Introduction to the Dramas of Balzac | Page 2

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