too, like Pons, was even more addicted to bric-a-brac than to art proper; and after many vicissitudes, he and Madame Hanska seem to have succeeded in getting together a very considerable, if also a very miscellaneous and unequal collection in the house in the Rue du Paradis, the contents of which were dispersed in part (though, I believe, the Rochschild who bought it, bought most of them too) not many years ago. Pons, indeed, was too poor, and probably too queer, to indulge in one fancy which Balzac had, and which, I think, all collectors of the nobler and more poetic class have, though this number may not be large. Balzac liked to have new beautiful things as well as old – to have beautiful things made for him. He was an unwearied customer, though not an uncomplaining one, of the great jeweler Froment Meurice, whose tardiness in carrying out his behests he pathetically upbraids in more than one extant letter.
Therefore, Balzac "did more than sympathize, he felt" – and it has been well put – with Pons in the bric-a-brac matter; and would appear that he did so likewise in that of music, though we have rather less direct evidence. This other sympathy has resulted in the addition to Pons himself of the figure of Schmucke, a minor and more parochial figure, but good in itself, and very much appreciated, I believe, by fellow melomanes.
It is with even more than his usual art that Balzac has surrounded these two originals – these "humorists," as our own ancestors would have called them – with figures much, very much, more of the ordinary world than themselves. The grasping worldliness of the parvenue family of Camusot in one degree and the greed of the portress, Madame Cibot, in the other, are admirably represented; the latter, in particular, must always hold a very high place among Balzac's greatest successes. She is, indeed a sort of companion sketch to Cousine Bette herself in a still lower rank of life representing the diabolical in woman; and perhaps we should not wrong the author's intentions if we suspected that Diane de Maufrigneuse has some claims to make up the trio in a sphere even more above Lisbeth's than Lisbeth's is above Madame Cibot's own.
Different opinions have been held of the actual "bric-a-bracery" of this piece – that is to say, not of Balzac's competence in the matter but of the artistic value of his introduction of it. Perhaps his enthusiasm does a little run away with him; perhaps he gives us a little too much of it, and avails himself too freely of the license, at least of the temptation, to digress which the introduction of such persons as Elie Magus affords. And it is also open to any one to say that the climax, or what is in effect the climax, is introduced somewhat too soon; that the struggle, first over the body and then over the property of Patroclus-Pons, is inordinately spun out, and that, even granting the author's mania, he might have utilized it better by giving us more of the harmless and ill-treated cousin's happy hunts, and less of the disputes over his accumulated quarry. This, however, means simply the old, and generally rather impertinent, suggestion to the artist that he shall do with his art something different from that which he has himself chosen to do. It is, or should be, sufficient that Le Cousin Pons is a very agreeable book, more pathetic if less "grimy," than its companion, full of its author's idiosyncracy, and characteristic of his genius. It may not be uninteresting to add that Le Cousin Pons was originally called Le Deux Musiciens, or Le Parasite, and that the change, which is a great improvement, was due to the instances of Madame Hanska.
The bibliography of the two divisions of Les Parents Pauvres is so closely connected, that it is difficult to extricate the separate histories. Originally the author had intended to begin with Le Cousin Pons (which then bore the title of Les Deux Musiciens), and to make it the more important of the two; but La Cousine Bette grew under his hands, and became, in more than one sense, the leader. Both appeared in the Constitutionnel; the first between October 8th and December 3rd, 1846, the second between March 18th and May of the next year. In the winter of 1847-48 the two were published as a book in twelve volumes by Chlendowski and Petion. In the newspaper (where Balzac received – a rarely exact detail – 12,836 francs for the Cousine, and 9,238 for the Cousin) the first-named had thirty-eight headed chapter-divisions, which in book form became a hundred and thirty-two. Le Cousin Pons had two parts in feuilleton, and thirty-one chapters, which in book form became no parts and seventy-eight chapters. All divisions were swept away when, at the end of 1848, the books were added together to the Comedie.
George Saintsbury
DEDICATION
It is neither to the Roman Prince, nor to the representative of the illustrious house of Cajetani, which has given more than one Pope to the Christian Church, that I dedicate this short portion of a long history; it is to the learned commentator of Dante.
It was you who led me to understand the marvelous framework of ideas on which the great Italian poet built his poem, the only work which the moderns can place by that of Homer. Till I heard you, the Divine Comedy was to me a vast enigma to which none had found the clue – the commentators least of all. Thus, to understand Dante is to be as great as he; but every form of greatness is familiar to you.
A French savant could make a reputation, earn a professor's chair, and a dozen decorations, by publishing in a dogmatic volume the improvised lecture by which you lent enchantment to one of those evenings which are rest after seeing Rome. You do not know, perhaps, that most of our professors live on Germany, on England, on the East, or on the North, as an insect lives on a tree; and, like the insect, become an integral part of it, borrowing their merit from that of what they feed on. Now, Italy hitherto has not yet been worked out in public lectures. No one will ever give me credit for my literary honesty. Merely by plundering you I might have been as learned as three Schlegels in one, whereas I mean to remain a humble Doctor of the Faculty of Social Medicine, a veterinary surgeon for incurable maladies. Were it only to lay a token of gratitude at the feet of my cicerone, I would fain add your illustrious name to those of Porcia, of San-Severino, of Pareto, of di Negro, and of Belgiojoso, who will represent in this "Human Comedy" the close and constant alliance between Italy and France, to which Bandello did honor in the same way in the sixteenth century – Bandello, the bishop and author of some strange tales indeed, who left us the splendid collection of romances whence Shakespeare derived many of his plots and even complete characters, word for word.
The two sketches I dedicate to you are the two eternal aspects of one and the same fact. Homo duplex, said the great Buffon: why not add Res duplex? Everything has two sides, even virtue. Hence Moliere always shows us both sides of every human problem; and Diderot, imitating him, once wrote, "This is not a mere tale" – in what is perhaps Diderot's masterpiece, where he shows us the beautiful picture of Mademoiselle de Lachaux sacrificed by Gardanne, side by side with that of a perfect lover dying for his mistress.
In the same way, these two romances form a pair, like twins of opposite sexes. This is a literary vagary to which a writer may for once give way, especially as part of a work in which I am endeavoring to depict every form that can serve as a garb to mind.
Most human quarrels arise from the fact that both wise men and dunces exist who are so constituted as to be incapable of seeing more than one side of any fact or idea, while each asserts that the side he sees is the only true and right one. Thus it is written in the Holy Book, "God will deliver the world over to divisions." I must confess that this passage of Scripture alone should persuade the Papal See to give you the control of the two Chambers to carry out the text which found its commentary in 1814, in the decree of Louis XVIII.
May your wit and the poetry that is in you extend a protecting hand over these two histories of "The Poor Relations"
COUSIN BETTY
One day, about the middle of July 1838, one of the carriages, then lately introduced to Paris cabstands, and known as Milords, was driving down the Rue de l'Universite, conveying a stout man of middle height in the uniform of a captain of the National Guard.
Among
