Kitabı oku: «The Human Comedy: Introductions and Appendix»
HONORE DE BALZAC
"Sans genie, je suis flambe!"
Volumes, almost libraries, have been written about Balzac; and perhaps of very few writers, putting aside the three or four greatest of all, is it so difficult to select one or a few short phrases which will in any way denote them, much more sum them up. Yet the five words quoted above, which come from an early letter to his sister when as yet he had not "found his way," characterize him, I think, better than at least some of the volumes I have read about him, and supply, when they are properly understood, the most valuable of all keys and companions for his comprehension.
"If I have not genius, it is all up with me!" A very matter-of-fact person may say: "Why! there is nothing wonderful in this. Everybody knows what genius is wanted to make a name in literature, and most people think they have it." But this would be a little short-sighted, and only excusable because of the way in which the word "genius" is too commonly bandied about. As a matter of fact, there is not so very much genius in the world; and a great deal of more than fair performance is attainable and attained by more or less decent allowances or exhibitions of talent. In prose, more especially, it is possible to gain a very high place, and to deserve it, without any genius at all: though it is difficult, if not impossible, to do so in verse. But what Balzac felt (whether he was conscious in detail of the feeling or not) when he used these words to his sister Laure, what his critical readers must feel when they have read only a very little of his work, what they must feel still more strongly when they have read that work as a whole – is that for him there is no such door of escape and no such compromise. He had the choice, by his nature, his aims, his capacities, of being a genius or nothing. He had no little gifts, and he was even destitute of some of the separate and indivisible great ones. In mere writing, mere style, he was not supreme; one seldom or never derives from anything of his the merely artistic satisfaction given by perfect prose. His humor, except of the grim and gigantic kind, was not remarkable; his wit, for a Frenchman, curiously thin and small. The minor felicities of the literature generally were denied to him. Sans genie, il etait flambe; flambe as he seemed to be, and very reasonably seemed, to his friends when as yet the genius had not come to him, and when he was desperately striving to discover where his genius lay in those wonderous works which "Lord R'Hoone," and "Horace de Saint Aubin," and others obligingly fathered for him.
It must be the business of these introductions to give what assistance they may to discover where it did lie; it is only necessary, before taking up the task in the regular biographical and critical way of the introductory cicerone, to make two negative observations. It did not lie, as some have apparently thought, in the conception, or the outlining, or the filling up of such a scheme as the Comedie Humaine. In the first place, the work of every great writer, of the creative kind, including that of Dante himself, is a comedie humaine. All humanity is latent in every human being; and the great writers are merely those who call most of it out of latency and put it actually on the stage. And, as students of Balzac know, the scheme and adjustment of his comedy varied so remarkably as time went on that it can hardly be said to have, even in its latest form (which would pretty certainly have been altered again), a distinct and definite character. Its so-called scenes are even in the mass by no means exhaustive, and are, as they stand, a very "cross," division of life: nor are they peopled by anything like an exhaustive selection of personages. Nor again is Balzac's genius by any means a mere vindication of the famous definition of that quality as an infinite capacity of taking pains. That Balzac had that capacity – had it in a degree probably unequaled even by the dullest plodders on record – is very well known, is one of the best known things about him. But he showed it for nearly ten years before the genius came, and though no doubt it helped him when genius had come, the two things are in his case, as in most, pretty sufficiently distinct. What the genius itself was I must do my best to indicate hereafter, always beseeching the reader to remember that all genius is in its essence and quiddity indefinable. You can no more get close to it than you can get close to the rainbow, and your most scientific explanation of it will always leave as much of the heart of the fact unexplained as the scientific explanation of the rainbow leaves of that.
Honore de Balzac was born at Tours on the 16th of May, 1799, in the same year which saw the birth of Heine, and which therefore had the honor of producing perhaps the most characteristic writers of the nineteenth century in prose and verse respectively. The family was a respectable one, though its right to the particle which Balzac always carefully assumed, subscribing himself "de Balzac," was contested. And there appears to be no proof of their connection with Jean Guez de Balzac, the founder, as some will have him, of modern French prose, and the contemporary and fellow-reformer of Malherbe. (Indeed, as the novelist pointed out with sufficient pertinence, his earlier namesake had no hereditary right to the name at all, and merely took it from some property.) Balzac's father, who, as the zac pretty surely indicates, was a southerner and a native of Languedoc, was fifty-three years old at the birth of his son, whose Christian name was selected on the ordinary principle of accepting that of the saint on whose day he was born. Balzac the elder had been a barrister before the Revolution, but under it he obtained a post in the commissariat, and rose to be head of that department for a military division. His wife, who was much younger than himself and who survived her son, is said to have possessed both beauty and fortune, and was evidently endowed with the business faculties so common among Frenchwomen. When Honore was born, the family had not long been established at Tours, where Balzac the elder (besides his duties) had a house and some land; and this town continued to be their headquarters till the novelist, who was the eldest of the family, was about sixteen. He had two sisters (of whom the elder, Laure, afterwards Madame Surville, was his first confidante and his only authoritative biographer) and a younger brother, who seems to have been, if not a scapegrace, rather a burden to his friends, and who later went abroad.
The eldest boy was, in spite of Rousseau, put out to nurse, and at seven years old was sent to the Oratorian grammar-school at Vendome, where he stayed another seven years, going through, according to his own account, the future experiences and performances of Louis Lambert, but making no reputation for himself in the ordinary school course. If, however, he would not work in his teacher's way, he overworked himself in his own by devouring books; and was sent home at fourteen in such a state of health that his grandmother (who after the French fashion, was living with her daughter and son-in-law), ejaculated: "Voila donc comme le college nous renvoie les jolis enfants que nous lui envoyons!" It would seem indeed that, after making all due allowance for grandmotherly and sisterly partiality, Balzac was actually a very good-looking boy and young man, though the portraits of him in later life may not satisfy the more romantic expectations of his admirers. He must have had at all times eyes full of character, perhaps the only feature that never fails in men of intellectual eminence; but he certainly does not seem to have been in his manhood either exactly handsome or exactly "distinguished-looking." But the portraits of the middle of the century are, as a rule, rather wanting in this characteristic when compared with those of its first and last periods; and I cannot think of many that quite come up to one's expectations.
For a short time he was left pretty much to himself, and recovered rapidly. But late in 1814 a change of official duties removed the Balzacs to Paris, and when they had established themselves in the famous old bourgeois quarter of the Marais, Honore was sent to divers private tutors or private schools till he had "finished his classes" in 1816 at the age of seventeen and a half. Then he attended lectures at the Sorbonne where Villemain, Guizot, and Cousin were lecturing, and heard them, as his sister tells us, enthusiastically, though there are probably no three writers of any considerable repute in the history of French literature who stand further apart from Balzac. For all three made and kept their fame by spirited and agreeable generalizations and expatiations, as different as possible from the savage labor of observation on the one hand and the gigantic developments of imagination on the other, which were to compose Balzac's appeal. His father destined him for the law; and for three years more he dutifully attended the offices of an attorney and a notary, besides going through the necessary lectures and examinations. All these trials he seems to have passed, if not brilliantly, yet sufficiently.
And then came the inevitable crisis, which was of an unusually severe nature. A notary, who was a friend of the elder Balzac's and owed him some gratitude offered not merely to take Honore into his office, but to allow him to succeed to his business, which was a very good one, in a few years on very favorable terms. Most fathers, and nearly all French fathers, would have jumped at this; and it so happened that about the same time M. de Balzac was undergoing that unpleasant process of compulsory retirement which his son has described in one of the best passages of the Oeuvres de Jeunesse, the opening scene of Argow le Pirate. It does not appear that Honore had revolted during his probation – indeed he is said, and we can easily believe it from his books, to have acquired a very solid knowledge of law, especially in bankruptcy matters, of which he was himself to have a very close shave in future. A solicitor, indeed, told Laure de Balzac that he found Cesar Birotteau a kind of Balzac on Bankruptcy; but this may have been only the solicitor's fun.
It was no part of Honore's intentions to use this knowledge – however content he had been to acquire it – in the least interesting, if nearly the most profitable, of the branches of the legal profession; and he protested eloquently, and not unsuccessfully, that he would be a man of letters and nothing else. Not unsuccessfully; but at the same time with distinctly qualified success. He was not turned out of doors; nor were the supplies, as in Quinet's case only a few months later, absolutely withheld even for a short time. But his mother (who seems to have been less placable than her husband) thought that cutting them down to the lowest point might have some effect. So, as the family at this time (April 1819) left Paris for a house some twenty miles out of it, she established her eldest son in a garret furnished in the most Spartan fashion, with a starvation allowance and an old woman to look after him. He did not literally stay in this garret for the ten years of his astonishing and unparalleled probation; but without too much metaphor it may be said to have been his Wilderness, and his Wanderings in it to have lasted for that very considerable time.
We know, in detail, very little of him during the period. For the first years, between 1819 and 1822, we have a good number of letters to Laure; between 1822 and 1829, when he first made his mark, very few. He began, of course, with verse, for which he never had the slightest vocation, and, almost equally of course, with a tragedy. But by degrees and apparently pretty soon, he slipped into what was his vocation, and like some, though not very many, great writers, at first did little better in it than if it had not been his vocation at all. The singular tentatives which, after being allowed for a time a sort of outhouse in the structure of the Comedie Humaine, were excluded from the octavo Edition Definitive five-and-twenty years ago, have never been the object of that exhaustive bibliographical and critical attention which has been bestowed on those which follow them. They were not absolutely unproductive – we hear of sixty, eighty, a hundred pounds being paid for them, though whether this was the amount of Balzac's always sanguine expectations, or hard cash actually handed over, we cannot say. They were very numerous, though the reprints spoken of above never extended to more than ten. Even these have never been widely read. The only person I ever knew till I began this present task who had read them through was the friend whom all his friends are now lamenting and are not likely soon to cease to lament, Mr. Louis Stevenson; and when I once asked him whether, on his honor and conscience, he could recommend me to brace myself to the same effort, he said that on his honor and conscience he must most earnestly dissuade me. I gather, though I am not sure, that Mr. Wedmore, the latest writer in English on Balzac at any length, had not read them through when he wrote.
Now I have, and a most curious study they are. Indeed I am not sorry, as Mr. Wedmore thinks one would be. They are curiously, interestingly, almost enthrallingly bad. Couched for the most part in a kind of Radcliffian or Monk-Lewisian vein – perhaps studied more directly from Maturin (of whom Balzac was a great admirer) than from either – they often begin with and sometimes contain at intervals passages not unlike the Balzac that we know. The attractive title of Jane la Pale (it was originally called, with a still more Early Romantic avidity for baroque titles, Wann-Chlore) has caused it, I believe, to be more commonly read than any other. It deals with a disguised duke, a villainous Italian, bigamy, a surprising offer of the angelic first wife to submit to a sort of double arrangement, the death of the second wife and first love, and a great many other things. Argow le Pirate opens quite decently and in order with that story of the employe which Balzac was to rehandle so often, but drops suddenly into brigands stopping diligences, the marriage of the heroine Annette with a retired pirate marquis of vast wealth, the trial of the latter for murdering another marquis with a poisoned fish-bone scarf-pin, his execution, the sanguinary reprisals by his redoubtable lieutenant, and a finale of blunderbusses, fire, devoted peasant girl with retrousse nose, and almost every possible tremblement.
In strictness mention of this should have been preceded by mention of Le Vicaire des Ardennes, which is a sort of first part of Argow le Pirate, and not only gives an account of his crimes, early history, and manners (which seem to have been a little robustious for such a mild-mannered man as Annette's husband), but tells a thrilling tale of the loves of the vicaire himself and a young woman, which loves are crossed, first by the belief that they are brother and sister, and secondly by the vicaire having taken orders under this delusion. La Derniere Fee is the queerest possible cross between an actual fairy story a la Nordier and a history of the fantastic and inconstant loves of a great English lady, the Duchess of "Sommerset" (a piece of actual scandalum magnatum nearly as bad as Balzac's cool use in his acknowledged work of the title "Lord Dudley"). This book begins so well that one expects it to go on better; but the inevitable defects in craftsmanship show themselves before long. Le Centenaire connects itself with Balzac's almost lifelong hankering after the recherche de l'absolu in one form or another, for the hero is a wicked old person who every now and then refreshes his hold on life by immolating a virgin under a copper-bell. It is one of the most extravagant and "Monk-Lewisy" of the whole. L'Excommunie, L'Israelite, and L'Heritiere de Birague are mediaeval or fifteenth century tales of the most luxuriant kind, L'Excommunie being the best, L'Israelite the most preposterous, and L'Heritiere de Birague the dullest. But it is not nearly so dull as Dom Gigadus and Jean Louis, the former of which deals with the end of the seventeenth century and the latter with the end of the eighteenth. These are both as nearly unreadable as anything can be. One interesting thing, however, should be noted in much of this early work: the affectionate clinging of the author to the scenery of Touraine, which sometimes inspires him with his least bad passages.
It is generally agreed that these singular Oeuvres de Jeunesse were of service to Balzac as exercise, and no doubt they were so; but I think something may be said on the other side. They must have done a little, if not much, to lead him into and confirm him in those defects of style and form which distinguish him so remarkably from most writers of his rank. It very seldom happens when a very young man writes very much, be it book-writing or journalism, without censure and without "editing," that he does not at the same time get into loose and slipshod habits. And I think we may set down to this peculiar form of apprenticeship of Balzac's not merely his failure ever to attain, except in passages and patches, a thoroughly great style, but also that extraordinary method of composition which in after days cost him and his publishers so much money.
However, if these ten years of probation taught him his trade, they taught him also a most unfortunate avocation or by-trade, which he never ceased to practise, or to try to practise, which never did him the least good, and which not unfrequently lost him much of the not too abundant gains which he earned with such enormous labor. This was the "game of speculation." His sister puts the tempter's part on an unknown "neighbor," who advised him to try to procure independence by une bonne speculation. Those who have read Balzac's books and his letters will hardly think that he required much tempting. He began by trying to publish – an attempt which has never yet succeeded with a single man of letters, so far as I can remember. His scheme was not a bad one, indeed it was one which has brought much money to other pockets since, being neither more nor less than the issuing of cheap one-volume editions of French classics. But he had hardly any capital; he was naturally quite ignorant of his trade, and as naturally the established publishers and booksellers boycotted him as an intruder. So his Moliere and his La Fontaine are said to have been sold as waste paper, though if any copies escaped they would probably fetch a very comfortable price now. Then, such capital as he had having been borrowed, the lender, either out of good nature or avarice, determined to throw the helve after the hatchet. He partly advanced himself and partly induced Balzac's parents to advance more, in order to start the young man as a printer, to which business Honore himself added that of typefounder. The story was just the same: knowledge and capital were again wanting, and though actual bankruptcy was avoided, Balzac got out of the matter at the cost not merely of giving the two businesses to a friend (in whose hands they proved profitable), but of a margin of debt from which he may be said never to have fully cleared himself.
The effect of this singular combination of qualities, apparently the most opposite, may be partly anticipated, but not quite. It results occasionally in a certain shortcoming as regards verite vraie, absolute artistic truth to nature. Those who would range Balzac in point of such artistic veracity on a level with poetical and universal realists like Shakespeare and Dante, or prosaic and particular realists like Thackeray and Fielding, seem not only to be utterly wrong but to pay their idol the worst of all compliments, that of ignoring his own special qualifications. The province of Balzac may not be – I do no think it is – identical, much less co-extensive, with that of nature. But it is his own – a partly real, partly fantastic region, where the lights, the shades, the dimensions, and the physical laws are slightly different from those of this world of ours, but with which, owing to the things it has in common with that world, we are able to sympathize, which we can traverse and comprehend. Every now and then the artist uses his observing faculty more, and his magnifying and distorting lens less; every now and then he reverses the proportion. Some tastes will like him best in the one stage; some in the other; the happier constituted will like him best in both. These latter will decline to put Eugenie Grandet above the Peau de Chagrin, or Le Pere Goriot above the wonderful handful of tales which includes La Recherche de l'Absolu and Le Chef-d'oeuvre Inconnu, though they will no doubt recognize that even in the first two named members of these pairs the Balzacian quality, that of magnifying and rendering grandiose, is present, and that the martyrdom of Eugenie, the avarice of her father, the blind self-devotion of Goriot to his thankless and worthless children, would not be what they are if they were seen through a perfectly achromatic and normal medium.
This specially Balzacian quality is, I think, unique. It is like – it may almost be said to be– the poetic imagination, present in magnificent volume and degree, but in some miraculous way deprived and sterilized of the specially poetical quality. By this I do not of course mean that Balzac did not write in verse: we have a few verses of his, and they are pretty bad, but that is neither here nor there. The difference between Balzac and a great poet lies not in the fact that the one fills the whole page with printed words, and the other only a part of it – but in something else. If I could put that something else into distinct words I should therein attain the philosopher's stone, the elixir of life, the primum mobile, the grand arcanum, not merely of criticism but of all things. It might be possible to coast about it, to hint at it, by adumbrations and in consequences. But it is better and really more helpful to face the difficulty boldly, and to say that Balzac, approaching a great poet nearer perhaps than any other prose writer in any language, is distinguished from one by the absence of the very last touch, the finally constituting quiddity, which makes a great poet different from Balzac.
Now, when we make this comparison, it is of the first interest to remember – and it is one of the uses of the comparison, that it suggests the remembrance of the fact – that the great poets have usually been themselves extremely exact observers of detail. It has not made them great poets; but they would not be great poets without it. And when Eugenie Grandet starts from le petit banc de bois at the reference to it in her scoundrelly cousin's letter (to take only one instance out of a thousand), we see in Balzac the same observation, subject to the limitation just mentioned, that we see in Dante and Shakespeare, in Chaucer and Tennyson. But the great poets do not as a rule accumulate detail. Balzac does, and from this very accumulation he manages to derive that singular gigantesque vagueness – differing from the poetic vague, but ranking next to it – which I have here ventured to note as his distinguishing quality. He bewilders us a very little by it, and he gives us the impression that he has slightly bewildered himself. But the compensations of the bewilderment are large.
For in this labyrinth and whirl of things, in this heat and hurry of observation and imagination, the special intoxication of Balzac consists. Every great artist has his own means of producing this intoxication, and it differs in result like the stimulus of beauty or of wine. Those persons who are unfortunate enough to see in Balzac little or nothing but an ingenious piler-up of careful strokes – a man of science taking his human documents and classing them after an orderly fashion in portfolio and deed-box – must miss this intoxication altogether. It is much more agreeable as well as much more accurate to see in the manufacture of the Comedie the process of a Cyclopean workshop – the bustle, the hurry, the glare and shadow, the steam and sparks of Vulcanian forging. The results, it is true, are by no means confused or disorderly – neither were those of the forges that worked under Lipari – but there certainly went much more to them than the dainty fingering of a literary fretwork-maker or the dull rummagings of a realist a la Zola.
In part, no doubt, and in great part, the work of Balzac is dream-stuff rather than life-stuff, and it is all the better for that. What is better than dreams? But the coherence of his visions, their bulk, their solidity, the way in which they return to us and we return to them, make them such dream-stuff as there is all too little of in this world. If it is true that evil on the whole predominates over good in the vision of this "Voyant," as Philarete Chasles so justly called him, two very respectable, and in one case very large, though somewhat opposed divisions of mankind, the philosophic pessimist and the convinced and consistent Christian believer, will tell us that this is at least not one of the points in which it is unfaithful to life. If the author is closer and more faithful in his study of meanness and vice than in his studies of nobility and virtue, the blame is due at least as much to his models as to himself. If he has seldom succeeded in combining a really passionate with a really noble conception of love, very few of his countrymen have been more fortunate in that respect. If in some of his types – his journalists, his married women, and others – he seems to have sacrificed to conventions, let us remember that those who know attribute to his conventions such a power if not altogether such a holy influence that two generations of the people he painted have actually lived more and more up to his painting of them.
And last of all, but also greatest, has to be considered the immensity of his imaginative achievement, the huge space that he has filled for us with vivid creation, the range of amusement, of instruction, of (after a fashion) edification which he has thrown open for us all to walk in. It is possible that he himself and others more or less well-meaningly, though more or less maladroitly, following his lead, may have exaggerated the coherence and the architectural design of the Comedie. But it has coherence and it has design; nor shall we find anything exactly to parallel it. In mere bulk the Comedie probably, if not certainly, exceeds the production of any novelist of the first class in any kind of fiction except Dumas, and with Dumas, for various and well-known reasons, there is no possibility of comparing it. All others yield in bulk; all in a certain concentration and intensity; none even aims at anything like the same system and completeness. It must be remembered that owing to shortness of life, lateness of beginning, and the diversion of the author to other work, the Comedie is the production, and not the sole production, of some seventeen or eighteen years at most. Not a volume of it, for all that failure to reach the completest perfection in form and style which has been acknowledged, can be accused of thinness, of scamped work, of mere repetition, of mere cobbling up. Every one bears the marks of steady and ferocious labor, as well as of the genius which had at last come where it had been so earnestly called and had never gone away again. It is possible to overpraise Balzac in parts or to mispraise him as a whole. But so long as inappropriate and superfluous comparisons are avoided and as his own excellence is recognized and appreciated, it is scarcely possible to overestimate that excellence in itself and for itself. He stands alone; even with Dickens, who is his nearest analogue, he shows far more points of difference than of likeness. His vastness of bulk is not more remarkable than his peculiarity of quality; and when these two things coincide in literature or elsewhere, then that in which they coincide may be called, and must be called, Great, without hesitation and without reserve.
GEORGE SAINTSBURY.
APPENDIX
THE BALZAC PLAN OF THE COMEDIE HUMAINE
The form in which the Comedie Humaine was left by its author, with the exceptions of Le Depute d'Arcis (incomplete) and Les Petits Bourgeois, both of which were added, some years later, by the Edition Definitive.
The original French titles are followed by their English equivalents. Literal translations have been followed, excepting a few instances where preference is shown for a clearer or more comprehensive English title.
[Note from Team Balzac, the Etext preparers: In some cases more than one English translation is commonly used for various translations/editions. In such cases the first translation is from the Saintsbury edition copyrighted in 1901 and that is the title referred to in the personages following most of the stories. We have added other title translations of which we are currently aware for the readers' convenience.]
SCENES DE LA VIE PRIVEE
SCENES FROM PRIVATE LIFE
At the Sign of the Cat and Racket (La Maison du Chat-qui Pelote)
The Ball at Sceaux (Le Bal de Sceaux)
The Purse (La Bourse)
Vendetta (La Vendetta)
Madame Firmiani (Mme. Firmiani)
A Second Home (Une Double Famille)
Domestic Peace (La Paix du Menage)
Paz (La Fausse Maitresse)
Study of a Woman (Etude de femme)
Another Study of Woman (Autre etude de femme)
The Grand Breteche (La Grande Breteche)
Albert Savarus (Albert Savarus)
Letters of Two Brides (Memoires de deux Jeunes Mariees)
A Daughter of Eve (Une Fille d'Eve)
A Woman of Thirty (La Femme de Trente Ans)
The Deserted Woman (La Femme abandonnee)
La Grenadiere (La Grenadiere)
The Message (Le Message)
Gobseck (Gobseck)
The Marriage Contract (Le Contrat de Mariage)
A Start in Life (Un Debut dans la vie)
Modeste Mignon (Modeste Mignon)
Beatrix (Beatrix)
Honorine (Honorine)
Colonel Chabert (Le Colonel Chabert)
The Atheist's Mass (La Messe de l'Athee)
The Commission in Lunacy (L'Interdiction)
Pierre Grassou (Pierre Grassou)
SCENES DE LA VIE PROVINCE
SCENES FROM PROVINCIAL LIFE
Ursule Mirouet (Ursule Mirouet)
Eugenie Grandet (Eugenie Grandet)
Pierrette (Les Celibataires, Pierrette)
The Vicar of Tours (Le Cure de Tours)
The Two Brothers, (The Black Sheep) (Un Menage de Garcon, La Rabouilleuse)
The Illustrious Gaudissart (L'illustre Gaudissart, Parisians in the Country)
The Muse of the Department (La Muse du departement)
The Old Maid, Jealousies of a Country Town (La Vieille Fille, Les Rivalites)
The Collection of Antiquities (Le Cabinet des antiques)
The Lily of the Valley (Le Lys dans la Vallee)
Two Poets, Lost Illusions: – I. (Les Deux Poetes, Illusions Perdues: – I.)
A Distinguished Provincial at Paris (Un Grand homme de province a Paris, 1re partie)
Eve and David (Eve et David)
SCENES DE LA VIE PARISIENNE
SCENES FROM PARISIAN LIFE
Scenes from a Courtesan's Life, Esther Happy (Splendeurs et Miseres des Courtisanes
What Love Costs an Old Man (A combien l'amour revient aux vieillards)
The End of Evil Ways (Ou menent les mauvais Chemins)
Vautrin's Last Avatar (La derniere Incarnation de Vautrin)
A Prince of Bohemia (Un Prince de la Boheme)
A Man of Business (Un Homme d'affaires)
Gaudissart II (Gaudissart II.)
Unconscious Comedians, The Unconscious Humorists (Les Comediens sans le savoir)
Ferragus, The Thirteen (Ferragus, Histoire des Treize)
The Duchesse de Langeais (La Duchesse de Langeais)
Girl with the Golden Eyes (La Fille aux yeux d'or)
Father Goriot, Old Goriot (Le Pere Goriot)
Rise and Fall of Cesar Birotteau (Grandeur et Decadence de Cesar Birotteau)
The Firm of Nucingen (La Maison Nucingen)
Secrets of the Princesse de Cadignan (Les Secrets de la princesse de Cadignan)
Bureaucracy, The Government Clerks (Les Employes)
Sarrasine (Sarrasine)
Facino Cane (Facino Cane)
Cousin Betty, Poor Relations: – I. (La Cousine Bette, Les Parents Pauvres: – I.)
Cousin Pons, Poor Relations: – II. (Le Cousin Pons, Les Parents Pauvres: – II.)
The Lesser Bourgeoisie, The Middle Classes (Les Petits Bourgeois)
