The Physiology of Marriage, Part 1Balzac, Honoré de
Philosophy
The Physiology of Marriage, Part 1
Balzac, Honoré de
Marriage -- Humor
This effort only succeeded in wearying his fastidious ears, and
he took the bow with both hands and snapped it in two on the innocent
instrument, source of harmony and delight. It seemed as if I saw
before me a schoolboy holding under him a companion lying face
downwards, while he pommeled him with a shower of blows from his fist,
as if to punish him for some delinquency. The violin being now tried
and condemned, the monkey sat down upon the fragments of it and amused
himself with stupid joy in mixing up the yellow strings of the broken
bow.
Never since that day have I been able to look upon the home of the
predestined without comparing the majority of husbands to this
orang-outang trying to play the violin.
Love is the most melodious of all harmonies and the sentiment of love
is innate. Woman is a delightful instrument of pleasure, but it is
necessary to know its trembling strings, to study the position of
them, the timid keyboard, the fingering so changeful and capricious
which befits it. How many monkeys--men, I mean--marry without knowing
what a woman is! How many of the predestined proceed with their wives
as the ape of Cassan did with his violin! They have broken the heart
which they did not understand, as they might dim and disdain the
amulet whose secret was unknown to them. They are children their whole
life through, who leave life with empty hands after having talked
about love, about pleasure, about licentiousness and virtue as slaves
talk about liberty. Almost all of them married with the most profound
ignorance of women and of love. They commenced by breaking in the door
of a strange house and expected to be welcomed in this drawing-room.
But the rudest artist knows that between him and his instrument, of
wood, or of ivory, there exists a mysterious sort of friendship. He
knows by experience that it takes years to establish this
understanding between an inert matter and himself. He did not
discover, at the first touch, the resources, the caprices, the
deficiencies, the excellencies of his instrument. It did not become a
living soul for him, a source of incomparable melody until he had
studied for a long time; man and instrument did not come to understand
each other like two friends, until both of them had been skillfully
questioned and tested by frequent intercourse.
Public-domain text, read in full here on John Shaqi.
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