Honoré Balzac - The Alkahest

DEDICATION

To Madame Josephine Delannoy nee Doumerc.

Madame, may God grant that this, my book, may live longer than I, for then the gratitude which I owe to you, and which I hope will equal your almost maternal kindness to me, would last beyond the limits prescribed for human affection. This sublime privilege of prolonging life in our hearts for a time by the life of the work we leave behind us would be (if we could only be sure of gaining it at last) a reward indeed for all the labor undertaken by those who aspire to such an immortality.

Yet again I say – May God grant it!

DE BALZAC.

There is a house at Douai in the rue de Paris, whose aspect, interior arrangements, and details have preserved, to a greater degree than those of other domiciles, the characteristics of the old Flemish buildings, so naively adapted to the patriarchal manners and customs of that excellent land. Before describing this house it may be well, in the interest of other writers, to explain the necessity for such didactic preliminaries, – since they have roused a protest from certain ignorant and voracious readers who want emotions without undergoing the generating process, the flower without the seed, the child without gestation. Is Art supposed to have higher powers than Nature?

The events of human existence, whether public or private, are so closely allied to architecture that the majority of observers can reconstruct nations and individuals, in their habits and ways of life, from the remains of public monuments or the relics of a home. Archaeology is to social nature what comparative anatomy is to organized nature. A mosaic tells the tale of a society, as the skeleton of an ichthyosaurus opens up a creative epoch. All things are linked together, and all are therefore deducible. Causes suggest effects, effects lead back to causes. Science resuscitates even the warts of the past ages.

Hence the keen interest inspired by an architectural description, provided the imagination of the writer does not distort essential facts. The mind is enabled by rigid deduction to link it with the past; and to man, the past is singularly like the future; tell him what has been, and you seldom fail to show him what will be. It is rare indeed that the picture of a locality where lives are lived does not recall to some their dawning hopes, to others their wasted faith. The comparison between a present which disappoints man’s secret wishes and a future which may realize them, is an inexhaustible source of sadness or of placid content.

Thus, it is almost impossible not to feel a certain tender sensibility over a picture of Flemish life, if the accessories are clearly given. Why so? Perhaps, among other forms of existence, it offers the best conclusion to man’s uncertainties. It has its social festivities, its family ties, and the easy affluence which proves the stability of its comfortable well-being; it does not lack repose amounting almost to beatitude; but, above all, it expresses the calm monotony of a frankly sensuous happiness, where enjoyment stifles desire by anticipating it. Whatever value a passionate soul may attach to the tumultuous life of feeling, it never sees without emotion the symbols of this Flemish nature, where the throbbings of the heart are so well regulated that superficial minds deny the heart’s existence. The crowd prefers the abnormal force which overflows to that which moves with steady persistence. The world has neither time nor patience to realize the immense power concealed beneath an appearance of uniformity. Therefore, to impress this multitude carried away on the current of existence, passion, like a great artist, is compelled to go beyond the mark, to exaggerate, as did Michael Angelo, Bianca Capello, Mademoiselle de la Valliere, Beethoven, and Paganini. Far-seeing minds alone disapprove such excess, and respect only the energy represented by a finished execution whose perfect quiet charms superior men. The life of this essentially thrifty people amply fulfils the conditions of happiness which the masses desire as the lot of the average citizen.

A refined materialism is stamped on all the habits of Flemish life. English comfort is harsh in tone and arid in color; whereas the old-fashioned Flemish interiors rejoice the eye with their mellow tints, and the feelings with their genuine heartiness. There, work implies no weariness, and the pipe is a happy adaptation of Neapolitan “far-niente.” Thence comes the peaceful sentiment in Art (its most essential condition), patience, and the element which renders its creations durable, namely, conscience. Indeed, the Flemish character lies in the two words, patience and conscience; words which seem at first to exclude the richness of poetic light and shade, and to make the manners and customs of the country as flat as its vast plains, as cold as its foggy skies. And yet it is not so. Civilization has brought her power to bear, and has modified all things, even the effects of climate. If we observe attentively the productions of various parts of the globe, we are surprised to find that the prevailing tints from the temperate zones are gray or fawn, while the more brilliant colors belong to the products of the hotter climates. The manners and customs of a country must naturally conform to this law of nature.

Flanders, which in former times was essentially dun-colored and monotonous in tint, learned the means of irradiating its smoky atmosphere through its political vicissitudes, which brought it under the successive dominion of Burgundy, Spain, and France, and threw it into fraternal relations with Germany and Holland. From Spain it acquired the luxury of scarlet dyes and shimmering satins, tapestries of vigorous design, plumes, mandolins, and courtly bearing. In exchange for its linen and its laces, it brought from Venice that fairy glass-ware in which wine sparkles and seems the mellower. From Austria it learned the ponderous diplomacy which, to use a popular saying, takes three steps backward to one forward; while its trade with India poured into it the grotesque designs of China and the marvels of Japan.

And yet, in spite of its patience in gathering such treasures, its tenacity in parting with no possession once gained, its endurance of all things, Flanders was considered nothing more than the general storehouse of Europe, until the day when the discovery of tobacco brought into one smoky outline the scattered features of its national physiognomy. Thenceforth, and notwithstanding the parcelling out of their territory, the Flemings became a people homogeneous through their pipes and beer. 1 1 Flanders was parcelled into three divisions; of which Eastern Flanders, capital Ghent, and Western Flanders, capital Bruges, are two provinces of Belgium. French Flanders, capital Lille, is the Departement du Nord of France. Douai, about twenty miles from Lille, is the chief town of the arrondissement du Nord.

After assimilating, by constant sober regulation of conduct, the products and the ideas of its masters and its neighbors, this country of Flanders, by nature so tame and devoid of poetry, worked out for itself an original existence, with characteristic manners and customs which bear no signs of servile imitation. Art stripped off its ideality and produced form alone. We may seek in vain for plastic grace, the swing of comedy, dramatic action, musical genius, or the bold flight of ode and epic. On the other hand, the people are fertile in discoveries, and trained to scientific discussions which demand time and the midnight oil. All things bear the ear-mark of temporal enjoyment. There men look exclusively to the thing that is: their thoughts are so scrupulously bent on supplying the wants of this life that they have never risen, in any direction, above the level of this present earth. The sole idea they have ever conceived of the future is that of a thrifty, prosaic statecraft: their revolutionary vigor came from a domestic desire to live as they liked, with their elbows on the table, and to take their ease under the projecting roofs of their own porches.