The Country Doctor: Works of Balzac

Honore de Balzac

dec 2015. · Works of Balzac 21. knjiga · 谷月社

O ovoj e-knjizi

In hardly any of his books, with the possible exception of Eugenie Grandet, does Balzac seem to have taken a greater interest than inLe Medecin de Campagne; and the fact of this interest, together with the merit and intensity of the book in each case, is, let it be repeated, a valid argument against those who would have it that there was something essentially sinister both in his genius and his character. Le Medecin de Campagne was an early book; it was published in 1833, a date of which there is an interesting mark in the selection of the name "Evelina," the name of Madame Hanska, whom Balzac had just met, for the lost Jansenist love of Benassis; and it had been on the stocks for a considerable time. It is also noteworthy, as lying almost entirely outside the general scheme of the Comedie Humaine as far as personages go. Its chief characters in the remarkable, if not absolutely impeccable, repertoire of MM. Cerfberr and Christophe (they have, a rare thing with them, missed Agathe the forsaken mistress) have no references appended to their articles, except to the book itself; and I cannot remember that any of the more generally pervading dramatis personae of the Comedy makes even an incidental appearance here. The book is as isolated as its scene and subject—I might have added, as its own beauty, which is singular and unique, nor wholly easy to give a critical account of. The transformation of the cretin-haunted desert into a happy valley is in itself a commonplace of the preceding century; it may be found several times over in Marmontel's Contes Moraux, as well as in other places. The extreme minuteness of detail, effective as it is in the picture of the house and elsewhere, becomes a little tedious even for well-tried and well-affected readers, in reference to the exact number of cartwrights and harness-makers, and so forth; while the modern reader pure and simple, though schooled to endure detail, is schooled to endure it only of the ugly. The minor characters and episodes, with the exception of the wonderful story or legend of Napoleon by Private Goguelat, and the private himself, are neither of the first interest, nor always carefully worked out: La Fosseuse, for instance, is a very tantalizingly unfinished study, of which it is nearly certain that Balzac must at some time or other have meant to make much more than he has made; Genestas, excellent as far as he goes, is not much more than a type; and there is nobody else in the foreground at all except the Doctor himself.

It is, however, beyond all doubt in the very subordination of these other characters to Benassis, and in the skilful grouping of the whole as background and adjunct to him, that the appeal of the book as art consists. From that point of view there are grounds for regarding it as the finest of the author's work in the simple style, the least indebted to super-added ornament or to mere variety. The dangerous expedient of a recit, of which the eighteenth-century novelists were so fond, has never been employed with more successful effect than in the confession of Benassis, at once the climax and the centre of the story. And one thing which strikes us immediately about this confession is the universality of its humanity and its strange freedom from merely national limitations. To very few French novelists—to few even of those who are generally credited with a much softer mould and a much purer morality than Balzac is popularly supposed to have been able to boast—would inconstancy to a mistress have seemed a fault which could be reasonably punished, which could be even reasonably represented as having been punished in fact, by the refusal of an honest girl's love in the first place. Nor would many have conceived as possible, or have been able to represent in lifelike colors, the lifelong penance which Benassis imposes on himself. The tragic end, indeed, is more in their general way, but they would seldom have known how to lead up to it.

 

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 About Honore de Balzac
Honore de Balzac (20 May 1799 – 18 August 1850) was a French novelist and playwright. His magnum opus was a sequence of short stories and novels collectively entitled La Comédie Humaine, which presents a panorama of French life in the years after the 1815 Fall of Napoleon Bonaparte.

Owing to his keen observation of detail and unfiltered representation of society, Balzac is regarded as one of the founders of realism in European literature. He is renowned for his multi-faceted characters; even his lesser characters are complex, morally ambiguous and fully human. Inanimate objects are imbued with character as well; the city of Paris, a backdrop for much of his writing, takes on many human qualities. His writing influenced many famous writers, including the novelists Émile Zola, Charles Dickens, Gustave Flaubert, and Henry James, as well as important philosophers such as Friedrich Engels. Many of Balzac's works have been made into films, and they continue to inspire other writers.
Balzac's work habits are legendary—he did not work quickly, but toiled with an incredible focus and dedication. His preferred method was to eat a light meal at five or six in the afternoon, then sleep until midnight. He then rose and wrote for many hours, fueled by innumerable cups of black coffee. He would often work for fifteen hours or more at a stretch; he claimed to have once worked for 48 hours with only three hours of rest in the middle.
Balzac revised obsessively, covering printer's proofs with changes and additions to be reset. He sometimes repeated this process during the publication of a book, causing significant expense both for himself and the publisher. As a result, the finished product quite often was different from the original text. Although some of his books never reached completion, some — such as Les employés (The Government Clerks, 1841) — are nonetheless noted by critics.

Although Balzac was "by turns a hermit and a vagrant", he managed to stay in tune with the social spheres which nourished his writing. He was friends with Théophile Gautier and Pierre-Marie-Charles de Bernard du Grail de la Villette, and he was acquainted with Victor Hugo. Nevertheless, he did not spend as much time in salons and clubs of Paris like many of his characters. "In the first place he was too busy", explains Saintsbury, "in the second he would not have been at home there.... He felt it was his business not to frequent society but to create it". However he often spent long periods at the Château de Saché, near Tours, the home of his friend Jean de Margonne, his mother's lover and father to her youngest child. Many of Balzac's tormented characters were conceived in the chateau's small second-floor bedroom. Today the chateau is a museum dedicated to the author's life.

The Comédie Humaine remained unfinished at the time of his death—Balzac had plans to include numerous other books, most of which he never started. He frequently flitted between works in progress, and "finished articles" were frequently revised between editions. This piecemeal style is reflective of the author's own life, a possible attempt to stabilize it through fiction. "The vanishing man", wrote Sir Victor Pritchett, "who must be pursued from the rue Cassini to ... Versailles, Ville d'Avray, Italy, and Vienna can construct a settled dwelling only in his work".