"Work crowned by the French Academy" is a significant line borne by
the title-page of the original edition of Messieurs Cerfberr and
Christophe's monumental work. The motto indicates the high esteem in
which the French authorities hold this very necessary adjunct to the
great Balzacian structure. And even without this word of approval, the
intelligent reader needs but a glance within the pages of the
/Repertory of the Comedie Humaine/ to convince him at once of its
utility.
In brief, the purpose of the /Repertory/ is to give in alphabetical
sequence the names of all the characters forming this Balzacian
society, together with the salient points in their lives. It is, of
course, well known that Balzac made his characters appear again and
again, thus creating out of his distinct novels a miniature world. To
cite a case in point, Rastignac, who comes as near being the hero of
the /Comedie/ as any other single character, makes his first
appearance in /Father Goriot/, as a student of law; then appearing and
disappearing fitfully in a score of principal novels, he is finally
made a minister and peer of France. Without the aid of the /Repertory/
it would be difficult for any save a reader of the entire /Comedie/ to
trace out his career. But here it is arranged in temporal sequence,
thus giving us a concrete view of the man and his relation to this
society.
In reading any separate story, when reference is made in passing to a
character, the reader will find it helpful and interesting to turn to
the /Repertory/ and find what manner of man it is that is under
advisement. A little systematic reading of this nature will speedily
render the reader a "confirmed Balzacian."
A slight confusion may arise in the use of the /Repertory/ on account
of the subdivision of titles. This is the fault neither of Messieurs
Cerfberr and Christophe nor of the translator, but of Balzac himself,
who was continually changing titles, dividing and subdividing stories,
and revamping and working other changes in his books. /Cousin Betty/
and /Cousin Pons/ were placed together by him under the general title
of /Poor Relations/. Being separate stories, we have retained the
separate titles. Similarly, the three divisions of /Lost Illusions/
were never published together until 1843--in the first complete
edition of the /Comedie/; before assuming final shape its parts had
received several different titles. In the present text the editor has
deemed it best to retain two of the parts under /Lost Illusions/,
while the third, which presents a separate Rubempre episode, is given
as /A Distinguished Provincial at Paris/. The three parts of /The
Thirteen/--/Ferragus/, /The Duchess of Langeais/, and /The Girl with
the Golden Eyes/--are given under the general title. The fourth part
of /Scenes from a Courtesan's Life/, /Vautrin's Last Avatar/, which
until the Edition Definitive had been published separately, is here
merged into its final place. But the three parts of /The Celibates/--
/Pierrette/, /The Vicar of Tours/ and /A Bachelor's Establishment/,
being detached, are given separately. Other minor instances occur, but
should be readily cleared up by reference to the Indices, also to the
General Introduction given elsewhere.
In the preparation of this English text, great care has been exercised
to gain accuracy--a quality not found in other versions now extant. In
one or two instances, errors have been discovered in the original
French, notably in dates--probably typographical errors--which have
been corrected by means of foot-notes. A few unimportant elisions have
been made for the sake of brevity and coherence. Many difficulties
confront the translator in the preparation of material of this nature,
involving names, dates and titles. Opportunities are constantly
afforded for error, and the work must necessarily be painstaking in
order to be successful. We desire here to express appreciation for the
valuable assistance of Mr. Norman Hinsdale Pitman.
To Balzac, more than to any other author, a Repertory of characters is
applicable; for he it was who not only created an entire human
society, but placed therein a multitude of personages so real, so
distinct with vitality, that biographies of them seem no more than
simple justice. We can do no more, then, than follow the advice of
Balzac--to quote again from the original title-page--and "give a
parallel to the civil register."