Balzac received a long letter written in a woman's hand. As he read
it, there came to him something very like an inspiration, so full of
understanding were the written words, so full of appreciation and of
sympathy with the best that he had done. This anonymous note pointed out
here and there such defects as are apt to become chronic with a
young author. Balzac was greatly stirred by its keen and sympathetic
criticism. No one before had read his soul so clearly. No one--not even
his devoted sister, Laure de Surville--had judged his work so wisely,
had come so closely to his deepest feeling.
He read the letter over and over, and presently another came, full of
critical appreciation, and of wholesome, tonic, frank, friendly words
of cheer. It was very largely the effect of these letters that roused
Balzac's full powers and made him sure of winning the two great objects
of his first ambition--love and fame--the ideals of the chivalrous,
romantic Frenchman from Caesar's time down to the present day.
Other letters followed, and after a while their authorship was made
known to Balzac. He learned that they had been written by a young Polish
lady, Mme. Evelina Hanska, the wife of a Polish count, whose health was
feeble, and who spent much time in Switzerland because the climate there
agreed with him.
He met her first at Neuchatel, and found her all that he had imagined.
It is said that she had no sooner raised her face, and looked him
fully in the eyes, than she fell fainting to the floor, overcome by
her emotion. Balzac himself was deeply moved. From that day until their
final meeting he wrote to her daily.
The woman who had become his second soul was not beautiful.
Nevertheless, her face was intensely spiritual, and there was a mystic
quality about it which made a strong appeal to Balzac's innermost
nature. Those who saw him in Paris knocking about the streets at night
with his boon companions, hobnobbing with the elder Dumas, or rejecting
the frank advances of George Sand, would never have dreamed of this
mysticism.
Balzac was heavy and broad of figure. His face was suggestive only of
what was sensuous and sensual. At the same time, those few who looked
into his heart and mind found there many a sign of the fine inner strain
which purified the grosser elements of his nature. He who wrote the
roaring Rabelaisian Contes Drolatiques was likewise the author of
Seraphita.
This mysticism showed itself in many things that Balzac did. One little
incident will perhaps be sufficiently characteristic of many others. He
had a belief that names had a sort of esoteric appropriateness. So, in
selecting them for his novels, he gathered them with infinite pains from
many sources, and then weighed them anxiously in the balance. A writer
on the subject of names and their significance has given the following
account of this trait:
The great novelist once spent an entire day tramping about in the
remotest quarters of Paris in search of a fitting name for a character
just conceived by him. Every sign-board, every door-plate, every affiche
upon the walls, was scrutinized. Thousands of names were considered
and rejected, and it was only after his companion, utterly worn out by
fatigue, had flatly refused to drag his weary limbs through more than
one additional street, that Balzac suddenly saw upon a sign the name
"Marcas," and gave a shout of joy at having finally secured what he was
seeking.
Marcas it was, from that moment; and Balzac gradually evolved a
Christian name for him. First he considered what initial was most
appropriate; and then, having decided upon Z, he went on to expand this
into Zepherin, explaining minutely just why the whole name Zepherin
Marcas, was the only possible one for the character in the novel.
In many ways Balzac and Evelina Hanska were mated by nature. Whether
they were fully mated the facts of their lives must demonstrate. For the
present, the novelist plunged into a whirl of literary labor, toiling as
few ever toiled--constructing several novels at the same time, visiting
all the haunts of the French capital, so that he might observe and
understand every type of human being, and then hurling himself like a
giant at his work.
He had a curious practise of reading proofs. These would come to him in
enormous sheets, printed on special paper, and with wide margins for his
corrections. An immense table stood in the midst of his study, and upon
the top he would spread out the proofs as if they were vast maps. Then,
removing most of his outer garments, he would lie, face down, upon the
proof-sheets, with a gigantic pencil, such as Bismarck subsequently used
to wield. Thus disposed, he would go over the proofs.
Hardly anything that he had written seemed to suit him when he saw it
in print. He changed and kept changing, obliterating what he disliked,
writing in new sentences, revising others, and adding whole pages in the
margins, until perhaps he had practically made a new book. This process
was repeated several times; and how expensive it was may be judged from
the fact that his bill for "author's proof corrections" was sometimes
more than the publishers had agreed to pay him for the completed volume.
Sometimes, again, he would begin writing in the afternoon, and continue
until dawn. Then, weary, aching in every bone, and with throbbing head,
he would rise and turn to fall upon his couch after his eighteen hours
of steady toil. But the memory of Evelina Hanska always came to him;
and with half-numbed fingers he would seize his pen, and forget his
weariness in the pleasure of writing to the dark-eyed woman who drew him
to her like a magnet.
These are very curious letters that Balzac wrote to Mme. Hanska. He
literally told her everything about himself. Not only were there long
passages instinct with tenderness, and with his love for her; but he
also gave her the most minute account of everything that occurred, and
that might interest her. Thus he detailed at length his mode of living,
the clothes he wore, the people whom he met, his trouble with his
creditors, the accounts of his income and outgo. One might think that
this was egotism on his part; but it was more than that. It was a strong
belief that everything which concerned him must concern her; and he
begged her in turn to write as freely and as fully.
Mme. Hanska was not the only woman who became his friend and comrade,
and to whom he often wrote. He made many acquaintances in the
fashionable world through the good offices of the Duchesse de Castries.
By her favor, he studied with his microscopic gaze the beau monde of
Louis Philippe's rather unimpressive court.
In a dozen books he scourged the court of the citizen king--its
pretensions, its commonness, and its assemblage of nouveaux riches. Yet
in it he found many friends--Victor Hugo, the Girardins--and among them
women who were of the world. George Sand he knew very well, and she made
ardent love to him; but he laughed her off very much as the elder Dumas
did.
Then there was the pretty, dainty Mme. Carraud, who read and revised his
manuscripts, and who perhaps took a more intimate interest in him than
did the other ladies whom he came to know so well. Besides Mme. Hanska,
he had another correspondent who signed herself "Louise," but who never
let him know her name, though she wrote him many piquant, sunny letters,
which he so sadly needed.
For though Honore de Balzac was now one of the most famous writers of
his time, his home was still a den of suffering. His debts kept pressing
on him, loading him down, and almost quenching hope. He acted toward his
creditors like a man of honor, and his physical strength was still
that of a giant. To Mme. Carraud he once wrote the half pathetic, half
humorous plaint:
Poor pen! It must be diamond, not because one would wish to wear it, but
because it has had so much use!
And again:
Here I am, owing a hundred thousand francs. And I am forty!
Balzac and Mme. Hanska met many times after that first eventful episode
at Neuchatel. It was at this time that he gave utterance to the poignant
cry:
Love for me is life, and to-day I feel it more than ever!
In like manner he wrote, on leaving her, that famous epigram:
It is only the last love of a woman that can satisfy the first love of a
man.
In 1842 Mme. Hanska's husband died. Balzac naturally expected that an
immediate marriage with the countess would take place; but the woman
who had loved him mystically for twelve years, and with a touch of the
physical for nine, suddenly draws back. She will not promise anything.
She talks of delays, owing to the legal arrangements for her children.
She seems almost a prude. An American critic has contrasted her attitude
with his:
Every one knows how utterly and absolutely Balzac devoted to this one
woman all his genius, his aspiration, the thought of his every moment;
how every day, after he had labored like a slave for eighteen hours, he
would take his pen and pour out to her the most intimate details of his
daily life; how at her call he would leave everything and rush across
the continent to Poland or to Italy, being radiantly happy if he could
but see her face and be for a few days by her side. The very thought of
meeting her thrilled him to the very depths of his nature, and made him,
for weeks and even months beforehand, restless, uneasy, and agitated,
with an almost painful happiness.
It is the most startling proof of his immense vitality, both physical
and mental, that so tremendous an emotional strain could be endured
by him for years without exhausting his fecundity or blighting his
creativeness.
With Balzac, however, it was the period of his most brilliant work;
and this was true in spite of the anguish of long separations, and the
complaints excited by what appears to be caprice or boldness or a faint
indifference. Even in Balzac one notices toward the last a certain sense
of strain underlying what he wrote, a certain lack of elasticity and
facility, if of nothing more; yet on the whole it is likely that without
this friendship Balzac would have been less great than he actually
became, as it is certain that had it been broken off he would have
ceased to write or to care for anything whatever in the world.
And yet, when they were free to marry, Mme. Hanska shrank away. Not
until 1846, four years after her husband's death, did she finally give
her promise to the eager Balzac. Then, in the overflow of his happiness,
his creative genius blazed up into a most wonderful flame; but he soon
discovered that the promise was not to be at once fulfilled. The shock
impaired that marvelous vitality which had carried him through debt, and
want, and endless labor.
It was at this moment, by the irony of fate, that his country hailed him
as one of the greatest of its men of genius. A golden stream poured
into his lap. His debts were not all extinguished, but his income was so
large that they burdened him no longer.
But his one long dream was the only thing for which he cared; and though
in an exoteric sense this dream came true, its truth was but a mockery.
Evelina Hanska summoned him to Poland, and Balzac went to her at once.
There was another long delay, and for more than a year he lived as a
guest in the countess's mansion at Wierzchownia; but finally, in March,
1850, the two were married. A few weeks later they came back to France
together, and occupied the little country house, Les Jardies, in which,
some decades later, occurred Gambetta's mysterious death.
What is the secret of this strange love, which in the woman seems to be
not precisely love, but something else? Balzac was always eager for her
presence. She, on the other hand, seems to have been mentally more at
ease when he was absent. Perhaps the explanation, if we may venture upon
one, is based upon a well-known physiological fact.
Love in its completeness is made up of two great elements--first, the
element that is wholly spiritual, that is capable of sympathy, and
tenderness, and deep emotion. The other element is the physical,
the source of passion, of creative energy, and of the truly virile
qualities, whether it be in man or woman. Now, let either of these
elements be lacking, and love itself cannot fully and utterly exist.
The spiritual nature in one may find its mate in the spiritual nature
of another; and the physical nature of one may find its mate in the
physical nature of another. But into unions such as these, love does not
enter in its completeness. If there is any element lacking in either
of those who think that they can mate, their mating will be a sad and
pitiful failure.
It is evident enough that Mme. Hanska was almost wholly spiritual, and
her long years of waiting had made her understand the difference between
Balzac and herself. Therefore, she shrank from his proximity, and from
his physical contact, and it was perhaps better for them both that their
union was so quickly broken off by death; for the great novelist died of
heart disease only five months after the marriage.
If we wish to understand the mystery of Balzac's life--or, more truly,
the mystery of the life of the woman whom he married--take up and read
once more the pages of Seraphita, one of his poorest novels and yet a
singularly illuminating story, shedding light upon a secret of the soul.
CHARLES READE AND LAURA SEYMOUR
The instances of distinguished men, or of notable women, who have broken
through convention in order to find a fitting mate, are very numerous. A
few of these instances may, perhaps, represent what is usually called
a Platonic union. But the evidence is always doubtful. The world is not
possessed of abundant charity, nor does human experience lead one to
believe that intimate relations between a man and a woman are compatible
with Platonic friendship.
Perhaps no case is more puzzling than that which is found in the
life-history of Charles Reade and Laura Seymour.
Charles Reade belongs to that brilliant group of English writers and
artists which included Dickens, Bulwer-Lytton, Wilkie Collins, Tom
Taylor, George Eliot, Swinburne, Sir Walter Besant, Maclise, and Goldwin
Smith. In my opinion, he ranks next to Dickens in originality and power.
His books are little read to-day; yet he gave to the English stage the
comedy "Masks and Faces," which is now as much a classic as Goldsmith's
"She Stoops to Conquer" or Sheridan's "School for Scandal." His power as
a novelist was marvelous. Who can forget the madhouse episodes in Hard
Cash, or the great trial scene in Griffith Gaunt, or that wonderful
picture, in The Cloister and the Hearth, of Germany and Rome at the end
of the Middle Ages? Here genius has touched the dead past and made it
glow again with an intense reality.
He was the son of a country gentleman, the lord of a manor which had
been held by his family before the Wars of the Boses. His ancestors had
been noted for their services in warfare, in Parliament, and upon the
bench. Reade, therefore, was in feeling very much of an aristocrat.
Sometimes he pushed his ancestral pride to a whimsical excess, very much
as did his own creation, Squire Raby, in Put Yourself in His Place.
At the same time he might very well have been called a Tory democrat.
His grandfather had married the daughter of a village blacksmith, and
Reade was quite as proud of this as he was of the fact that another
ancestor had been lord chief justice of England. From the sturdy
strain which came to him from the blacksmith he, perhaps, derived
that sledge-hammer power with which he wrote many of his most famous
chapters, and which he used in newspaper controversies with his
critics. From his legal ancestors there may have come to him the love
of litigation, which kept him often in hot water. From those who had
figured in the life of royal courts, he inherited a romantic nature,
a love of art, and a very delicate perception of the niceties of
cultivated usage. Such was Charles Reade--keen observer, scholar,
Bohemian--a man who could be both rough and tender, and whose boisterous
ways never concealed his warm heart.
Reade's school-days were Spartan in their severity. A teacher with
the appropriate name of Slatter set him hard tasks and caned him
unmercifully for every shortcoming. A weaker nature would have been
crushed. Reade's was toughened, and he learned to resist pain and to
resent wrong, so that hatred of injustice has been called his dominating
trait.
In preparing himself for college he was singularly fortunate in his
tutors. One of them was Samuel Wilberforce, afterward Bishop of Oxford,
nicknamed, from his suavity of manner, "Soapy Sam"; and afterward, when
Reade was studying law, his instructor was Samuel Warren, the author
of that once famous novel, Ten Thousand a Year, and the creator of
"Tittlebat Titmouse."
For his college at Oxford, Reade selected one of the most beautiful
and ancient--Magdalen--which he entered, securing what is known as a
demyship. Reade won his demyship by an extraordinary accident. Always an
original youth, his reading was varied and valuable; but in his studies
he had never tried to be minutely accurate in small matters. At that
time every candidate was supposed to be able to repeat, by heart, the
"Thirty-Nine Articles." Reade had no taste for memorizing; and out of
the whole thirty-nine he had learned but three. His general examination
was good, though not brilliant. When he came to be questioned orally,
the examiner, by a chance that would not occur once in a million times,
asked the candidate to repeat these very articles. Reade rattled them
off with the greatest glibness, and produced so favorable an impression
that he was let go without any further questioning.
It must be added that his English essay was original, and this also
helped him; but had it not been for the other great piece of luck he
would, in Oxford phrase, have been "completely gulfed." As it was,
however, he was placed as highly as the young men who were afterward
known as Cardinal Newman and Sir Robert Lowe (Lord Sherbrooke).
At the age of twenty-one, Reade obtained a fellowship, which entitled
him to an income so long as he remained unmarried. It is necessary to
consider the significance of this when we look at his subsequent career.
The fellowship at Magdalen was worth, at the outset, about twelve
hundred dollars annually, and it gave him possession of a suite of rooms
free of any charge. He likewise secured a Vinerian fellowship in law, to
which was attached an income of four hundred dollars. As time went
on, the value of the first fellowship increased until it was worth
twenty-five hundred dollars. Therefore, as with many Oxford men of
his time, Charles Reade, who had no other fortune, was placed in this
position--if he refrained from marrying, he had a home and a moderate
income for life, without any duties whatsoever. If he married, he must
give up his income and his comfortable apartments, and go out into the
world and struggle for existence.
There was the further temptation that the possession of his fellowship
did not even necessitate his living at Oxford. He might spend his time
in London, or even outside of England, knowing that his chambers at
Magdalen were kept in order for him, as a resting-place to which he
might return whenever he chose.
Reade remained a while at Oxford, studying books and men--especially the
latter. He was a great favorite with the undergraduates, though less so
with the dons. He loved the boat-races on the river; he was a prodigious
cricket-player, and one of the best bowlers of his time. He utterly
refused to put on any of the academic dignity which his associates
affected. He wore loud clothes. His flaring scarfs were viewed as being
almost scandalous, very much as Longfellow's parti-colored waistcoats
were regarded when he first came to Harvard as a professor.
Charles Reade pushed originality to eccentricity. He had a passion for
violins, and ran himself into debt because he bought so many and such
good ones. Once, when visiting his father's house at Ipsden, he shocked
the punctilious old gentleman by dancing on the dining-table to the
accompaniment of a fiddle, which he scraped delightedly. Dancing,
indeed, was another of his diversions, and, in spite of the fact that he
was a fellow of Magdalen and a D.C.L. of Oxford, he was always ready to
caper and to display the new steps.
In the course of time, he went up to London; and at once plunged into
the seething tide of the metropolis. He made friends far and wide, and
in every class and station--among authors and politicians, bishops and
bargees, artists and musicians. Charles Reade learned much from all of
them, and all of them were fond of him.
But it was the theater that interested him most. Nothing else seemed to
him quite so fine as to be a successful writer for the stage. He viewed
the drama with all the reverence of an ancient Greek. On his tombstone
he caused himself to be described as "Dramatist, novelist, journalist."
"Dramatist" he put first of all, even after long experience had shown
him that his greatest power lay in writing novels. But in this early
period he still hoped for fame upon the stage.
It was not a fortunate moment for dramatic writers. Plays were bought
outright by the managers, who were afraid to risk any considerable sum,
and were very shy about risking anything at all. The system had not yet
been established according to which an author receives a share of the
money taken at the box-office. Consequently, Reade had little or no
financial success. He adapted several pieces from the French, for which
he was paid a few bank-notes. "Masks and Faces" got a hearing, and drew
large audiences, but Reade had sold it for a paltry sum; and he shared
the honors of its authorship with Tom Taylor, who was then much better
known.
Such was the situation. Reade was personally liked, but his plays were
almost all rejected. He lived somewhat extravagantly and ran into debt,
though not very deeply. He had a play entitled "Christie Johnstone,"
which he believed to be a great one, though no manager would venture
to produce it. Reade, brooding, grew thin and melancholy. Finally, he
decided that he would go to a leading actress at one of the principal
theaters and try to interest her in his rejected play. The actress he
had in mind was Laura Seymour, then appearing at the Haymarket under the
management of Buckstone; and this visit proved to be the turning-point
in Reade's whole life.
Laura Seymour was the daughter of a surgeon at Bath--a man in large
practise and with a good income, every penny of which he spent. His
family lived in lavish style; but one morning, after he had sat up all
night playing cards, his little daughter found him in the dining-room,
stone dead. After his funeral it appeared that he had left no provision
for his family. A friend of his--a Jewish gentleman of Portuguese
extraction--showed much kindness to the children, settling their affairs
and leaving them with some money in the bank; but, of course, something
must be done.
The two daughters removed to London, and at a very early age Laura had
made for herself a place in the dramatic world, taking small parts at
first, but rising so rapidly that in her fifteenth year she was cast
for the part of Juliet. As an actress she led a life of strange
vicissitudes. At one time she would be pinched by poverty, and at
another time she would be well supplied with money, which slipped
through her fingers like water. She was a true Bohemian, a
happy-go-lucky type of the actors of her time.
From all accounts, she was never very beautiful; but she had an instinct
for strange, yet effective, costumes, which attracted much attention.
She has been described as "a fluttering, buoyant, gorgeous little
butterfly." Many were drawn to her. She was careless of what she did,
and her name was not untouched with scandal. But she lived through it
all, and emerged a clever, sympathetic woman of wide experience, both on
the stage and off it.
One of her admirers--an elderly gentleman named Seymour--came to her one
day when she was in much need of money, and told her that he had just
deposited a thousand pounds to her credit at the bank. Having said
this, he left the room precipitately. It was the beginning of a sort of
courtship; and after a while she married him. Her feeling toward him was
one of gratitude. There was no sentiment about it; but she made him a
good wife, and gave no further cause for gossip.