Honoré de Balzac: Premium Collection. Honore de Balzac
the symbols of which exist in two grand figures of ancient slavery, Epictetus and Spartacus,—hatred and evil feelings on the one hand, resignation and tenderness, on the other.
The Comte de Vandenesse recognized himself in Marie-Angelique de Granville. In choosing for his wife an artless, innocent, and pure young girl, this young old man determined to mingle a paternal feeling with the conjugal feeling. He knew his own heart was withered by the world and by politics, and he felt that he was giving in exchange for a dawning life the remains of a worn-out existence. Beside those springtide flowers he was putting the ice of winter; hoary experience with young and innocent ignorance. After soberly judging the position, he took up his conjugal career with ample precaution; indulgence and perfect confidence were the two anchors to which he moored it. Mothers of families ought to seek such men for their daughters. A good mind protects like a divinity; disenchantment is as keen-sighted as a surgeon; experience as foreseeing as a mother. Those three qualities are the cardinal virtues of a safe marriage. All that his past career had taught to Felix de Vandenesse, the observations of a life that was busy, literary, and thoughtful by turns, all his forces, in fact, were now employed in making his wife happy; to that end he applied his mind.
When Marie-Angelique left the maternal purgatory, she rose at once into the conjugal paradise prepared for her by Felix, rue du Rocher, in a house where all things were redolent of aristocracy, but where the varnish of society did not impede the ease and “laisser-aller” which young and loving hearts desire so much. From the start, Marie-Angelique tasted all the sweets of material life to the very utmost. For two years her husband made himself, as it were, her purveyor. He explained to her, by degrees, and with great art, the things of life; he initiated her slowly into the mysteries of the highest society; he taught her the genealogies of noble families; he showed her the world; he guided her taste in dress; he trained her to converse; he took her from theatre to theatre, and made her study literature and current history. This education he accomplished with all the care of a lover, father, master, and husband; but he did it soberly and discreetly; he managed both enjoyments and instructions in such a manner as not to destroy the value of her religious ideas. In short, he carried out his enterprise with the wisdom of a great master. At the end of four years, he had the happiness of having formed in the Comtesse de Vandenesse one of the most lovable and remarkable young women of our day.
Marie-Angelique felt for Felix precisely the feelings with which Felix desired to inspire her,—true friendship, sincere gratitude, and a fraternal love, in which was mingled, at certain times, a noble and dignified tenderness, such as tenderness between husband and wife ought to be. She was a mother, and a good mother. Felix had therefore attached himself to his young wife by every bond without any appearance of garroting her,—relying for his happiness on the charms of habit.
None but men trained in the school of life—men who have gone round the circle of disillusionment, political and amorous—are capable of following out a course like this. Felix, however, found in his work the same pleasure that painters, writers, architects take in their creations. He doubly enjoyed both the work and its fruition as he admired his wife, so artless, yet so well-informed, witty, but natural, lovable and chaste, a girl, and yet a mother, perfectly free, though bound by the chains of righteousness. The history of all good homes is that of prosperous peoples; it can be written in two lines, and has in it nothing for literature. So, as happiness is only explicable to and by itself, these four years furnish nothing to relate which was not as tender as the soft outlines of eternal cherubs, as insipid, alas! as manna, and about as amusing as the tale of “Astrea.”
In 1833, this edifice of happiness, so carefully erected by Felix de Vandenesse, began to crumble, weakened at its base without his knowledge. The heart of a woman of twenty-five is no longer that of a girl of eighteen, any more than the heart of a woman of forty is that of a woman of thirty. There are four ages in the life of woman; each age creates a new woman. Vandenesse knew, no doubt, the law of these transformations (created by our modern manners and morals), but he forgot them in his own case,—just as the best grammarian will forget a rule of grammar in writing a book, or the greatest general in the field under fire, surprised by some unlooked-for change of base, forgets his military tactics. The man who can perpetually bring his thought to bear upon his facts is a man of genius; but the man of the highest genius does not display genius at all times; if he did, he would be like to God.
After four years of this life, with never a shock to the soul, nor a word that produced the slightest discord in this sweet concert of sentiment, the countess, feeling herself developed like a beautiful plant in a fertile soil, caressed by the sun of a cloudless sky, awoke to a sense of a new self. This crisis of her life, the subject of this Scene, would be incomprehensible without certain explanations, which may extenuate in the eyes of women the wrong-doing of this young countess, a happy wife, a happy mother, who seems, at first sight, inexcusable.
Life results from the action of two opposing principles; when one of them is lacking the being suffers. Vandenesse, by satisfying every need, had suppressed desire, that king of creation, which fills an enormous place in the moral forces. Extreme heat, extreme sorrow, complete happiness, are all despotic principles that reign over spaces devoid of production; they insist on being solitary; they stifle all that is not themselves. Vandenesse was not a woman, and none but women know the art of varying happiness; hence their coquetry, refusals, fears, quarrels, and the all-wise clever foolery with which they put in doubt the things that seemed to be without a cloud the night before. Men may weary by their constancy, but women never. Vandenesse was too thoroughly kind by nature to worry deliberately the woman he loved; on the contrary, he kept her in the bluest and least cloudy heaven of love. The problem of eternal beatitude is one of those whose solution is known only to God. Here, below, the sublimest poets have simply harassed their readers when attempting to picture paradise. Dante’s reef was that of Vandenesse; all honor to such courage!
Felix’s wife began to find monotony in an Eden so well arranged; the perfect happiness which the first woman found in her terrestrial paradise gave her at length a sort of nausea of sweet things, and made the countess wish, like Rivarol reading Florian, for a wolf in the fold. Such, judging by the history of ages, appears to be the meaning of that emblematic serpent to which Eve listened, in all probability, out of ennui. This deduction may seem a little venturesome to Protestants, who take the book of Genesis more seriously than the Jews themselves.
The situation of Madame de Vandenesse can, however, be explained without recourse to Biblical images. She felt in her soul an enormous power that was unemployed. Her happiness gave her no suffering; it rolled along without care or uneasiness; she was not afraid of losing it; each morning it shone upon her, with the same blue sky, the same smile, the same sweet words. That clear, still lake was unruffled by any breeze, even a zephyr; she would fain have seen a ripple on its glassy surface. Her desire had something so infantine about it that it ought to be excused; but society is not more indulgent than the God of Genesis. Madame de Vandenesse, having now become intelligently clever, was aware that such sentiments were not permissible, and she refrained from confiding them to her “dear little husband.” Her genuine simplicity had not invented any other name for him; for one can’t call up in cold blood that delightfully exaggerated language which love imparts to its victims in the midst of flames.
Vandenesse, glad of this adorable reserve, kept his wife, by deliberate calculations, in the temperate regions of conjugal affection. He never condescended to seek a reward or even an acknowledgment of the infinite pains which he gave himself; his wife thought his luxury and good taste her natural right, and she felt no gratitude for the fact that her pride and self-love had never suffered. It was thus in everything. Kindness has its mishaps; often it is attributed to temperament; people are seldom willing to recognize it as the secret effort of a noble soul.
About this period of her life, Madame Felix de Vandenesse had attained to a degree of worldly knowledge which enabled her to quit the insignificant role of a timid, listening, and observing supernumerary,—a part played, they say, for some time, by Giulia Grisi in the chorus at La Scala. The young countess now felt herself capable of attempting the part of prima-donna, and she did so on several occasions. To the great satisfaction of her husband, she began to mingle in conversations. Intelligent ideas and delicate observations put into her mind by her intercourse with her husband, made her remarked upon, and success