“In order to live, thou shalt bend thyself towards earth; in order to think thou shalt raise thyself heavenwards. We want the life of the soul as much as that of the body; whence there are two utilities. Thus it is certain that a book will not serve as foot-gear; an epic, from the utilitarian point of view, is not worth an economical soup from the kitchen of a Benevolent Society; and a self-acting boiler, rising a couple of inches on itself, procures calico a few pence a yard cheaper; but this machine and the improvements of industry do not breathe life into a nation, and will not tell the future that it has existed; whereas Egyptian art, Mexican art, Grecian art, Roman art, with their masterpieces accused of uselessness, have attested the existence of these peoples in the vast expanse of time, there where huge intermediary nations, destitute of great men, have disappeared without leaving their visiting cards on the globe. All works of genius are the epitome of a civilization, and presuppose an immense utility. Forsooth, a pair of boots will not outvie a stage-play in your eyes, and you will not prefer a windmill to the Church of Saint Ouen. So, a people is animated with the same sentiment as a man; and man’s favourite idea is to survive himself mentally as he reproduces himself physically. The survival of a people is the work of its men of genius.”
Beatrix, the other completed novel of the year, is a drawn-out, ill-composed work, which is not redeemed sufficiently by its minute description of Breton manners and its portrait of George Sand in Felicite des Touches. Six years separated the publication of the first part of the book from that of the conclusion, and, in the interval, the unity of plan suffered. Balzac devoted a good deal of labour to its execution. In all the conjugal ruses employed by Sabine de Grandlieu to detach Calyste, her husband, from Beatrix, he displays his peculiar talent, but the ultimate effect is poor.
Chapter 12 Letters to “The Stranger,” 1845, 1846
Though fertile in incidents, the year of 1845 was, from a literary point of view, more barren than any in Balzac’s past career, exception, of course, made for the time lost during his printing-house adventure. Beyond his short, witty sketch, A Man of Business, relating the tricks employed by the princes of bohemianism to pay their debts and indulge their caprices gratis, no finished work was published. The Peasants, which the author never entirely got through, was taken up repeatedly, and as often put aside from sheer inability to proceed.
The deadlock in which he found himself had been preparing since his visit to Saint Petersburg. Whether the intimacy created there between Madame Hanska and himself was that of two lovers in the chaster sense, or, as Monsieur Gabriel Ferry assets, in his Balzac et ses Amies, that of a closer union, it had haunted him during his subsequent twelvemonth’s loneliness. And when Eve, who had come to spend the winter at Dresden, discouraged, from fear of her society friends’ backbiting, the idea of his going there to see her, he grew incapable of concentrating his mind on his books; and, even in his letters to her, chafed and was irritable, scolding her for not stamping her envelopes, and recommending her to acquire habits of order and economy! confessing the while that, to escape from his melancholy, he had been playing lansquenet, dining out, going to the theatres, and leading a nonchalant life.
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