A Distinguished Provincial in Paris by Honoré de Balzac (great novels .TXT) 📖

Ridal. No writer of our times possesses more of the exuberant spirit of pure comedy than this poet, careless of fame, who will fling his more commonplace productions to theatrical managers, and keep the most charming scenes in the seraglio of his brain for himself and his friends. Of the public he asks just sufficient to secure his independence, and then declines to do anything more. Indolent and prolific as Rossini, compelled, like great poet-comedians, like Moliere and Rabelais, to see both sides of everything, and all that is to be said both for and against, he is a sceptic, ready to laugh at all things. Fulgence Ridal is a great practical philosopher. His worldly wisdom, his genius for observation, his contempt for fame ("fuss," as he calls it) have not seared a kind heart. He is as energetic on behalf of another as he is careless where his own interests are concerned; and if he bestirs himself, it is for a friend. Living up to his Rabelaisian mask, he is no enemy to good cheer, though he never goes out of his way to find it; he is melancholy and gay. His friends dubbed him the "Dog of the Regiment." You could have no better portrait of the man than his nickname.

Three more of the band, at least as remarkable as the friends who have just been sketched in outline, were destined to fall by the way. Of these, Meyraux was the first. Meyraux died after stirring up the famous controversy between Cuvier and Geoffroy Saint-Hilaire, a great question which divided the whole scientific world into two opposite camps, with these two men of equal genius as leaders. This befell some months before the death of the champion of rigorous analytical science as opposed to the pantheism of one who is still living to bear an honored name in Germany. Meyraux was the friend of that "Louis" of whom death was so soon to rob the intellectual world.

With these two, both marked by death, and unknown to-day in spite of their wide knowledge and their genius, stands a third, Michel Chrestien, the great Republican thinker, who dreamed of European Federation, and had no small share in bringing about the Saint-Simonian movement of 1830. A politician of the calibre of Saint-Just and Danton, but simple, meek as a maid, and brimful of illusions and loving-kindness; the owner of a singing voice which would have sent Mozart, or Weber, or Rossini into ecstasies, for his singing of certain songs of Beranger's could intoxicate the heart in you with poetry, or hope, or love--Michel Chrestien, poor as Lucien, poor as Daniel d'Arthez, as all the rest of his friends, gained a living with the haphazard indifference of a Diogenes. He indexed lengthy works, he drew up prospectuses for booksellers, and kept his doctrines to himself, as the grave keeps the secrets of the dead. Yet the gay bohemian of intellectual life, the great statesman who might have changed the face of the world, fell as a private soldier in the cloister of Saint-Merri; some shopkeeper's bullet struck down one of the noblest creatures that ever trod French soil, and Michel Chrestien died for other doctrines than his own. His Federation scheme was more dangerous to the aristocracy of Europe than the Republican propaganda; it was more feasible and less extravagant than the hideous doctrines of indefinite liberty proclaimed by the young madcaps who assume the character of heirs of the Convention. All who knew the noble plebeian wept for him; there is not one of them but remembers, and often remembers, a great obscure politician.

Esteem and friendship kept the peace between the extremes of hostile opinion and conviction represented in the brotherhood. Daniel d'Arthez came of a good family in Picardy. His belief in the Monarchy was quite as strong as Michel Chrestien's faith in European Federation. Fulgence Ridal scoffed at Leon Giraud's philosophical doctrines, while Giraud himself prophesied for d'Arthez's benefit the approaching end of Christianity and the extinction of the institution of the family. Michel Chrestien, a believer in the religion of Christ, the divine lawgiver, who taught the equality of men, would defend the immortality of the soul from Bianchon's scalpel, for Horace Bianchon was before all things an analyst.

There was plenty of discussion, but no bickering. Vanity was not engaged, for the speakers were also the audience. They would talk over their work among themselves and take counsel of each other with the delightful openness of youth. If the matter in hand was serious, the opponent would leave his own position to enter into his friend's point of view; and being an impartial judge in a matter outside his own sphere, would prove the better helper; envy, the hideous treasure of disappointment, abortive talent, failure, and mortified vanity, was quite unknown among them. All of them, moreover, were going their separate ways. For these reasons, Lucien and others admitted to their society felt at their ease in it. Wherever you find real talent, you will find frank good fellowship and sincerity, and no sort of pretension, the wit that caresses the intellect and never is aimed at self-love.

When the first nervousness, caused by respect, wore off, it was unspeakably pleasant to make one of this elect company of youth. Familiarity did not exclude in each a consciousness of his own value, nor a profound esteem for his neighbor; and finally, as every member of the circle felt that he could afford to receive or to give, no one made a difficulty of accepting. Talk was unflagging, full of charm, and ranging over the most varied topics; words light as arrows sped to the mark. There was a strange contrast between the dire material poverty in which the young men lived and the splendor of their intellectual wealth. They looked upon the practical problems of existence simply as matter for friendly jokes. The cold weather happened to set in early that year. Five of d'Arthez's friends appeared one day, each concealing firewood under his cloak; the same idea had occurred to the five, as it sometimes happens that all the guests at a picnic are inspired with the notion of bringing a pie as their contribution.

All of them were gifted with the moral beauty which reacts upon the physical form, and, no less than work and vigils, overlays a youthful face with a shade of divine gold; purity of life and the fire of thought had brought refinement and regularity into features somewhat pinched and rugged. The poet's amplitude of brow was a striking characteristic common to them all; the bright, sparkling eyes told of cleanliness of life. The hardships of penury, when they were felt at all, were born so gaily and embraced with such enthusiasm, that they had left no trace to mar the serenity peculiar to the faces of the young who have no grave errors laid to their charge as yet, who have not stooped to any of the base compromises wrung from impatience of poverty by the strong desire to succeed. The temptation to use any means to this end is the greater since that men of letters are lenient with bad faith and extend an easy indulgence to treachery.

There is an element in friendship which doubles its charm and renders it indissoluble--a sense of certainty which is lacking in love. These young men were sure of themselves and of each other; the enemy of one was the enemy of all; the most urgent personal considerations would have been shattered if they had clashed with the sacred solidarity of their fellowship. All alike incapable of disloyalty, they could oppose a formidable No to any accusation brought against the absent and defend them with perfect confidence. With a like nobility of nature and strength of feeling, it was possible to think and speak freely on all matters of intellectual or scientific interest; hence the honesty of their friendships, the gaiety of their talk, and with this intellectual freedom of the community there was no fear of being misunderstood; they stood upon no ceremony with each other; they shared their troubles and joys, and gave thought and sympathy from full hearts. The charming delicacy of feeling which makes the tale of _Deux Amis_ a treasury for great souls, was the rule of their daily life. It may be imagined, therefore, that their standard of requirements was not an easy one; they were too conscious of their worth, too well aware of their happiness, to care to trouble their life with the admixture of a new and unknown element.

This federation of interests and affection lasted for twenty years without a collision or disappointment. Death alone could thin the numbers of the noble Pleiades, taking first Louis Lambert, later Meyraux and Michel Chrestien.

When Michel Chrestien fell in 1832 his friends went, in spite of the perils of the step, to find his body at Saint-Merri; and Horace Bianchon, Daniel d'Arthez, Leon Giraud, Joseph Bridau, and Fulgence Ridal performed the last duties to the dead, between two political fires. By night they buried their beloved in the cemetery of Pere-Lachaise; Horace Bianchon, undaunted by the difficulties, cleared them away one after another--it was he indeed who besought the authorities for permission to bury the fallen insurgent and confessed to his old friendship with the dead Federalist. The little group of friends present at the funeral with those five great men will never forget that touching scene.

As you walk in the trim cemetery you will see a grave purchased in perpetuity, a grass-covered mound with a dark wooden cross above it, and the name in large red letters--MICHEL CHRESTIEN. There is no other monument like it. The friends thought to pay a tribute to the sternly simple nature of the man by the simplicity of the record of his death.

So, in that chilly garret, the fairest dreams of friendship were realized. These men were brothers leading lives of intellectual effort, loyally helping each other, making no reservations, not even of their worst thoughts; men of vast acquirements, natures tried in the crucible of poverty. Once admitted as an equal among such elect souls, Lucien represented beauty and poetry. They admired the sonnets which he read to them; they would ask him for a sonnet as he would ask Michel Chrestien for a song. And, in the desert of Paris, Lucien found an oasis in the Rue des Quatre-Vents.

At the beginning of October, Lucien had spent the last of his money on a little firewood; he was half-way through the task of recasting his work, the most strenuous of all toil, and he was penniless. As for Daniel d'Arthez, burning blocks of spent tan, and facing poverty like a hero, not a word of complaint came from him; he was as sober as any elderly spinster, and methodical as a miser. This courage called out Lucien's courage; he had only newly come into the circle, and shrank with invincible repugnance from speaking of his straits. One morning he went out, manuscript in hand, and reached the Rue du Coq; he would sell _The Archer of Charles IX._ to Doguereau; but Doguereau was out. Lucien little knew how indulgent great natures can be to the weaknesses of others. Every one of the friends had thought of the peculiar troubles besetting the poetic temperament, of the prostration which follows upon the struggle, when the soul has been overwrought by the contemplation of that nature which it is the task of art to reproduce. And strong as they were to endure their own ills, they felt keenly for Lucien's distress; they guessed that his stock of money was failing; and after all the pleasant evenings spent in friendly talk and deep meditations, after the poetry, the confidences, the bold flights over the fields of thought or into the far future