The Craft of Fiction by Percy Lubbock (lightest ebook reader .txt) 📖

firm and telling impression behind him as he proceeds. When his description is finished and the last detail in its place, the home of the Grandets is securely built for the needs of the story, possessing all the significance that Balzac demands of it.

It will presently be seen that he demands a great deal. I said that his drama has always the benefit of a reserve of force, stored up for it beforehand in the general picture; and though in this picture is included the fortunes and characters of the men and women, of the Grandets and their neighbours, a large part of it is the material scene, the very walls that are to witness the coming events. The figure of Grandet, the old miser, is indeed called up and accounted for abundantly, in all the conditions of his past; but the house too, within and without, is laid under strict contribution, is used to the full in the story. It is a presence and an influence that counts throughout—and counts particularly in a matter that is essential to the book's effect, a matter that could scarcely be provided for in any other way, as it happens. Of this I shall speak in a moment; but at once it is noticeable how the Maison Grandet, like the Maison Vauquer, helps the book on its way. It incarnates all the past of its old owner, and visibly links it to the action when the story opens. The elaborate summary of Grandet's early life, the scrupulously exact account of the building of his prosperity, is brought to an issue in the image of the "cold, dreary and silent house at the upper end of the town," from whence the drama widens again in its turn. How it is that Balzac has precisely the right scene in his mind, a house that perfectly expresses his donnée and all its associations—that, of course, is Balzac's secret; his method would be nothing without the quality of his imagination. His use of the scene is another matter, and there it is possible to reckon how much of his general effect, the sense of the moral and social foundation of his story, is given by its inanimate setting. He has to picture a character and a train of life, and to a great extent he does so by describing a house.

Beyond old Grandet and the kind of existence imposed upon his household, the drama needs little by way of preparation. The miser's daughter Eugénie, with her mother, must stand out clearly to the fore; but a very few touches bring these two women to life in their shadowy abode. They are simple and patient and devoted; between the dominance of the old man and the monotony of the provincial routine Eugénie and her mother are easily intelligible. The two local aspirants to the girl's fortune, and their supporters on either side—the Cruchotins and the Grassinistes—are subsidiary figures; they are sufficiently rendered by their appearance in a flock, for a sociable evening with the Grandets. The faithful maid-servant, the shrewd and valiant Nanon, is quickly sketched. And there, then, is the picture that Balzac prepares for the action, which opens with the arrival of Charles, Eugénie's young and unknown cousin. Except for Charles, all the material of the drama is contained in the first impression of the household and the small country-town; Eugénie's story is implied in it; and her romance, from the moment it begins, inherits the reality and the continuity of the experience. Charles himself is so light a weight that in his case no introduction is needed at all; a single glance at him is enough to show the charm of his airy elegance. His only function in the story is to create the long dream of Eugénie's life; and for that he needs nothing but his unlikeness to the Cruchotins and the Grassinistes. They and Eugénie, therefore, between them, provide for his effect before he appears, they by their dull provinciality, she by her sensitive ignorance. The whole scene, on the verge of the action, is full of dormant echoes, and the first movement wakes them. The girl placed as she is, her circumstances known as they are, all but make the tale of their own accord; only the simple facts are wanting, their effect is already in the air.

And accordingly the story slips away from its beginning without hesitation. In a sense it is a very slight story; there is scarcely anything in it but Eugénie's quick flush of emotion, and then her patient cherishing of its memory; and this simplicity may seem to detract, perhaps, from the skilfulness of Balzac's preparation. Where there is so little in the way of incident or clash of character to provide for, where the people are so plain and perspicuous and next to nothing happens to them, it should not be difficult to make an expressive scene for the drama and its few facts. All that occurs in the main line of the story is that Eugénie falls in love with her cousin, bids him good-bye when he goes to make his fortune in the Indies, trustfully awaits him for a number of years, and discovers his faithlessness when he returns. Her mother's death, and then her father's, are almost the only events in the long interval of Charles's absence. Simple indeed, but this is exactly the kind of story which it is most puzzling to handle. The material is scanty, and yet it covers a good many years; and somehow the narrative must render the length of the years without the help of positive and concrete stuff to fill them. The whole point of the story is lost unless we are made to feel the slow crawling of time, while Eugénie waited; but what is there in her life to account for the time, to bridge the interval, to illustrate its extent? Balzac has to make a long impression of vacuity; Eugénie Grandet contains a decidedly tough subject.

In such a case I suppose the first instinct of almost any story-teller would be to lengthen the narrative of her loneliness by elaborating the picture of her state of mind, drawing out the record of expectancy and patience and failing hope. If nothing befalls her from without, or so little, the time must be filled with the long drama of her experience within; the centre of the story would then be cast in her consciousness, in which there would be reflected the gradual drop of her emotion from glowing newness to the level of daily custom, and thence again to the chill of disillusion. It is easy to imagine the kind of form which the book would take. In order to assure its full value to Eugénie's monotonous suffering, the story would be given from her point of view, entirely from hers; the external facts of her existence would all be seen through her eyes, making substance for her thought. We should live with Eugénie, throughout; we should share her vigil, morning and evening, summer and winter, while she sat in the silent house and listened to the noises of life in the street, while the sun shone for others and not for her, while the light waned, the wind howled, the snow fell and hushed the busy town—still Eugénie would sit at her window, still we should follow the flow of her resigned and uncomplaining meditations; until at last the author could judge that five years, ten years, whatever it may be, had been sufficiently shown in their dreary lapse, and that Charles might now come back from the Indies. So it would be and so it would have to be, a novelist might easily feel. How else could the due suggestion of time be given, where there is so little to show for it in dramatic facts?

But Balzac's treatment of the story is quite unexpected. He lays it out in a fashion that is worth noting, as a good example of the freedom of movement that his great pictorial genius allowed him. With his scene and its general setting so perfectly rendered, the story takes care of itself on every side, with the minimum of trouble on his part. His real trouble is over when the action begins; he is not even disturbed by this difficulty of presenting the sense of time. The plan of Eugénie Grandet, as the book stands, seems to have been made without any regard to the chief and most exacting demand of the story; where another writer would be using every device he could think of to mark the effect of the succeeding years, Balzac is free to tell the story as straightforwardly as he chooses. To Eugénie the great and only adventure of her life was contained in the few days or weeks of Charles's first visit; nothing to compare with that excitement ever happened to her again. And Balzac makes this episode bulk as largely in the book as it did in her life; he pauses over it and elaborates it, unconcerned by the fact that in the book—in the whole effect it is to produce—the episode is only the beginning of Eugénie's story, only the prelude to her years of waiting and watching.

He extends his account of it so far, nevertheless, that he has written two thirds of the book by the time the young man is finally despatched to the Indies. It means that the duration of the story—and the duration is the principal fact in it—is hardly considered at all, after the opening of the action. There is almost no picture of the slowly moving years; there is little but a concise chronicle of the few widely spaced events. Balzac is at no pains to sit with Eugénie in the twilight, while the seasons revolve; not for him to linger, gazing sympathetically over her shoulder, tenderly exploring her sentiments. He is actually capable of beginning a paragraph with the casual announcement, "Five years went by in this way," as though he belonged to the order of story-tellers who imagine that time may be expressed by the mere statement of its length. Yet there is time in his book, it is very certain—time that lags and loiters till the girl has lost her youth and has dropped into the dull groove from which she will evidently never again be dislodged. Balzac can treat the story as concisely as he will, he can record Eugénie's simple experience from without, and yet make the fading of her young hope appear as gradual and protracted as need be; and all because he has prepared in advance, with his picture of the life of the Grandets, a complete and enduring impression.

His preliminary picture included the representation of time, secured the sense of it so thoroughly that there is no necessity for recurring to it again. The routine of the Maison Grandet is too clearly known to be forgotten; the sight of the girl and her mother, leading their sequestered lives in the shadow of their old tyrant's obsession, is a sensation that persists to the end of their story. Their dreary days accumulate and fill the year with hardly a break in its monotony; the next year and the next are the same, except that old Grandet's meanness is accentuated as his wealth increases; the present is like the past, the future will prolong the present. In such a scene Eugénie's patient acquiescence in middle age becomes a visible fact, is divined and accepted at once, without further insistence; it is latent in the scene from the beginning, even at the time of the small romance of her youth. To dwell upon the shades of her long disappointment is needless, for her power of endurance and her fidelity are fully created in the book before they are put to