Honore de Balzac, His Life and WritingsSandars, Mary Frances
General
Honore de Balzac, His Life and Writings
Sandars, Mary Frances
Balzac, Honoré de, 1799-1850; Novelists, French -- 19th century -- Biography
society, will group themselves according to their rank. In these
pictures I shall follow the effect of Thought on Life. Then another
work, entitled 'History of the Succession of the Marquis of Carabas,'
will formulate the life of nations, the phases of their governments,
and will show decidedly that politics turn in one circle, and are
evidently stationary; and that repose can only be found in the strong
government of a hierarchy."
[*] Letters sent by the Vicomte de Spoelberch de Lovenjoul to the
_Revue Bleue_, November 14th, 1903.
The "Peau de Chagrin," which is a powerful satire on the vice and
selfishness of the day, suffers in its allegorical, though not in its
humanly interesting side, by the vivid picture it gives of Balzac's
youth; as, in spite of the introduction of the influence of the magic
Ass Skin, the account of Raphael in the early part of the book, as the
frugal, determined genius with high intellectual aspirations, does not
harmonise with his weak, despicable character as it unfolds itself
subsequently. The critics exercised their minds greatly about the
identity of the heroines, the beautiful and heartless Fedora--in whom
apparently many ladies recognised their own portrait--and the humble
and exquisite Pauline, type of devoted and self-forgetting love.
Mademoiselle Pelissier, who possessed an income of twenty-five
thousand francs, and had a house in the Rue Neuve-du-Luxembourg, where
she held a salon much frequented by political personalities of the
day, was identified by popular gossip as the model of Fedora. It was
said by Parisian society that Balzac was anxious to marry her, but
that the lady, who afterwards became Madame Rossini, refused to listen
to his suit, though she confessed to a great admiration for his
fascinating black eyes.
The original of Pauline has never been discovered, but, possibly with
a few traits borrowed from Madame de Berny, she is what Balzac
describes in the last pages of "La Peau de Chagrin" as an "ideal, as a
visionary face in the fire, a face with unimaginable delicate
outlines, a floating apparition, which no chance will ever bring back
again."
Public-domain text, read in full here on John Shaqi.
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