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diff --git a/8598.txt b/8598.txt new file mode 100644 index 0000000..0390034 --- /dev/null +++ b/8598.txt @@ -0,0 +1,796 @@ +The Project Gutenberg EBook of Introduction to the Dramas of Balzac, by +Epiphanius Wilson and J. Walker McSpadden + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Introduction to the Dramas of Balzac + +Author: Epiphanius Wilson and J. Walker McSpadden + +Release Date: February 3, 2006 [EBook #8598] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK 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 and J. Walker McSpadden + +*** END OF THIS PROJECT GUTENBERG EBOOK DRAMAS OF BALZAC *** + +***** This file should be named 8598.txt or 8598.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/8/5/9/8598/ + +Produced by John Bickers and Dagny + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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