in all his efficiencies and occasional deficiencies.
+
+For those readers who now make the acquaintance of the dramas, we
+would say briefly that the Balzac /Theatre/ comprises five plays--
+/Vautrin/, /Les Ressources de Quinola/, /Pamela Giraud/, /La Maratre/,
+and /Mercadet/. These plays are in prose. They do not belong to the
+apprenticeship period of the /Works of Youth/, but were produced in
+the heyday of his powers, revealing the mature man and the subtle
+analyst of character, not at his best, but at a point far above his
+worst. True, their production aroused condemnation on the part of many
+contemporary dramatic critics, and were the source of much annoyance
+and little financial gain to their creator. But this is certainly no
+criterion for their workmanship. Balzac defied many tenets. He even
+had the hardihood to dispense with the /claqueurs/ at the first night
+of /Les Ressources de Quinola/. Naturally the play proceeded coldly
+without the presence of professional applauders. But Balzac declared
+himself satisfied with the warm praise of such men as Hugo and
+Lamartine, who recognized the strength of the lines.
+
+The five plays were presented at various times, at the best theatres
+of Paris, and by the most capable companies. One of them, /Mercadet/,
+is still revived perennially; and we are of opinion that this play
+would prove attractive to-day upon an American stage. The action and
+plots of all these dramas are quite apart from the structure of the
+/Comedie Humaine/. Vautrin and his "pals" are the only characters
+borrowed from that series, but his part in the titular play is new
+beyond the initial situation.
+
+The /Premiere Edition/ of the /Theatre Complet/ was published in a
+single duodecimo volume from the press of Giraud & Dagneau in 1853. It
+contained: /Vautrin/, /Les Ressources de Quinola/, /Pamela Giraud/,
+and /La Maratre/. All prefaces were omitted. /Mercadet/ was not given
+with them in this printing, but appeared in a separate duodecimo,
+under the title of /Le Faiseur/, from the press of Cadot, in 1853. The
+next edition of the /Theatre Complet/, in 1855, reinstated the
+prefaces. It was not until 1865 that /Mercadet/ joined the other four
+in a single volume published by Mme. Houssiaux.
+
+/Vautrin/, a drama in five acts, was presented for the first time in
+the Porte-Saint-Martin theatre, March 14, 1840. The preface, dated
+May 1, 1840, was not ready in time for the printing of the first
+edition, which was a small octavo volume published by Delloye &
+Tresse. It appeared in the second edition, two months later. The
+dedication was to Laurent-Jan. [See "Jan" in Repertory.] The play was
+a distinct failure, but its construction and temper combine to explain
+this. At the same time it makes interesting reading; and it will prove
+especially entertaining to readers of the /Comedie Humaine/ who have
+dreaded and half-admired the redoubtable law-breaker, who makes his
+initial entrance in /Le Pere Goriot/ and plays so important a part in
+/Illusions Perdues/, and /Splendeurs et Miseres des Courtisanes/. Here
+we find Vautrin in a favorite situation. He becomes the powerful
+protector of an unknown young man--much as he picked up Lucien de
+Rubempre in /Illusions Perdues/, and attempted to aid Rastignac in /Le
+Pere Goriot/--and devotes all his sinister craft to his protege's
+material interests. The playwright is careful to preserve some degree
+of the young man's self-respect. Chance favors the two by providing
+the unknown hero with worthy parents; and Vautrin's schemes
+unexpectedly work out for good. As in the story of /Pere Goriot/
+again, Vautrin, after furthering matrimonial deals and other quasi-
+benevolent projects, ends in the clutches of the law. Of Raoul little
+need be said. He is the foil for his dread protector and he is saved
+from dishonor by a narrow margin. The scene is laid at Paris, just
+after the second accession of the House of Bourbon, in 1816. Titles
+and families are in some confusion on account of the change of
+dynasties. It is therefore an opportune time for Vautrin to
+manufacture scutcheons as occasion may demand. Since this story of
+Vautrin is not included in the /Comedie/, it will not be found among
+the biographical facts recorded in the /Repertory/.
+
+/Les Ressources de Quinola/, a comedy in a prologue and five acts, was
+presented at the Theatre de l'Odeon, Paris, March 19, 1842. Souverain
+published it in an octavo volume. Balzac was disposed to complain
+bitterly of the treatment this play received (note his preface), but
+of it may be said, as in the case of its predecessor, that it makes
+better reading than it must have made acting, for the scenes are
+loosely constructed and often illogical. Our playwright yet betrays
+the amateur touch. It is regrettable, too, for he chose an excellent
+theme and setting. The time is near the close of the sixteenth
+century, under the rule of Philip II. of Spain and the much-dreaded
+Inquisition. An inventor, a pupil of Galileo, barely escapes the Holy
+Office because of having discovered the secret of the steamboat.
+Referring to the preface again, we find Balzac maintaining, in
+apparent candor, that he had historic authority for the statement that
+a boat propelled by steam-machinery had been in existence for a short
+time in those days. Be that as it may, one can accept the statement
+for dramatic purposes; and the story of the early inventor's struggles
+and his servant's "resources" is promising enough to leave but one
+regret--that the master-romancer did not make a novel instead of a
+play out of the material. Though this is called a comedy, it contains
+more than one element of tragedy in it, and the tone is moody and
+satirical. The climax, with its abortive love episode, is anything but
+satisfactory.
+
+/Pamela Giraud/, a drama in five acts, was first presented in the
+Gaite Theatre, Paris, September 26, 1843. It was published by Marchand
+in a single octavo volume, in the same year. The action takes place at
+Paris in 1815-24, during the Napoleonic conspiracies, under Louis
+XVIII. The Restoration has brought its strong undertow of subdued
+loyalty for the Corsican--an undertow of plots, among the old soldiers
+particularly, which for several years were of concern to more than one
+throne outside of France. The hero of this play becomes involved in
+one of the conspiracies, and it is only by the public sacrifice of the
+young girl Pamela's honor, that he is rescued. Then ensues a clash
+between policy and duty--a theme so congenial to Balzac, and here
+handled with characteristic deftness. We notice, also, a distinct
+improvement in workmanship. Scenes move more easily; dramatic values
+become coherent; characters stand out from the "chorus" on the stage.
+Pamela is a flesh-and-blood girl; Jules is real; Joseph is comically
+individual; Dupre is almost a strong creation, and nearly every one of
+the other principals is individual.
+
+/La Maratre/ (The Stepmother) is characterized as an "intimate" drama
+in five acts and eight tableaux. It was first presented at the
+Theatre-Historique, Paris, May 25, 1848. Its publication, by Michel
+Levy in the same year, was in brochure form. The time is just a little
+later than that of /Pamela Giraud/, and one similar motif is found in
+the Napoleonic influence still at work for years after Waterloo.
+Though this influence is apparently far beneath the surface, and does
+not here manifest itself in open plottings, it is nevertheless vital
+enough to destroy the happiness of a home--when mixed in the mortar of
+a woman's jealousy. The action is confined to a single chateau in
+Normandy. A considerable psychological element is introduced. The play
+is a genuine tragedy, built upon tense, striking lines. It is strong
+and modern enough to be suitable, with some changes, for our present
+day stage. The day of the playwright's immaturity (noticed in the
+three preceding plays) is past. With this, as with all of Balzac's
+work, he improved by slow, laborious plodding, gaining experience from
+repeated efforts until success was attained.
+
+In his dramas he was not to succeed at the first trial, nor the
+second, nor the third. But here at the fourth he has nearly grasped
+the secret of a successful play. While at the fifth--/Mercadet/--we
+are quite ready to cry "Bravo!" Who knows, if he had lived longer
+(these plays were written in the last years of their author's life),
+to what dramatic heights Balzac might have attained!
+
+To /Mercadet/ then we turn for the most striking example of the
+playwright's powers. This first appeared as /Le Faiseur/ (The
+Speculator), being originally written in 1838-40. Justice compels us
+to state, however, that another hand is present in the perfected play.
+In the original it was a comedy in five acts; but this was revamped
+and reduced to three acts by M. d'Ennery, before its presentation at
+the Gymnase Theatre, August 24, 1851. It was then re-christened
+/Mercadet/, and took its place as a 12mo brochure in the "Theatrical
+Library" in the same year. The original five-act version was first
+published as /Mercadet/, in /Le Pays/, August 28, 1851 (probably
+called forth by the presentation of the play four days earlier), and
+then appeared in book form, as /Le Faiseur/, from the press of Cadot,
+in 1853. It is of interest to note that the play was not presented
+till over a year subsequent to Balzac's death. The presented version
+in three acts has generally been regarded as the more acceptable, M.
+de Lovenjoul, the Balzacian commentator, recognizing its superior
+claims. It is the form now included in current French editions, and
+the one followed in the present edition.
+
+Although /Mercadet/, like the others, excited the ridicule of
+supercilious critics, it has proven superior to them and to time. As
+early as the year 1869, the Comedie Francaise--the standard French
+stage--added /Mercadet/ to its repertory; and more than one company in
+other theatres have scored success in its representation. The play
+contains situations full of bubbling humor and biting satire. Its
+motif is not sentiment. Instead, it inveighs against that spirit of
+greed and lust for gain which places a money value even upon
+affection. But during all the arraignment, Balzac, the born
+speculator, cannot conceal a sympathy for the wily Mercadet while the
+promoter's manoeuvres to escape his creditors must have been a
+recollection in part of some of Balzac's own pathetic struggles. For,
+like Dumas pere, Balzac was never able to square the debit side of his
+books--be his income never so great. The author of /Cesar Birotteau/
+and /Le Maison Nucingen/ here allows one more view of the seamy side
+of business.
+
+Structurally, too, the play is successful. With so great an element of
+chance in the schemes of the speculator, it would have been easy to
+transcend the limits of the probable. But the author is careful to
+maintain his balances. Situation succeeds plot, and catastrophe
+situation, until the final moment when the absconding partner actually
+arrives, to the astonishment of Mercadet more than all the rest. And
+with Mercadet's joyful exclamation, "I am a creditor!" the play has
+reached its logical final curtain.
+
+J. WALKER MCSPADDEN.
+
+
+
+
+
+End of the Project Gutenberg EBook of Introduction to the Dramas of Balzac
+by Epiphanius Wilson, J Walker McSpadden
+
+*** END OF THE PROJECT GUTENBERG EBOOK INTRO. DRAMAS OF BALZAC ***
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