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Updated: June 6, 2025
This was Balzac's last serious attempt to stand for Parliament during the Monarchy of July, though he often talked in his letters to Madame Hanska of his political aspirations, looked forward to becoming a deputy in 1839, and hoped till then to dominate European opinion rather a large ambition by a political publication.
'All Balzac's characters; said Baudelaire, 'are gifted with the same ardour of life that animated himself. All his fictions are as deeply coloured as dreams. Each mind is a weapon loaded to the muzzle with will. The very scullions have genius. A steady course of Balzac reduces our living friends to shadows, and our acquaintances to the shadows of shades.
It is not one of Balzac's masterpieces, but it has points of much interest for us. It is the story of an orphaned Breton girl, a sweet, innocent child, who is suddenly snatched away, by her evil star, from the grandparents who adore her, and transferred to the care of an aunt and uncle. Monsieur Rogron and his sister Sylvia.
Once when I was at his house in Passy, he exclaimed: 'Since I can't pay you, take what you like from here to reimburse yourself." This work of art, a Louis XVI. gilt-bronze time piece, with its two candelabra, once also in Balzac's possession, was part payment of the balance due to the de Berny family, and was surrendered only in the forties.
Nevertheless, her face was intensely spiritual, and there was a mystic quality about it which made a strong appeal to Balzac's innermost nature. Those who saw him in Paris knocking about the streets at night with his boon companions, hobnobbing with the elder Dumas, or rejecting the frank advances of George Sand, would never have dreamed of this mysticism. Balzac was heavy and broad of figure.
However great Balzac's potential genius, it was too little developed, too little exercised at this period for him to produce anything of real, permanent worth. The fiction in which he was destined to excel, the only fiction he was peculiarly fitted to write, demanded maturity of experience that he could hardly acquire before another decade had passed over his head.
Besides, M. Daudet had only at his disposal the portfolios 8,170, 8,171, and 8,172 of the Series F7 of the National Archives, and the reports sent to Réal by Savoye-Rollin and Licquet, this cunning detective beside whom Balzac's Corentin seems a mere schoolboy. Consequently the family drama escapes M. Daudet, who, for that matter, did not have to concern himself with it.
When we remember that the man who thus expresses his delight was in the act of writing "Les Parents Pauvres," and of evoking scenes of touching pathos and gloomy horror, we are once more amazed at the extraordinary versatility of Balzac's mind and genius.
The phrase, says Monsieur Le Breton, in his well-reasoned book on Balzac, is that of a man who was conversant with the patient analysis, the conscientious and minute realism of this great painter of English life. In Monsieur Le Breton's opinion, Balzac's long-windedness is, in a measure, due to Richardson, who reacted upon him by his defects no less than by his excellencies.
In spite of the gaiety of Balzac's letters from his garret, the hardships he went through were terrible, and in later years he could not speak of his sufferings at this time without tears coming to his eyes.
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