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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)