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Honore de Balzac (French pronunciation: [DnDtfe da balGzak]) (20 May 1799 - 18 August 1850) was a French novelist and playwright. His magnum opus was a sequence of almost 100 novels and plays collectively entitled La Comedie humaine, which presents a panorama of French life in the years after the fall of Napoteon Bonaparte in 1815.
Due 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 authors, including the novelists Marcel Proust, Emile Zola, Charles Dickens, Gustave Flaubert, Marie Corelli, Henry James, Jack Kerouac, and Italo Calvino 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.
An enthusiastic reader and independent thinker as a child, Balzac had trouble adapting himself to the teaching style of his grammar school. His willful nature caused trouble throughout his life, and frustrated his ambitions to succeed in the world of business. When he finished school, Balzac was apprenticed as a legal clerk, but he turned his back on law after wearying of its inhumanity and banal routine. Before and during his career as a writer, he attempted to be a publisher, printer, businessman, critic, and politician. He failed in all of these efforts. La Comedie Humaine reflects his real-life difficulties, and includes scenes from his own experience.
Balzac suffered from health problems throughout his life, possibly due to his intense writing schedule. His relationship with his family was often strained by financial and personal drama, and he lost more than one friend over critical reviews. In 1850, he married Ewelina Hanska, his longtime love; he died five months later.
In 1832 (after writing several novels), Balzac conceived the idea for an enormous series of books that would paint a panoramic portrait of "all aspects of society." When the idea struck, he raced to his sister's apartment and proclaimed: "I am about to become a genius." Although he originally called it Etudes des Moeurs, it eventually became known as La Comedie Humaine, and he included in it all of the fiction he published in his lifetime under his own name. This was to be Balzac's life work and his greatest achievement.
After the collapse of his businesses, Balzac traveled to Brittany and stayed with the de Pommereul family outside Fougeres. It was here that he drew inspiration for Les Chouans (1829), a tale of love gone wrong amid the Chouan royalist forces. A supporter of the crown himself, Balzac paints the counter-revolutionaries in a sympathetic light - even though they are the center of the book's most brutal scenes. This was the first book Balzac released under his own name, and it gave him what one critic called "passage into the Promised Land" It established him as an author of note (even if the surface owes a debt to Walter Scott) and provided him with a name outside the pseudonyms of his past.
Soon afterwards, around the time of his father's death, Bal zac wrote El Verdugo - about a 30-year-old man who kills his father (Balzac was 30 years old at the time). This was the first work signed "Нопогё de Balzac". Like his father, he added the aristocratic-sounding particle to help him fit into respected society, but it was a choice based on skill, not birthright. "The aristocracy and authority of talent are more substantial than the aristocracy of names and material power", he wrote 1830. The timing of the decision was also significant. Robb frames it this way: "The disappearance of the father coincides with the adoption of the nobiliary particle. A svmbolic inheritance." Just as his father had worked his way up from poverty into respectable society.
When the July Revolution Overthrew Chanes X in 1830, Balzac declared himself a Legitimist, supporting Charles' House of B ourbon - but with qualifications H that the new July Monarchy (which claimed widespread popular support) was disorganized and unprincipled, in need of , mediator to keep the political pea^ between the King and insurgent forces. He called for "a young and vigorous man who belongs neither to the Directoire nor to the Empire, but who is 1 8Я0 incarnate...." He planned to be such a candidate, appealing especially to the higher classes in Chinon. But after a near-fatal accident in 1832 (he slipped and cracked his head on the street), Balzac decided not to stand for election
1831 saw the success of La Peau de Chagrin {The Wild Ass's Skin), a fable-like tale about a despondent young man named Raphael de Valentin who finds an animal skin promising great power and wealth. He obtains these things, but loses the ability to manage them. In the end, his health fails and he is consumed by his own confusion. Balzac meant the story to bear witness to the treacherous turns of life, its "serpentine motion."
In 1833, Balzac released Eugenie Grander, his first best-selling novel. A story about a young lady who inherits her father's miserliness, it also became the most critically acclaimed book of his career. The writing is simple, yet the individuals (especially the bourgeois title character) are dynamic and complex.
He revised obsessively, covering printer's proofs with changes and additions to be reset. Balzac sometimes repeated this process during the publication of a book, causing significant expense for both himself and the publisher. As a result, the finished product was frequently quite different from the original book. While some of his books never reached a finished state, some of those - such as Les employes {The Government Clerks, 1841) - are nonetheless noted by critics.
Although Balzac was "by turns a hermit and a vagrant", he managed to stay connected to the social world which nourished his writing. He was friends with Theophile Gautier and Pierre-Marie-Charles de Bernard du Grail de la Villette, and he knew Victor Hugo. Nevertheless, he did not spend as much time in salons and clubs as did many of his characters. "In the first place he was too busy", explains bamtsbury, ^: in the second lie would not .e been at home there.... [H]c was his business not to frequent society 1: to create it." He would, however - - •• spend long periods staying at Chateau de Sache. Near Tours, the home of his friend Jean de Margonne, his mother's lover and lather to her youngest child. Many of balzac's tormented characters were conceved in the small second-floor bedroom. Today the Chateau is a museum dedicated to the author's life.
There is some truth in this general impression, though less with the passing of eac year, But American literature at its best rarely been the product of such Americans. Even in the 18^th century, with its prevalent belief in the in perfectibility of man through the perfecting of his institutions, there were skeptics; and the 19^th century contained its great and pessimistic sayers of “No! in thunder” (as Melville described himself), as well as the great affirmers, lke Emerson and Whitman. By th end of the 19^th century the complacent, optimistic tone of the popular poets and novelists had been challenged by Mark Twain, Crane and James, to name only the best known; and the enduring writing of the first quarter of the 20^th century is, more often than not, critical of the quality of American society. Its tone is satirical; the sereotyped American is made a figure of fun or an object of pathos; the American dream is shown to be illusory. The occasional yea-sayer like Sandburg stands out almost as an anachronism.
Of the writers in this section, Theodore Dreiser was perhaps the first important new American voice of the 20^th century. His naturalism and his choice of subject often echo his predecessor, Stephen Crane, but his style and methods are very different. There is none of the poetic symbolism, none of the probing of psycological depths and neuroses. Perhaps because of his childhood of bitter poverty in an immigrant family which suffered all the deprivations brought about by lack of education, skill and status, Dreiser was more concerned with society’s effect on person than with man apart from his environment. Though the surface details which abound in his works are, of course, out of date – people’s clothes, their speech, their jobs – his treatment of the social forces which the murderers and prostitutes, as well as the business successes, is as modern as ghetto literature. Dreiser was one of the frist important writers to come from the lower levels of society, rather than from a long middle-class tradition, and in this he was the precusor of much that is good in contemporary American writing.
In his novels, Dreiser tried to treat human beings scintifically, rather than intuitively with the poetic insight so much prized by writers of the 19^th century. Dreiser’s tone is serious, never satirical or comic.
In their opposing ways, the two most important poets of the first decades of the 20^th century, Edward Arlington Robinson and Carl Sandburg, also sought to explore the quality of American life and to report on it with Dreiser’s kind of truthfulness, now, as from the beginning, American poets tended to divide sharply into two groups: traditionlists and innovators. Robinson and Sandburg in the 20^th century represent these two poles as strikingly as did Poe and Whitman in the 19^th century. Though less read now than Robert Frost, who first published during this period but whose major influence belongs to a later time, Robinson has the same New England background and equals some of Frost’s best qualities as a poet and reporter on the world. Robinson’s tone is, however, characteristically ironic and somewhat aloof and detached, even when he evinces an undercurrent of compassion.