Published by Good Press, 2019

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      EAN 4064066245832

Table of Contents

       INTRODUCTION

       I

       PIERRETTE

       PIERRETTE

       I

       II

       III

       IV

       V

       VI

       VII

       VIII

       IX

       X

       ADDENDUM

       THE VICAR OF TOURS

       THE VICAR OF TOURS

       I

       ADDENDUM

       THE TWO BROTHERS

       THE TWO BROTHERS

       CHAPTER I

       CHAPTER II

       CHAPTER III

       CHAPTER IV

       CHAPTER V

       CHAPTER VI

       CHAPTER VII

       CHAPTER VIII

       CHAPTER IX

       CHAPTER X

       CHAPTER XI

       CHAPTER XII

       CHAPTER XIII

       CHAPTER XIV

       CHAPTER XV

       CHAPTER XVI

       CHAPTER XVII

       ADDENDUM

INTRODUCTION

       Table of Contents

      Les Celibataires, the longest number of the original Comedie Humaine under a single title, next to Illusions perdues, is not, like that book, connected by any unity of story. Indeed, the general bond of union is pretty weak; and though it is quite true that bachelors and old maids are the heroes and heroines of all three, it would be rather hard to establish any other bond of connection, and it is rather unlikely that any one unprompted would fix on this as a sufficient ground of partnership.

      Two at least of the component parts, however, are of very high excellence. I do not myself think that Pierrette, which opens the series, is quite the equal of its companions. Written, as it was, for Countess Anna de Hanska, Balzac's step-daughter of the future, while she was still very young, it partakes necessarily of the rather elaborate artificiality of all attempts to suit the young person, of French attempts in particular, and it may perhaps be said of Balzac's attempts most of all. It belongs, in a way, to the Arcis series—the series which also includes the fine Tenebreuse Affaire and the unfinished Depute d'Arcis—but is not very closely connected therewith. The picture of the actual Celibataires, the brother and sister Rogron, with which it opens, is one of Balzac's best styles, and is executed with all his usual mastery both of the minute and of the at least partially repulsive, showing also that strange knowledge of the bourgeois de Paris which, somehow or other, he seems to have attained by dint of unknown foregatherings in his ten years of apprenticeship. But when we come to Pierrette herself, the story is, I think, rather less satisfying. Her persecutions and her end, and the devotion of the faithful Brigaut and the rest, are pathetic no doubt, but tend (I hope it is not heartless to say it) just a very little towards sensiblerie. The fact is that the thing is not quite in Balzac's line.

      Le Cure de Tours, is certainly on a higher level, and has attracted the most magnificent eulogies from some of the novelist's admirers. I think both Mr. Henry James and Mr. Wedmore have singled out this little piece for detailed and elaborate praise, and there is no doubt that it is a happy example of a kind in which the author excelled. The opening, with its evident but not obtruded remembrance of the old and well-founded superstition—derived from the universal belief in some form of Nemesis—that an extraordinary sense of happiness, good luck, or anything of the kind, is a precursor