At The Sign Of The Cat And Racket (Anotated)

By Honoré de Balzac

Half-way down the Rue Saint-Denis, almost at the corner of the Rue du Petit-Lion, there stood formerly one of those delightful houses which enable historians to reconstruct old Paris by analogy. The threatening walls of this tumbledown abode seemed to have been decorated with hieroglyphics. For what other name could the passer-by give to the Xs and Vs which the horizontal or diagonal timbers traced on the front, outlined by little parallel cracks in the plaster? It was evident that every beam quivered in its mortices at the passing of the lightest vehicle. This venerable structure was crowned by a triangular roof of which no example will, ere long, be seen in Paris. This covering, warped by the extremes of the Paris climate, projected three feet over the roadway, as much to protect the threshold from the rainfall as to shelter the wall of a loft and its sill-less dormer-window. This upper story was built of planks, overlapping each other like slates, in order, no doubt, not to overweight the frail house.

One rainy morning in the month of March, a young man, carefully wrapped in his cloak, stood under the awning of a shop opposite this old house, which he was studying with the enthusiasm of an antiquary. In point of fact, this relic of the civic life of the sixteenth century offered more than one problem to the consideration of an observer. Each story presented some singularity; on the first floor four tall, narrow windows, close together, were filled as to the lower panes with boards, so as to produce the doubtful light by which a clever salesman can ascribe to his goods the color his customers inquire for. The young man seemed very scornful of this part of the house; his eyes had not yet rested on it. The windows of the second floor, where the Venetian blinds were drawn up, revealing little dingy muslin curtains behind the large Bohemian glass panes, did not interest him either. His attention was attracted to the third floor, to the modest sash-frames of wood, so clumsily wrought that they might have found a place in the Museum of Arts and Crafts to illustrate the early efforts of French carpentry. These windows were glazed with small squares of glass so green that, but for his good eyes, the young man could not have seen the blue-checked cotton curtains which screened the mysteries of the room from profane eyes. Now and then the watcher, weary of his fruitless contemplation, or of the silence in which the house was buried, like the whole neighborhood, dropped his eyes towards the lower regions. An involuntary smile parted his lips each time he looked at the shop, where, in fact, there were some laughable details.


 

• Language: English
• Publisher: Charles Fred
• Release date: Dec 25, 2020
• ISBN: 9791220242288

Honoré de Balzac

Honoré de Balzac (1799-1850) was a French novelist, short story writer, and playwright. Regarded as one of the key figures of French and European literature, Balzac’s realist approach to writing would influence Charles Dickens, Émile Zola, Henry James, Gustave Flaubert, and Karl Marx. With a precocious attitude and fierce intellect, Balzac struggled first in school and then in business before dedicating himself to the pursuit of writing as both an art and a profession. His distinctly industrious work routine—he spent hours each day writing furiously by hand and made extensive edits during the publication process—led to a prodigious output of dozens of novels, stories, plays, and novellas. La Comédie humaine, Balzac’s most famous work, is a sequence of 91 finished and 46 unfinished stories, novels, and essays with which he attempted to realistically and exhaustively portray every aspect of French society during the early-nineteenth century.

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AT THE SIGN OF THE CAT AND RACKET (ANOTATED)

BY

HONORE DE BALZAC 

AUTHOR DETAILED BIO

Honoré de Balzac, original name Honoré Balssa, (born May 20, 1799, Tours, France—died August 18, 1850, Paris), French literary artist who produced a vast number of novels and short stories collectively called La Comédie humaine (The Human Comedy). He helped to establish the traditional form of the novel and is generally considered to be one of the greatest novelists of all time.

Early Career

Balzac’s father was a man of southern peasant stock who worked in the civil service for 43 years under Louis XVI and Napoleon. Honoré’s mother came from a family of prosperous Parisian cloth merchants. His sister Laure (later de Surville) was his only childhood friend, and she became his first biographer.

Balzac was sent to school at the Collège des Oratoriens at Vendôme from age 8 to 14. At Napoleon’s downfall his family moved from Tours to Paris, where he went to school for two more years and then spent three years as a lawyer’s clerk. During this time he already aimed at a literary career, but as the writer of Cromwell (1819) and other tragic plays he was utterly unsuccessful. He then began writing novels filled with mystic and philosophical speculations before turning to the production of potboilers—gothic, humorous, historical novels—written under composite pseudonyms. Then he tried a business career as a publisher, printer, and owner of a typefoundry, but disaster soon followed. In 1828 he was narrowly saved from bankruptcy and was left with debts of more than 60,000 francs. From then on his life was to be one of mounting debts and almost incessant toil. He returned to writing with a new mastery, and his literary apprenticeship was over.

Two works of 1829 brought Balzac to the brink of success. Les Chouans, the first novel he felt enough confidence about to have published under his own name, is a historical novel about the Breton peasants called Chouans who took part in a royalist insurrection against Revolutionary France in 1799. The other, La Physiologie du mariage (The Physiology of Marriage), is a humorous and satirical essay on the subject of marital infidelity, encompassing both its causes and its cure. The six stories in his Scènes de la vie privée (1830; Scenes from Private Life) further increased his reputation. These long short stories are for the most part psychological studies of girls in conflict with parental authority. The minute attention he gave to describing domestic background in his works anticipated the spectacularly detailed societal observations of his later Parisian studies.

From this point forward Balzac spent much of his time in Paris. He began to frequent some of the best-known Parisian salons of the day and redoubled his efforts to set himself up as a dazzling figure in society. To most people he seemed full of exuberant vitality, talkative, jovial and robustious, egoistic, credulous, and boastful. He adopted for his own use the armorial bearings of an ancient noble family with which he had no connection and assumed the honorific particle de. He was avid for fame, fortune, and love but was above all conscious of his own genius. He also began to have love affairs with fashionable or aristocratic women at this time, finally gaining that firsthand understanding of mature women that is so evident in his novels.

Between 1828 and 1834 Balzac led a tumultuous existence, spending his earnings in advance as a dandy and man-about-town. A fascinating raconteur, he was fairly well received in society. But social ostentation was only a relaxation from phenomenal bouts of work—14 to 16 hours spent writing at his table in his white, quasi-monastic dressing gown, with his goose-quill pen and his endless cups of black coffee. In 1832 Balzac became friendly with Éveline Hanska, a Polish countess who was married to an elderly Ukrainian landowner. She, like many other women, had written to Balzac expressing admiration of his writings. They met twice in Switzerland in 1833—the second time in Geneva, where they became lovers—and again in Vienna in 1835. They agreed to marry when her husband died, and so Balzac continued to conduct his courtship of her by correspondence; the resulting Lettres à l’étrangère (Letters to a Foreigner), which appeared posthumously (4 vol., 1889–1950), are an important source of information for the history both of Balzac’s life and of his work.

To clear his debts and put himself in a position to marry Madame Hanska now became Balzac’s great incentive. He was at the peak of his creative power. In the period 1832–35 he produced more than 20 works, including the novels Le Médecin de campagne (1833; The Country Doctor), Eugénie Grandet (1833), L’Illustre Gaudissart (1833; The Illustrious Gaudissart), and Le Père Goriot (1835), one of his masterpieces. Among the shorter works were Le Colonel Chabert (1832), Le Curé de Tours (1832; The Vicar of Tours), the trilogy of stories entitled Histoire des treize (1833–35; History of the Thirteen), and Gobseck (1835). Between 1836 and 1839 he wrote Le Cabinet des antiques (1839), the first two parts of another masterpiece, Illusions perdues (1837–43; Lost Illusions), César Birotteau (1837), and La Maison Nucingen (1838; The Firm of Nucingen). Between 1832 and 1837 he also published three sets of Contes drolatiques (Droll Stories). These stories, Rabelaisian in theme, are written with great verve and gusto in an ingenious pastiche of 16th-century language. During the 1830s he also wrote a number of philosophical novels dealing with mystical, pseudoscientific, and other exotic themes. Among these are La Peau de chagrin (1831; The Wild Ass’s Skin), Le Chef-d’oeuvre inconnu (1831; The Unknown Masterpiece), Louis Lambert (1834), La Recherche de l’absolu (1834; The Quest of the Absolute), and Séraphîta (1834–35).

In all these varied works Balzac emerged as the supreme observer and chronicler of contemporary French society. These novels are unsurpassed for their narrative drive, their large casts of vital, diverse, and interesting characters, and their obsessive interest in and examination of virtually all spheres of life: the contrast between provincial and metropolitan manners and customs; the commercial spheres of banking, publishing, and industrial enterprise; the worlds of art, literature, and high culture; politics and partisan intrigue; romantic love in all its aspects; and the intricate social relations and scandals among the aristocracy and the haute bourgeoisie.

No theme is more typically Balzacian than that of the ambitious young provincial fighting for advancement in the competitive world of Paris. Balzac admired those individuals who were ruthless, astute, and, above all, successful in thrusting their way up the social and economic scale at all costs. He was especially attracted by the theme of the individual in conflict with society: the adventurer, the scoundrel, the unscrupulous financier, and the criminal. Frequently his villains are more vigorous and interesting than his virtuous characters. He was both fascinated and appalled by the French social