Honoré de Balzac: Beatrix

[titania7]

Beatrix by Honore de Balzac
translated by Beth Archer

"All men begin by promising us happiness, and then bequeath us deprecation, desertion, and disgust."

These are Beatrix's words, and she is one of the key characters in Balzac's sweeping novel of the same name. Divided into two books, Beatrix or Love Exposed, and The Honeymoon, this 364-page tome is one of Balzac's most misunderstood works. Its lack of structure and convoluted passages have prevented it from being recognized as the true gem that it is.

At the center of the story is Calyste, the effeminate young son of the Baron De Guenic. He is both weak-willed and stubborn, choosing to pursue his own romantic interests even if it means dishonoring his family's name. The first woman to attract his notice is Felicite des Touches, a figure who was based on the real-life author, George Sand, whom Balzac knew and had the chance to spend thirty-six hours with during February of 1838. Like Sand, Felicite des Touches (also referred to as Monsieur Camille Maupin, her literary name), is an outspoken non-conformist, both beautiful and exotic, with strong opinions and a breathtaking intellect. It doesn't take long for Calyste to fall under her spell. She evokes in him the "first love of adolescence," and he is beguiled by her sparkling wit and clever, often satiric observations about life. She enraptures him by showering him with attention, treating him like a doting mother one moment and a seductive female the next. In his mind, she can do no wrong, even though she refuses to commit her heart to him.

"...a woman is always adorable to a man in whom she inspires love, even when she does not seem to return it."

In fact, Felicite des Touches does love Calyste, but she is overwhelmed by guilt over their difference in ages. She feels, on some level, that she is corrupting him, that she is stealing him away from his family. Calyste's mother reinforces this idea, when she tries to persuade Calyste to stay away from Felicite, whom she claims is not a noble woman. Because of her shame over her love for Calyste and her knowledge of his mother's grief, Felicite decides to interest him in another woman. This woman is Mademoiselle Beatrix-Maximilienne-Rose de Casteran, the younger daughter of the Marquis de Casteran. Known for her "superior mind, great enthusiasm, taste for beauty, and degree of artistic cultivation", Beatrix is in every way the opposite of Felicite. Felicite's dark eyes and dark hair provide an intriguing contrast to Beatrix's fair appearance.

"...Beatrix is one of those blondes who would make the fairness of Eve look black. She is a slim and straight as a candle and as white as a communion wafer....Without being faultlessly beautiful, she can, when she wishes, make an unforgettable impression."

Calyste is far from entranced by Felicite's description of Beatrix. However, meeting her in person is an entirely different experience. He is drawn to her as irrevocably as a moth is drawn to the flame of a candle. The fact she is married only serves to intensify his interest. But Beatrix is having an affair with a man whom she is very much attached to, and Calyste's attentions fail to impress her. Felicite realizes that Calyste's love for Beatrix is not returned by her, and, because she adores him to such an extent, it pains her. The relationship between these two women, Felicite and Beatrix, provides the reader with a glimpse at how artfully Balzac is able to weave the themes of deception and intrigue into his work. They are not rivals in the classic sense, but they play a cunning game with one another, each making use of the other's weaknesses to achieve her ultimate objective. The two of them are compared unforgettably in Part Two of this novel:

"It was an example of Strength and Weakness in woman, in all its expression--a perfect antithesis. These women could never be rivals; each had her own empire. It was like a delicate myrtle or a lily beside a brilliant red poppy, or a turqouise next to a ruby."

The idea that these two women are not rivals is a bit more difficult to accept later on. As they engage in all sorts of manipulative tactics, the reader cannot help but think that they are consummate competitors. In fact, it is in the scenes between Felicite and Beatrix that Balzac is at the height of his creative powers. Always a master of characterization, he conveys the depths of cattiness and guileful treachery that often exist between two females. During one conversation that takes place between Felicite and Beatrix, Balzac writes:

"The two friends looked at each other with the penetrating glance of two Venetian inquisitors, a swift glance in which their souls collided and sparked like two flints....A relentless duel ensued between these two women, during which they made use of ruses, feints, fake generosity, false confessions, calculated admissions...."

Felicite is the more powerful of the two, and her "Machiavellianism" and profound intellect enable her to effectively manipulate Beatrix. By insinuating that she wants Calyste for herself, she evokes a vein of jealousy in Beatrix that continues to flow until an ardent infatuation for Calyste blossoms forth and all but overwhelms her. Although she maintains that she is fiercely devoted to her unfaithful lover, she does seem to flirt with the idea of beginning a new life with Calyste. His promises of eternal adoration flatter her, even though she makes fun of him when he says he would be willing to sacrifice everything for her. She tells him:

"I can be no more than Beatrix for you--a dream. Isn't that a beautiful thing? We will never suffer bitterness, or resentment, or remorse."

Unlike Felicite, whose instinct for self-preservation seems to supersede everything else, Beatrix is too much of a coward to make the right decision. Calyste offers her undying love but she cannot accept it. Rather, she returns to her faithless lover. But then, as Balzac aptly points out, "the woman bravest in words is often the weakest in actions."

Although he is wounded deeply by Felicite's decision and tells his mother that "there is no life left in him," Calyste moves forward and marries Sabine de Grandlieu, a beautiful young lady who is a fixture of Parisian society. Balzac intersperses this part of his story with a few cynical yet realistic observations about marriage, and the reader is not surprised when Calyste fails to show his new wife an adequate amount of attention. Indeed, Sabine becomes aware of the fact that Calyste's heart belongs to another woman not long after the honeymoon. Yet, she is determined to make the marriage work no matter what. When Calyste begins staying out until the wee hours of the morning, she refuses to admit that he is having an affair. As Balzac intuitively insists, "A woman truly in love always begins by explaining everything to the man's advantage."

When Beatrix comes back into Calyste's life, he is unable to resist her. The fact he is now married hasn't altered his feelings. He seemingly feels no compunction over spending time with her, even though he knows his wife is at home tending to their newborn baby. Balzac continues to weave his web of intrigue as the novel builds to a fulfilling climax. It might easily be believed that a story such as this couldn't possibly have a happy ending; however, it is never a good idea to jump to conclusions, particularly when it comes to Balzac. He is an author who is full of surprises, an author of profound insight and acerbic wit, an author whom the reader can learn a lot about life's most difficult lessons from.

Balzac has often been cited as a writer who regarded women as the weaker sex, the self-sacrificing martyrs who were willing to give everything up for love. But Beatrix is a feminist treastise, a powerful look into the devastating influence of a male-dominated society. Balzac does not mold his male characters with empathy or indulgence. Indeed, they are shown to be predators of the female psyche, wolves who devour vulnerable women. Though Balzac is not thought of as a champion of feminism, he was actually well aware of how unfairly women were treated in society. Felicite des Touches--or Camille Maupin, as she is often called--serves as a prototype for the modern woman. She shuns societal pressure, living her life exactly as she wants to, and writing plays and novels in a time when women were not considered to be capable of penning worthwhile literature. She is a fictional icon, of sorts, a woman who refuses to subscribe to double standards in an era when women
were stifled and repressed. It isn't difficult to see the resemblance between her and the extraordinary George Sand.

Compared to Balzac's most famous novels, Beatrix is structurally loose and extremely disgressive. At the same time, it conveys more truths about human nature than I remember finding in any of his other works. It is a book of great psychological insight, and, even if this is your first time reading Balzac, Beatrix will offer you more than you could possibly expect.

Beatrix first appeared in serialized form under the subtitle Les Amours forces in 1839. It wasn't to be completed until 1844, at which time Balzac had already published fifteen other novels. Insanely prolific, Balzac remains one of the most famous writers of the 19th century. His chef d'oeuvre, La Comedie Humaine, remains a pivotal work of French Literature.

My rating:


~Titania

[Mirabell]

*grumbling* now I have to read this.
Thanks for the review. It made my literary mouth water.
Always delightful to come across these reviews.

[lionel]

Great stuff, Titania.

Originally Posted by titania7

Balzac remains one of the most famous writers of the 19th century. His chef d'oeuvre, La Comedie Humaine, remains a pivotal work of French Literature.

I've not read this one, but as he's your 'second favorite author', why not start a Balzac thread and I can start digressing?

[titania7]

Originally Posted by Mirabell

*grumbling* now I have to read this.

Well....at least you can't ever go wrong when it comes to Balzac.

Originally Posted by Mirabell

Thanks for the review. It made my literary mouth water.

I'm glad. My review accomplished all that I could have possibly desired .

Originally Posted by Mirabell

Always delightful to come across these reviews.

It's always delightful to receive such fine compliments. I appreciate them,
you know.

~Titania

[titania7]

Originally Posted by lionel

Great stuff, Titania.

Thanks, Lionel.

Originally Posted by lionel

I've not read this one

Oh dear. Mirabell hasn't read it, either. All I can do is strongly recommend, of course...

Originally Posted by lionel

but as he's your 'second favorite author', why not start a Balzac thread and I can start digressing?

An excellent idea. I planned to start a Balzac thread some time ago, but, thanks to all these modern conveniences we have nowadays, I got distracted. I'll have to look into starting the thread tomorrow, with your blessing, darling.

And oh, I look forward to the digressions. There can never be too many digressions about Balzac!

While on the subject....I'll be posting a review of Ursule Mirouet later this week.


~Titania

[saliotthomas]

Nice Review Titania.I shall try to find it.
As for Balzac thinking of women as the weaker sex,i always found them far stronger and more clever than the men.Le lys dand la vallée and the letter of reply from the ex-future wife is a great exemple.
I'm currently reading Cousin Bette where none of the characteres are even remotly likable but in which the men are but poppets in the hand of courtisanes.They are shown weak,vain,lazzy,gullible..

[titania7]

Thomas,
Many thanks for the kinds words. They are very much appreciated, I assure you. I'm so pleased you enjoyed my review!

You make an apt point about a lot of Balzac's female characters being strong. I do think it depends on the novel, however. For example, in Ursule Mirouet, which I finished recently (and hope to review within the next two days), the leading female character is extremely modest and self-effacing. In many respects, she is passive. At the same time, she is a product of her times. I suspect that a lot of feminists would be highly critical of Balzac for creating what they would perceive to be a somewhat "insipid" and "sentimental" character (from the introduction by Donald Adamson). In Eugenie Grandet, Balzac once again centers the novel around a passive young woman. This time the woman is entirely dependent on her avaricious, tyrannical father.

I'm delighted you brought up this issue, Thomas, as I believe I did make an observation about Balzac's women that was too much of a generalization. I hope we can discuss this in more depth on the Balzac thread I plan to start sometime over the weekend. Like most truly great authors, Balzac is a writer who depicts a wide variety both men and women in his works. Although, in Cousin Bette, the men tend to be weak-willed, in Eugenie Grandet, the father is incredibly domineering (in many ways, like my own father). Lost Illusions is centered around Lucien Chardon (aka de Rubempre), a man who is both weak and extraordinarily ambitious--two qualities that don't often go together. Then, in A Harlot High and Low, the sequel to Lost Illusions, Balzac transfers the focus to Vautrin, who has been referred to as a "homosexual Mephistopheles." Lucien reappears in the novel, but this time he falls under the spell of Vautrin and his "Satanic genius." Balzac's ability to depict such a vast array of characters is one reason he is such a favorite of mine. As I've said before, "black-and-white" characters don't interest me as I don't feel they are true to life. I believe there are few instances in which someone is "all good" or "all evil," and that's what Balzac generally demonstrates in his books, with a few exceptions. I felt that even Cousin Bette showed a trace of genuine feeling. Yes, she was psychopathic, but she was not completely coldhearted. Unfortunately, I don't remember enough about Eugene Grandet in Eugenie Grandet to say whether or not he had any good attributes. It's been at least 12 years since I've read it. But, overall, Balzac is an author who understands that most human beings are contradictory in nature, and that even the most villainous individuals are occasionally capable of showing compassion.

Thanks again, Thomas, for your input and your compliments. I look forward to your sharing more of your views as you read more Balzac!

Best wishes always,
Titania

[saliotthomas]

You are right about Eugenie Grandet and maybe it as to do with the country life setting of the novel where women and specialy daughters were more submissive.
Father Gorio has also some very strong women,a bit similar in the ones in Cousin Bette.
I think the difference is betwin Paris and the country,with the lives of the courtisannes and the power of speculation.Cesar Birauto is special in that he has more a provincial mind and is crushed by the Paris intrigues.The women in it represent the good sense.

[titania7]

Thomas,
Yes, I think the secluded and provincial atmosphere that Eugenie lives in could certainly have something to do with her passivity. I also suspect that the fact she is entirely depedent upon her father prevents her from being able to assert herself as she might have liked to. If I remember, she does defy Eugene Grandet to a certain extent when it came to entertaining her cousin Charles, insisting on luxuries that he unwillingly begrudges her. I have read Father Goriot, and I think you're right about there being some similarities between the women in that book and in Cousin Bette. Pere's two daughters are shallow, selfish, avaricious, and vain. However, on a certain level, they are a product of their upbringing.

Unfortunately, Thomas, I haven't yet read Cesar Birotteau, though it is in a small stack of books by my bed! I will certainly be reading it soon. I almost chose it over Ursule Mirouet, but the latter's themes of redemption and rebirth proved irresistible.


Best wishes always,
Titania


"...A person's character is revealed even in the smallest actions."
~Ursule Mirouet, Honore de Balzac