History of the Thirteen: Ferragus, The Duchesse de Langeais & The Girl with the Golden Eyes. Оноре де Бальзак

      PREFACE

       Table of Contents

      Thirteen men were banded together in Paris under the Empire, all imbued with one and the same sentiment, all gifted with sufficient energy to be faithful to the same thought, with sufficient honor among themselves never to betray one another even if their interests clashed; and sufficiently wily and politic to conceal the sacred ties that united them, sufficiently strong to maintain themselves above the law, bold enough to undertake all things, and fortunate enough to succeed, nearly always, in their undertakings; having run the greatest dangers, but keeping silence if defeated; inaccessible to fear; trembling neither before princes, nor executioners, not even before innocence; accepting each other for such as they were, without social prejudices,—criminals, no doubt, but certainly remarkable through certain of the qualities that make great men, and recruiting their number only among men of mark. That nothing might be lacking to the sombre and mysterious poesy of their history, these Thirteen men have remained to this day unknown; though all have realized the most chimerical ideas that the fantastic power falsely attributed to the Manfreds, the Fausts, and the Melmoths can suggest to the imagination. To-day, they are broken up, or, at least, dispersed; they have peaceably put their necks once more under the yoke of civil law, just as Morgan, that Achilles among pirates, transformed himself from a buccaneering scourge to a quiet colonist, and spent, without remorse, around his domestic hearth the millions gathered in blood by the lurid light of flames and slaughter.

      Since the death of Napoleon, circumstances, about which the author must keep silence, have still farther dissolved the original bond of this secret society, always extraordinary, sometimes sinister, as though it lived in the blackest pages of Mrs. Radcliffe. A somewhat strange permission to relate in his own way a few of the adventures of these men (while respecting certain susceptibilities) has only recently been given to him by one of those anonymous heroes to whom all society was once occultly subjected. In this permission the writer fancied he detected a vague desire for personal celebrity.

      This man, apparently still young, with fair hair and blue eyes, whose sweet, clear voice seemed to denote a feminine soul, was pale of face and mysterious in manner; he conversed affably, declared himself not more than forty years of age, and apparently belonged to the very highest social classes. The name which he assumed must have been fictitious; his person was unknown in society. Who was he? That, no one has ever known.

      Perhaps, in confiding to the author the extraordinary matters which he related to him, this mysterious person may have wished to see them in a manner reproduced, and thus enjoy the emotions they were certain to bring to the hearts of the masses,—a feeling analogous to that of Macpherson when the name of his creation Ossian was transcribed into all languages. That was certainly, for the Scotch lawyer, one of the keenest, or at any rate the rarest, sensations a man could give himself. Is it not the incognito of genius? To write the “Itinerary from Paris to Jerusalem” is to take a share in the human glory of a single epoch; but to endow his native land with another Homer, was not that usurping the work of God?

      The author knows too well the laws of narration to be ignorant of the pledges this short preface is contracting for him; but he also knows enough of the history of the Thirteen to be certain that his present tale will never be thought below the interest inspired by this programme. Dramas steeped in blood, comedies filled with terror, romantic tales through which rolled heads mysteriously decapitated, have been confided to him. If readers were not surfeited with horrors served up to them of late in cold blood, he might reveal the calm atrocities, the surpassing tragedies concealed under family life. But he chooses in preference gentler events,—those where scenes of purity succeed the tempests of passion; where woman is radiant with virtue and beauty. To the honor of the Thirteen be it said that there are such scenes in their history, which may have the honor of being some day published as a foil of tales to listeners,—that race apart from others, so curiously energetic, and so interesting in spite of its crimes.

      An author ought to be above converting his tale, when the tale is true, into a species of surprise-game, and of taking his readers, as certain novellists do, through many volumes and from cellar to cellar, to show them the dry bones of a dead body, and tell them, by way of conclusion, that that is what has frightened them behind doors, hidden in the arras, or in cellars where the dead man was buried and forgotten. In spite of his aversion for prefaces, the author feels bound to place the following statement at the head of this narrative. Ferragus is a first episode which clings by invisible links to the “History of the Thirteen,” whose power, naturally acquired, can alone explain certain acts and agencies which would otherwise seem supernatural. Although it is permissible in tellers of tales to have a sort of literary coquetry in becoming historians, they ought to renounce the benefit that may accrue from an odd or fantastic title—on which certain slight successes have been won in the present day. Consequently, the author will now explain, succinctly, the reasons that obliged him to select a title to his book which seems at first sight unnatural.

      Ferragus is, according to ancient custom, a name taken by the chief or Grand Master

Скачать книгу