Repertory of the Comedie Humaine - Part 1

Jules François Christophe, Anatole Cerfberr

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• Publié par: zuej
• Publié le: 08 décembre 2010
• Nombre de lectures: 30
• Langue: English

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The Project Gutenberg EBook of Repertory Of The Comedie Humaine, Part I, A — K, by Anatole Cerfberr and Jules François Christophe This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Repertory Of The Comedie Humaine, Part I, A — K Author: Anatole Cerfberr and Jules François Christophe Translator: Joseph Walker McSpadden Release Date: January 29, 2006 [EBook #2468] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK REPERTORY COMEDIE HUMAINE, A-K *** Produced by Dagny; and Emma Dudding REPERTORY OF THE COMEDIE HUMAINE PART I, A — K TRANSLATOR'S PREFACE "Work crowned by the French Academy" is a significant line borne by the title-page of the original edition of Messieurs Cerfberr and Christophe's monumental work. The motto indicates the high esteem in which the French authorities hold this very necessary adjunct to the great Balzacian structure. And even without this word of approval, the intelligent reader needs but a glance within the pages of the Repertory of the Comedie Humaine to convince him at once of its utility. In brief, the purpose of the Repertory is to give in alphabetical sequence the names of all the characters forming this Balzacian society, together with the salient points in their lives. It is, of course, well known that Balzac made his characters appear again and again, thus creating out of his distinct novels a miniature world. To cite a case in point, Rastignac, who comes as near being the hero of the Comedie as any other single character, makes his first appearance in Father Goriot, as a student of law; then appearing and disappearing fitfully in a score of principal novels, he is finally made a minister and peer of France. Without the aid of the Repertory it would be difficult for any save a reader of the entire Comedie to trace out his career. But here it is arranged in temporal sequence, thus giving us a concrete view of the man and his relation to this society. In reading any separate story, when reference is made in passing to a character, the reader will find it helpful and interesting to turn to the Repertory and find what manner of man it is that is under advisement. A little systematic reading of this nature will speedily render the reader a "confirmed Balzacian." A slight confusion may arise in the use of the Repertory on account of the subdivision of titles. This is the fault neither of Messieurs Cerfberr and Christophe nor of the translator, but of Balzac himself, who was continually changing titles, dividing and subdividing stories, and revamping and working other changes in his books. Cousin Betty and Cousin Pons were placed together by him under the general title of Poor Relations. Being separate stories, we have retained the separate titles. Similarly, the three divisions of Lost Illusions were never published together until 1843—in the first complete edition of the Comedie; before assuming final shape its parts had received several different titles. In the present text the editor has deemed it best to retain two of the parts under Lost Illusions, while the third, which presents a separate Rubempre episode, is given as A Distinguished Provincial at Paris. The three parts of The Thirteen—Ferragus, The Duchess of Langeais, and The Girl with the Golden Eyes—are given under the general title. The fourth part of Scenes from a Courtesan's Life, Vautrin's Last Avatar, which until the Edition Definitive had beenpublished separately, is here merged into its final place. But the three parts of The Celibates —Pierrette, The Vicar of Tours and A Bachelor's Establishment, being detached, are given separately. Other minor instances occur, but should be readily cleared up by reference to the Indices, also to the General Introduction given elsewhere. In the preparation of this English text, great care has been exercised to gain accuracy—a quality not found in other versions now extant. In one or two instances, errors have been discovered in the original French, notably in dates— probably typographical errors—which have been corrected by means of foot-notes. A few unimportant elisions have been made for the sake of brevity and coherence. Many difficulties confront the translator in the preparation of material of this nature, involving names, dates and titles. Opportunities are constantly afforded for error, and the work must necessarily be painstaking in order to be successful. We desire here to express appreciation for the valuable assistance of Mr. Norman Hinsdale Pitman. To Balzac, more than to any other author, a Repertory of characters is applicable; for he it was who not only created an entire human society, but placed therein a multitude of personages so real, so distinct with vitality, that biographies of them seem no more than simple justice. We can do no more, then, than follow the advice of Balzac—to quote again from the original title-page—and "give a parallel to the civil register." J. WALKER McSPADDEN INTRODUCTION Are you a confirmed Balzacian?—to employ a former expression of Gautier in Jeune France on the morrow following the appearance of that mystic Rabelaisian epic, The Magic Skin. Have you experienced, while reading at school or clandestinely some stray volume of the Comedie Humaine, a sort of exaltation such as no other book had aroused hitherto, and few have caused since? Have you dreamed at an age when one plucks in advance all the fruit from the tree of life —yet in blossom—I repeat, have you dreamed of being a Daniel d'Arthez, and of covering yourself with glory by the force of your achievements, in order to be requited, some day, for all the sufferings of your poverty-stricken youth, by the sublime Diane, Duchesse de Maufrigneuse, Princesse de Cadignan? Or, perchance, being more ambitious and less literary, you have desired to see—like a second Rastignac, the doors of high society opened to your eager gaze by means of the golden key suspended from Delphine de Nucingen's bracelet? Romancist, have you sighed for the angelic tenderness of a Henriette de Mortsauf, and realized in your dreams the innocent emotions excited by culling nosegays, by listening to tales of grief, by furtive hand-clasps on the banks of a narrow river, blue and placid, in a valley where your friendship flourishes like a fair, delicate lily, the ideal, the chaste flower? Misanthrope, have you caressed the chimera, to ward off the dark hours of advancing age, of a friendship equal to that with which the good Schmucke enveloped even the whims of his poor Pons? Have you appreciated the sovereign power of secret societies, and deliberated with yourself as to which of your acquaintances would be most worthy to enter The Thirteen? In your mind's eye has the map of France ever appeared to be divided into as many provinces as the Comedie Humaine has stories? Has Tours stood for Birotteau, La Gamard, for the formidable Abbe