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La Comédie Humaine #42
Les Secrets de la princesse de Cadignan
La Comédie humaine - Études de moeurs. Troisième livre, Scènes de la vie parisienne - Tome XI (sic, erreur pour le tome III). Onzième volume de l'édition Furne 1842. Extrait : ― De Marsay a joué avec moi comme avec une poupée. J’étais si jeune ! Nous n’aimons jamais les hommes qui se font nos instituteurs, ils froissent trop nos petites vanités. Voici bientôt trois années que je passe dans une solitude entière, eh ! bien, ce calme n’a rien eu de pénible. A vous seule, j’oserai dire qu’ici je me suis sentie heureuse. J’étais blasée d’adorations, fatiguée sans plaisir, émue à la superficie sans que l’émotion me traversât le cœur. J’ai trouvé tous les hommes que j’ai connus petits, mesquins, superficiels ; aucun d’eux ne m’a causé la plus légère surprise, ils étaient sans innocence, sans grandeur, sans délicatesse. J’aurais voulu rencontrer quelqu’un qui m’eût imposé.
62 pages, Kindle Edition
First published June 1, 1839
8 people are currently reading
314 people want to read
About the author
Honoré de Balzac
9,555 books4,378 followersFrench writer Honoré de Balzac (born Honoré Balzac), a founder of the realist school of fiction, portrayed the panorama of society in a body of works, known collectively as
La comédie humaine
.
Honoré de Balzac authored 19th-century novels and plays. After the fall of Napoléon in 1815, his magnum opus, a sequence of almost a hundred novels and plays, entitled, presents life in the years.
Due to keen observation of fine detail and unfiltered representation, European literature regards Balzac. He features renowned multifaceted, even complex, morally ambiguous, full lesser characters. Character well imbues inanimate objects; the city of Paris, a backdrop, takes on many qualities. He influenced many famous authors, including the novelists Marcel Proust, Émile Zola, Charles John Huffam Dickens, Gustave Flaubert, Henry James, and Jack Kerouac as well as important philosophers, such as Friedrich Engels. Many works of Balzac, made into films, continue to inspire.
An enthusiastic reader and independent thinker as a child, Balzac adapted with trouble to the teaching style of his grammar. His willful nature caused trouble throughout his life and frustrated his ambitions to succeed in the world of business. Balzac finished, and people then apprenticed him as a legal clerk, but after wearying of banal routine, he turned his back on law. He attempted a publisher, printer, businessman, critic, and politician before and during his career. He failed in these efforts From his own experience, he reflects life difficulties and includes scenes.
Possibly due to his intense schedule and from health problems, Balzac suffered throughout his life. Financial and personal drama often strained his relationship with his family, and he lost more than one friend over critical reviews. In 1850, he married Ewelina Hańska, his longtime paramour; five months later, he passed away.
Honoré de Balzac authored 19th-century novels and plays. After the fall of Napoléon in 1815, his magnum opus, a sequence of almost a hundred novels and plays, entitled, presents life in the years.
Due to keen observation of fine detail and unfiltered representation, European literature regards Balzac. He features renowned multifaceted, even complex, morally ambiguous, full lesser characters. Character well imbues inanimate objects; the city of Paris, a backdrop, takes on many qualities. He influenced many famous authors, including the novelists Marcel Proust, Émile Zola, Charles John Huffam Dickens, Gustave Flaubert, Henry James, and Jack Kerouac as well as important philosophers, such as Friedrich Engels. Many works of Balzac, made into films, continue to inspire.
An enthusiastic reader and independent thinker as a child, Balzac adapted with trouble to the teaching style of his grammar. His willful nature caused trouble throughout his life and frustrated his ambitions to succeed in the world of business. Balzac finished, and people then apprenticed him as a legal clerk, but after wearying of banal routine, he turned his back on law. He attempted a publisher, printer, businessman, critic, and politician before and during his career. He failed in these efforts From his own experience, he reflects life difficulties and includes scenes.
Possibly due to his intense schedule and from health problems, Balzac suffered throughout his life. Financial and personal drama often strained his relationship with his family, and he lost more than one friend over critical reviews. In 1850, he married Ewelina Hańska, his longtime paramour; five months later, he passed away.
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July 17, 2023Satisfait. Peut être plus que ce à quoi je m'attendais. Le petit roman de Balzac est centré sur la vie d'une authentique princesse parisienne, oui, toujours des femmes. Balzac est le romancier des femmes, soyons clair.
C'est l'amas de mensonges par lequel une femme de 37 ans devenue princesse de Cadignan par succesion, parvient à se faire prendre pour une sainte, une vertueuse, une pudique jeune fille par son quatorzième adorateur, c'est enfin le dernier degré de la dépravation dans les sentiments. Le chef-d'œuvre est d'avoir fait voir les mensonges comme justes, nécessaires et de les justifier par l'amour, car l'amour justifie beaucoup, comme d'hab.
Diane était un vrai Don Juan femelle, qui a ruiné bien des admirateurs, mais qui maintenant devra convaincre de la vérité de son être sentimental, et si l'on veut résumer en une phrase un peu longue on peut dire que ce court roman relate l'enorme mensonge auquel se livre une grande dame , reine de l'artifice, pour séduire un écrivain. Le mensonge comme facteur de vérité est le centre de l'écu qu'est le roman, non pas comme lieu de réflexion sur des techniques d'écriture, mais comme mise en scène fictionelle, acceptée comme telle servie par une femme qui, pour dire la vérité, ment à un homme qui ment lui aussi à sa manière, lorsqu'il s'adonne à son activité de romancier.
Dans la logique de la véridiction que la littérature romanesque - en tant qu'activite relevant de l'écriture est nécessairement un univers mensonger, dans lequel on "raconte des histoires " à l'aide des signes du langage, devient alors une fiction qui - à l'aide du mensonge, interprète le monde et ses signes, fait apparaître des vérités et des significations multiples. Et Balzac sait exploiter cet univers mieux que personne.
C'est l'amas de mensonges par lequel une femme de 37 ans devenue princesse de Cadignan par succesion, parvient à se faire prendre pour une sainte, une vertueuse, une pudique jeune fille par son quatorzième adorateur, c'est enfin le dernier degré de la dépravation dans les sentiments. Le chef-d'œuvre est d'avoir fait voir les mensonges comme justes, nécessaires et de les justifier par l'amour, car l'amour justifie beaucoup, comme d'hab.
Diane était un vrai Don Juan femelle, qui a ruiné bien des admirateurs, mais qui maintenant devra convaincre de la vérité de son être sentimental, et si l'on veut résumer en une phrase un peu longue on peut dire que ce court roman relate l'enorme mensonge auquel se livre une grande dame , reine de l'artifice, pour séduire un écrivain. Le mensonge comme facteur de vérité est le centre de l'écu qu'est le roman, non pas comme lieu de réflexion sur des techniques d'écriture, mais comme mise en scène fictionelle, acceptée comme telle servie par une femme qui, pour dire la vérité, ment à un homme qui ment lui aussi à sa manière, lorsqu'il s'adonne à son activité de romancier.
Dans la logique de la véridiction que la littérature romanesque - en tant qu'activite relevant de l'écriture est nécessairement un univers mensonger, dans lequel on "raconte des histoires " à l'aide des signes du langage, devient alors une fiction qui - à l'aide du mensonge, interprète le monde et ses signes, fait apparaître des vérités et des significations multiples. Et Balzac sait exploiter cet univers mieux que personne.
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July 19, 2021A l'air mélancolique qu'avait pris, en parlant de la princesse de Cadignan, M. de Charlus, j'avais bien senti que cette nouvelle ne le faisait pas penser qu'au petit jardin d'une cousine assez indifférente. Il tomba dans une songerie profonde, et comme se parlant à soi-même: « Les Secrets de la princesse de Cadignan ! s'écria-t-il, quel chef-d'oeuvre! comme c'est profond, comme c'est douloureux, cette mauvaise réputation de Diane qui craint tant que l'homme qu'elle aime ne l'apprenne! Quelle vérité éternelle, et plus générale que cela n'en a l'air! comme cela va loin ! » M. de Charlus prononça ces mots avec une tristesse qu'on sentait pourtant qu'il ne trouvait pas sans charme.
April 27, 2025
Die Fürstin von Cadgnan ist ereits sechunddreißig Jahre alt, „brauchte indes erst dreißig zuzugeben.” Und ihr Geliebter, der Dichter D’Arthez, hält sie gar für zwanzig.
Zu Anfang unterhält sich die Fürstin mit ihrer Freundin und Konkurrentin der Marquiese Espard. Man könne lieben ohne glücklich zu sein und glücklich sein, ohne zu lieben. Aber um die beiden Gefühle zu verbinden bedürfe es eines Wunders. Und beiden ist dieses Wunder nicht widerfahren.
Wobei die Fürstin durchaus dem Wunder nachzuhelfen sich bemüht hatte, unter anderem war sie die Geliebte des armen Lucien de Rubempré. Und nun erinnert sie sich an einen Verehrer, der leider verstorben ist, verfällt aber darauf, dessen Freund, eben den Dichter kennenzulernen. Rastignac und Blondet sind behilflich. Und natürlich verliebt der Mann sich in sie. Und es kommt, wie es kommen muss.
Die Fürstin berichtet von ihrem Leben. Ihr Gatte, den sie mit siebzehn hatte ehelichen müssen, war der Geliebte der Mutter. Und so fühlte sie sich berechtigt, zu einem weiblichen Don Juan zu werden.
Und wie geht das aus? Die Freunde verleumden die Frau, aber D’Arthez steht zu ihr. Die Fürstin verbringt jeden Sommer mit dem großen Schriftsteller in einer Villa in Genf. Seine Veröffentlichungen werden außerordentlich selten. Ist das eine Lösung, fragt Balzac? „Für alle Leute von Geist: ja, für jene. die alles wissen wollen: nein.”
Zu Anfang unterhält sich die Fürstin mit ihrer Freundin und Konkurrentin der Marquiese Espard. Man könne lieben ohne glücklich zu sein und glücklich sein, ohne zu lieben. Aber um die beiden Gefühle zu verbinden bedürfe es eines Wunders. Und beiden ist dieses Wunder nicht widerfahren.
Wobei die Fürstin durchaus dem Wunder nachzuhelfen sich bemüht hatte, unter anderem war sie die Geliebte des armen Lucien de Rubempré. Und nun erinnert sie sich an einen Verehrer, der leider verstorben ist, verfällt aber darauf, dessen Freund, eben den Dichter kennenzulernen. Rastignac und Blondet sind behilflich. Und natürlich verliebt der Mann sich in sie. Und es kommt, wie es kommen muss.
D’Arthez wagte seit sechzig Tagen der Vorverhandlung endlich, ihre lauwarme, duftenden Hand zu ergreifen; er zog sie an die Lippen und drückte einen langen Kuss darauf, den er in so zarter Wollust vom Handgelenk bis zu den Nägeln gleiten ließ, dass die Fürstin den Kopf senkte und sich sehr viel von der Literatur versprach.
Die Fürstin berichtet von ihrem Leben. Ihr Gatte, den sie mit siebzehn hatte ehelichen müssen, war der Geliebte der Mutter. Und so fühlte sie sich berechtigt, zu einem weiblichen Don Juan zu werden.
Und wie geht das aus? Die Freunde verleumden die Frau, aber D’Arthez steht zu ihr. Die Fürstin verbringt jeden Sommer mit dem großen Schriftsteller in einer Villa in Genf. Seine Veröffentlichungen werden außerordentlich selten. Ist das eine Lösung, fragt Balzac? „Für alle Leute von Geist: ja, für jene. die alles wissen wollen: nein.”
March 5, 2025
Nu cred că îl poate egala cineva pe Balzac în arta povestirii. Este mereu o plăcere să îl citesc.
Din acest volum, cel mai mult mi-a plăcut "Femeia părăsită". Mai precis, finalul acestei povestiri.
Recomand. ❤️
Din acest volum, cel mai mult mi-a plăcut "Femeia părăsită". Mai precis, finalul acestei povestiri.
Recomand. ❤️
April 14, 2025
E mi sono fatta anche un'idea su Balzac. Goodreads mi ha fatto venire la curiosità di leggere qualche sua opera e ne ho cercata una breve, solo per vedere se avrei apprezzato il suo modo di scrivere.
Il breve romanzo di Balzac è incentrato sulla vita di un'autentica principessa parigina e sull'insieme di menzogne con cui questa donna di 37 anni, divenuta per successione principessa di Cadignan, riesce a farsi passare per una santa, una virtuosa, una modesta fanciulla dal suo spasimante. Il tocco da maestro è stato quello di aver fatto apparire la menzogna giusta, necessaria e di averla giustificata con l'amore, perché l'amore giustifica tutto, come al solito.
Non mi è dispiaciuto, ma forse per apprezzare pienamente la penna dell'autore dovrei leggere un'opera più corposa, perché il finale mi è sembrato frettoloso e un po' piatto.
Il breve romanzo di Balzac è incentrato sulla vita di un'autentica principessa parigina e sull'insieme di menzogne con cui questa donna di 37 anni, divenuta per successione principessa di Cadignan, riesce a farsi passare per una santa, una virtuosa, una modesta fanciulla dal suo spasimante. Il tocco da maestro è stato quello di aver fatto apparire la menzogna giusta, necessaria e di averla giustificata con l'amore, perché l'amore giustifica tutto, come al solito.
Non mi è dispiaciuto, ma forse per apprezzare pienamente la penna dell'autore dovrei leggere un'opera più corposa, perché il finale mi è sembrato frettoloso e un po' piatto.
February 18, 2025
actually better than i thought it would be
May 18, 2024
I have to admit it I am a Balzac fan and I enjoy reading his books. They never seem to disappoint me. Another short story from the Human Comedy. 5 stars from me.
June 13, 2019
I was glad to be revisiting Balzac's Paris. It is in the time of Louis-Phillipe. After the disasters of the revolution of July, which destroyed so many aristocratic fortunes dependent on the court, Madame la Princesse de Cadignan was clever enough to attribute to political events the total ruin she had caused by her own extravagance. ... This woman, so celebrated under her first name of Duchesse de Maufrigneuse, very wisely decided to live in retirement, and to make herself, if possible, forgotten.
One of the things I like so much about Balzac is that you get a story and you get an ending. But his endings are the beginning of something else which is more likely to be a tragedy. It isn't as if he then writes the next chapter in the lives of these characters that is obviously to become tragic. For me, his stories and novels end with a great sigh; I lose one entire intake of air.
This is is a good entry of the Balzac ouevre. There were many references to characters in other stories, so it would be helpful to have read a good many before reading this one. The Yahoo group that read the entire series, puts this well down the list in the recommended reading order. I admit that it's been awhile since I read Balzac and, though the names were familiar to me, I might have lost some of the context of some of the comments. Balzac had not yet hit his writing stride, I think. I liked this, but it is not his best work.
One of the things I like so much about Balzac is that you get a story and you get an ending. But his endings are the beginning of something else which is more likely to be a tragedy. It isn't as if he then writes the next chapter in the lives of these characters that is obviously to become tragic. For me, his stories and novels end with a great sigh; I lose one entire intake of air.
This is is a good entry of the Balzac ouevre. There were many references to characters in other stories, so it would be helpful to have read a good many before reading this one. The Yahoo group that read the entire series, puts this well down the list in the recommended reading order. I admit that it's been awhile since I read Balzac and, though the names were familiar to me, I might have lost some of the context of some of the comments. Balzac had not yet hit his writing stride, I think. I liked this, but it is not his best work.
November 24, 2021
HONORE DE BALZAC-LES SECRETES DE PRINCESSE DE CADIGNAN
✒"Avouons-le d’ailleurs ? Il faut être reine pour savoir abdiquer, et descendre noblement d’une position élevée qui n’est jamais entièrement perdue. Ceux-là seuls qui ont la conscience de n’être rien par eux-mêmes, manifestent des regrets en tombant"
👸Glavni lik ovog dela je vojvotkinja de Maufrigneuse,čest lik Balzakove Ljudske komedije
👸Sada je s titulom princeze,u svojim četrdesetim,rešila da se povuče i mirno provede ostatak života
👸Sve dok ne naiđe lik s kojim deli neka sećanja na jednu davnu ljubav
👸Kreće igra zavođenja i poslednja(da li?)ljubav čuvene dame iz visokog društva.
👸Britko,kratko,jasno balzakovski oslikana aristokratija
👸Još jedan biser velikog majstora
#7sensesofabook #bookstagram #knjige #readingaddict #literature #classicliterature #balzac
✒"Avouons-le d’ailleurs ? Il faut être reine pour savoir abdiquer, et descendre noblement d’une position élevée qui n’est jamais entièrement perdue. Ceux-là seuls qui ont la conscience de n’être rien par eux-mêmes, manifestent des regrets en tombant"
👸Glavni lik ovog dela je vojvotkinja de Maufrigneuse,čest lik Balzakove Ljudske komedije
👸Sada je s titulom princeze,u svojim četrdesetim,rešila da se povuče i mirno provede ostatak života
👸Sve dok ne naiđe lik s kojim deli neka sećanja na jednu davnu ljubav
👸Kreće igra zavođenja i poslednja(da li?)ljubav čuvene dame iz visokog društva.
👸Britko,kratko,jasno balzakovski oslikana aristokratija
👸Još jedan biser velikog majstora
#7sensesofabook #bookstagram #knjige #readingaddict #literature #classicliterature #balzac
September 6, 2010
Secrets of the Princesse de Cadignan is a comic tale about a society woman, a Princess and a Duchess, who attempts to recycle her slightly seedy past by pursuing a minor literary figure of great probity and innocence. The Princess de Cadignan, aka the Duchesse de Maufrigneuse, has consorted with such notable Balzac rakes as Henri de Marsay, Maxime de Trailles, and Eugène de Rastignac, but is disconcerted to find herself being stalked by an unknown but comely young man.
It turns out that this young man is killed in a political riot. His name was Michel Chrestien, and he was known to be the close friend of an author named Daniel d'Arthez. With her ego gratified by Chrestien's attention, the Princess seeks to make a conquest of d'Arthez, which she proceeds to do by whitewashing her past and pulling the wool firmly over Daniel's eyes.
This is one of Honoré de Balzac's lighter and better realized works. The author was so prolific and so driven that many of his works are mere fragments that make little sense unless one attempts to read the author's complete oeuvre. This short work manages to mention dozens of characters that appear in other Balzac stories.
It turns out that this young man is killed in a political riot. His name was Michel Chrestien, and he was known to be the close friend of an author named Daniel d'Arthez. With her ego gratified by Chrestien's attention, the Princess seeks to make a conquest of d'Arthez, which she proceeds to do by whitewashing her past and pulling the wool firmly over Daniel's eyes.
This is one of Honoré de Balzac's lighter and better realized works. The author was so prolific and so driven that many of his works are mere fragments that make little sense unless one attempts to read the author's complete oeuvre. This short work manages to mention dozens of characters that appear in other Balzac stories.
January 9, 2015
This is a good short story mostly for Balzac fans who have read Lost Illusions and A Harlot High and Low. Although I am reading the whole Human Comedy, I was especially interested in this one to discover what happened to Daniel Arthez, who was Lucien de Rubempre's friend from the aforementioned books.
March 21, 2022
Une belle histoire d'amour entre Diane d'Uxelles et Daniel d'Arthez, mais qui finit anti-climatiquement ou très platement. On ne sait même pas si la princesse a pu marier son fils ou pas. Il est bien triste que je n'ai pas trouvé un ouvrage original (français) du livre, mais une copie réalisée aux states.
Un joli résumé à la page 56/57, "Chez Diane la dépravation n'est pas un effet, mais une cause ; peut-être doit-elle à cette cause son naturel exquis : elle ne cherche pas, elle n'invente rien ; elle vous offre les recherches les plus raffinées comme une inspiration de l'amour le plus naïf, et il vous est impossible de ne pas la croire."
Finalement, avec ce livre, on peut comprendre et réaliser que la révolution française est une abjection totale dans l'histoire de France.
Parce que les femmes doivent toujours avoir 20 ans pour plaire (Hell référence).
Ce qui m'a plu:
- p. 6 : À l'attention de Théophile Gautier & l'histoire du titre de duc en France.
- p. 16 : "Quand on aime, on devient bien bête" comme dans Hell "Que l'on est con quand on aime".
- p. 32 : La mention du baron de Rastignac, qui devait être dans les illusions perdues.
- p. 33 : la référence de "l'ange rêvé" qui apparaît dans Hell.
- p. 49 : le mot "illusions" a été utilisé en illusion à son autre ouvrage "illusions perdues".
- p. 55 : l'attitude de Maxime de Trailles m'a fait pensé au Vicomte de Valmont dans les liaisons dangereuses.
Ce qui ne m'a pas plu ou pas compris :
- p. 9 : la faute avec le mot "de" écrit deux fois de suite; "de de Marsay".
- p. 12 : la faute avec le mot "sais" au lieu de "suis", "je me sais aperçue".
- p. 25 : la faute d'accord après le verbe être "le secret du plaisir que je me suis procuré" alors que c'est la princesse qui s'est procurée.
- p. 37 : la référence à la statue de pierre? À qui donc ? À Daniel d'Arthez? & il faut attendre jusqu'à la page 37 pour avoir des informations sur l'état de son mari.
- p. 37 à 39 : je n'ai absolument pas compris l'histoire familiale.
- p. 45 : il faut attendre cette page pour mieux comprendre l'histoire familiale.
- p. 47 : pour apprendre ce qui devient de sa mère, la duchesse d'Uxelles.
Quelques belles citations:
- p. 7 : "Il n'y a de vrais princes que ceux qui sont possessionnés et auxquels appartient le titre d'Altesse.
- p. 12 : "L'avez-vous aimé ? dit la marquise. - Non, répondit gravement la princesse. La naïveté de d'Esgrignon était une sorte de sottise départementale de laquelle je me sais aperçue un peu trop tard, ou trop tôt si vous voulez."
- p. 13 : "J'ai trouvé tous les hommes que j'ai connus petits, mesquins, superficiels ; aucun d'eux ne m'a causé la plus légère surprise, ils étaient sans innocence, sans grandeur, sans délicatesse. J'aurais voulu rencontrer quelqu'un qui m'eût imposé."
- p. 16 : "Je vois beaucoup de femmes n'être que les prétextes d'une passion au lieu d'en être à la fois la cause et l'effet."
- p. 21 : "Ces sortes de curiosités sont, pour certaines femmes, ce qu'est la lanterne magique pour les enfants, un plaisir pour les yeux, assez pauvre d'ailleurs, et plein de désenchantement. Plus un homme d'esprit excite de sentiments à distance, moins il y répondra de près ; plus il a été rêvé brillant, plus terne il sera. Sous ce rapport, la curiosité déçue va souvent jusqu'à l'injustice."
- p. 26 : "La monarchie et la république sont les deux seules formes de gouvernement qui n'étouffent pas les beaux sentiments."
- p. 28 : Les femmes savent donner à leurs paroles une sainteté particulière, elles leur communiquent je ne sais quoi de vibrant qui étend le sens des idées et leur prête de la profondeur ; si plus tard leur auditeur charmé ne se rend pas compte de ce qu'elles ont dit, le but a été complètement atteint, ce qui est le propre de l'éloquence."
- p. 31 : "Il est des êtres qui ont le privilège d'être parmi les hommes comme des astres bienfaisants dont la lumière éclaire les esprits, dont les rayons échauffent les coeurs."
- p. 32 : "La princesse, cette belle créature, une des plus remarquables créations de ce monstrueux Paris où tout est possible en bien comme en mal, devint, quelque vulgaire que le malheur des temps ait rendu ce mot, l'ange rêvé."
- p. 33 : "Il n'y avait pas cette politesse toujours empreinte de fausseté par laquelle dans ce monde les personnes les mieux élevées et les plus aimables jouent des qualités qui souvent leur manquent, et qui laissent blessés ceux qui se reconnaissent dupés."
- p. 34 : "Son caractère public me console de toutes les souffrances que m'a causées son caractère privé."
- p. 43 : "J'ai toujours vu dans la justification une forte atteinte faite à l'innocence, aussi ai-je toujours dédaigné de parler."
- p. 46 : "Dieu sait comme ! Vous comprenez, mon ami, que les hommes avec lesquels j'étais soupçonnée de légèreté avaient pour moi la valeur du poignard dont on se sert pour frapper son ennemi."
- p. 47 : "Le monde est bien sot, bien aveugle, bien ignorant il ne pénètre que les secrets qui l'amusent, qui servent sa méchanceté ; les choses les plus grandes, les plus nobles, il se met la main sur les yeux pour ne pas les voir." & "Je me suis aperçue que j'étais la première victime de ma vengeance."
- p. 48 : "Pour m'étourdir, pour oublier la vie réelle par une vie fantastique, j'ai brillé, j'ai donné des fêtes, j'ai fait la princesse, et j'ai fait des dettes."
Toutefois, les ouvrages de Balzac reste toujours un plaisir, dommage que certains sont tout simplement épuisés. Peut-être cela est dû au fait que les gens sont de plus en plus inculte.
Bonsoir.
Un joli résumé à la page 56/57, "Chez Diane la dépravation n'est pas un effet, mais une cause ; peut-être doit-elle à cette cause son naturel exquis : elle ne cherche pas, elle n'invente rien ; elle vous offre les recherches les plus raffinées comme une inspiration de l'amour le plus naïf, et il vous est impossible de ne pas la croire."
Finalement, avec ce livre, on peut comprendre et réaliser que la révolution française est une abjection totale dans l'histoire de France.
Parce que les femmes doivent toujours avoir 20 ans pour plaire (Hell référence).
Ce qui m'a plu:
- p. 6 : À l'attention de Théophile Gautier & l'histoire du titre de duc en France.
- p. 16 : "Quand on aime, on devient bien bête" comme dans Hell "Que l'on est con quand on aime".
- p. 32 : La mention du baron de Rastignac, qui devait être dans les illusions perdues.
- p. 33 : la référence de "l'ange rêvé" qui apparaît dans Hell.
- p. 49 : le mot "illusions" a été utilisé en illusion à son autre ouvrage "illusions perdues".
- p. 55 : l'attitude de Maxime de Trailles m'a fait pensé au Vicomte de Valmont dans les liaisons dangereuses.
Ce qui ne m'a pas plu ou pas compris :
- p. 9 : la faute avec le mot "de" écrit deux fois de suite; "de de Marsay".
- p. 12 : la faute avec le mot "sais" au lieu de "suis", "je me sais aperçue".
- p. 25 : la faute d'accord après le verbe être "le secret du plaisir que je me suis procuré" alors que c'est la princesse qui s'est procurée.
- p. 37 : la référence à la statue de pierre? À qui donc ? À Daniel d'Arthez? & il faut attendre jusqu'à la page 37 pour avoir des informations sur l'état de son mari.
- p. 37 à 39 : je n'ai absolument pas compris l'histoire familiale.
- p. 45 : il faut attendre cette page pour mieux comprendre l'histoire familiale.
- p. 47 : pour apprendre ce qui devient de sa mère, la duchesse d'Uxelles.
Quelques belles citations:
- p. 7 : "Il n'y a de vrais princes que ceux qui sont possessionnés et auxquels appartient le titre d'Altesse.
- p. 12 : "L'avez-vous aimé ? dit la marquise. - Non, répondit gravement la princesse. La naïveté de d'Esgrignon était une sorte de sottise départementale de laquelle je me sais aperçue un peu trop tard, ou trop tôt si vous voulez."
- p. 13 : "J'ai trouvé tous les hommes que j'ai connus petits, mesquins, superficiels ; aucun d'eux ne m'a causé la plus légère surprise, ils étaient sans innocence, sans grandeur, sans délicatesse. J'aurais voulu rencontrer quelqu'un qui m'eût imposé."
- p. 16 : "Je vois beaucoup de femmes n'être que les prétextes d'une passion au lieu d'en être à la fois la cause et l'effet."
- p. 21 : "Ces sortes de curiosités sont, pour certaines femmes, ce qu'est la lanterne magique pour les enfants, un plaisir pour les yeux, assez pauvre d'ailleurs, et plein de désenchantement. Plus un homme d'esprit excite de sentiments à distance, moins il y répondra de près ; plus il a été rêvé brillant, plus terne il sera. Sous ce rapport, la curiosité déçue va souvent jusqu'à l'injustice."
- p. 26 : "La monarchie et la république sont les deux seules formes de gouvernement qui n'étouffent pas les beaux sentiments."
- p. 28 : Les femmes savent donner à leurs paroles une sainteté particulière, elles leur communiquent je ne sais quoi de vibrant qui étend le sens des idées et leur prête de la profondeur ; si plus tard leur auditeur charmé ne se rend pas compte de ce qu'elles ont dit, le but a été complètement atteint, ce qui est le propre de l'éloquence."
- p. 31 : "Il est des êtres qui ont le privilège d'être parmi les hommes comme des astres bienfaisants dont la lumière éclaire les esprits, dont les rayons échauffent les coeurs."
- p. 32 : "La princesse, cette belle créature, une des plus remarquables créations de ce monstrueux Paris où tout est possible en bien comme en mal, devint, quelque vulgaire que le malheur des temps ait rendu ce mot, l'ange rêvé."
- p. 33 : "Il n'y avait pas cette politesse toujours empreinte de fausseté par laquelle dans ce monde les personnes les mieux élevées et les plus aimables jouent des qualités qui souvent leur manquent, et qui laissent blessés ceux qui se reconnaissent dupés."
- p. 34 : "Son caractère public me console de toutes les souffrances que m'a causées son caractère privé."
- p. 43 : "J'ai toujours vu dans la justification une forte atteinte faite à l'innocence, aussi ai-je toujours dédaigné de parler."
- p. 46 : "Dieu sait comme ! Vous comprenez, mon ami, que les hommes avec lesquels j'étais soupçonnée de légèreté avaient pour moi la valeur du poignard dont on se sert pour frapper son ennemi."
- p. 47 : "Le monde est bien sot, bien aveugle, bien ignorant il ne pénètre que les secrets qui l'amusent, qui servent sa méchanceté ; les choses les plus grandes, les plus nobles, il se met la main sur les yeux pour ne pas les voir." & "Je me suis aperçue que j'étais la première victime de ma vengeance."
- p. 48 : "Pour m'étourdir, pour oublier la vie réelle par une vie fantastique, j'ai brillé, j'ai donné des fêtes, j'ai fait la princesse, et j'ai fait des dettes."
Toutefois, les ouvrages de Balzac reste toujours un plaisir, dommage que certains sont tout simplement épuisés. Peut-être cela est dû au fait que les gens sont de plus en plus inculte.
Bonsoir.
September 28, 2020
Balzac hat nominell zwei Frauenstudien für die HC geliefert, in zahlreichen Romanen und Erzählungen des Zyklus weitere unverwechselbare Portraits von Herzoginnen, Baronessen und Bürgermädchen geliefert, die ihren Weg machen oder hoffnungslos stecken bleiben.
Die Geheimnisse der Fürstin von Cadignan ist so etwas wie das Portrait einer gefallenen Majestät, denn Diana de Mafrigneuse ist vom Ende von Pére Goriot bis zur Juli-Revolution, die führende Frau, rund 40 Liebhaber, darunter sämtliche Beaus der Epoche, werden ihr zugeschrieben.
Tatsächlich fühlt sie sich innerlich noch immer unberührt, gesteht sie ihrer Nachfolgerin Madame D'Espard, die etliche der Schönlinge geerbt, aber auch nur ihren gesellschaftlichen Ehrgeiz befriedigen konnte. Aber es gibt da einen Unbekannten, der ihr vier Jahre lang gefolgt ist und aus Verehrung sogar ihrem stockkonservativen Gatten bei den 1830er Unruhen das Leben gerettet hat, obwohl ihr Mann auf der falschen Seite der Barrikaden stand, mit dem weiteren Verlauf der Erzählung nimmt Balzac ein paar Maschen auf, die er nach 2/3 von Verlorene Illusionen fallen ließ. Genauer gesagt nach dem Duell zwischen Rubempré und seinem früheren Freund Michel Chréstien, der den Wendehals für seinen Verrat angespuckt hatte. Denn R hatte nicht nur die Seiten gewechselt, sondern d'Arthez, einen weit überlegenen Autor, ohne dessen Hilfe der kläglich gestrandete Provinzler nicht mal seinen ersten Winter in Paris überlebt hätte, in einem Artikel lächerlich gemacht.Chréstien war der Unbekannte und ist 1832 im Kampf gegen die Truppe der Herzogin von Bérry gefallen, die das Rad der Geschichte zurück drehen und ihren Sohn als absoluten Herrscher auf den Thron setzen.
Die Unterhaltung mit dÀrthéz beginnt als gemeinsame Trauer,
Als Ergänzung zu Verlorene Illusionen bzw. Blick hinter bislang nie zugängliche Kulissen zu zahlreichen anderen Romanen der CH durchaus lesenswert, als isoliertes Stück Prosa nicht ganz so wertvoll.
Die Geheimnisse der Fürstin von Cadignan ist so etwas wie das Portrait einer gefallenen Majestät, denn Diana de Mafrigneuse ist vom Ende von Pére Goriot bis zur Juli-Revolution, die führende Frau, rund 40 Liebhaber, darunter sämtliche Beaus der Epoche, werden ihr zugeschrieben.
Tatsächlich fühlt sie sich innerlich noch immer unberührt, gesteht sie ihrer Nachfolgerin Madame D'Espard, die etliche der Schönlinge geerbt, aber auch nur ihren gesellschaftlichen Ehrgeiz befriedigen konnte. Aber es gibt da einen Unbekannten, der ihr vier Jahre lang gefolgt ist und aus Verehrung sogar ihrem stockkonservativen Gatten bei den 1830er Unruhen das Leben gerettet hat, obwohl ihr Mann auf der falschen Seite der Barrikaden stand, mit dem weiteren Verlauf der Erzählung nimmt Balzac ein paar Maschen auf, die er nach 2/3 von Verlorene Illusionen fallen ließ. Genauer gesagt nach dem Duell zwischen Rubempré und seinem früheren Freund Michel Chréstien, der den Wendehals für seinen Verrat angespuckt hatte. Denn R hatte nicht nur die Seiten gewechselt, sondern d'Arthez, einen weit überlegenen Autor, ohne dessen Hilfe der kläglich gestrandete Provinzler nicht mal seinen ersten Winter in Paris überlebt hätte, in einem Artikel lächerlich gemacht.Chréstien war der Unbekannte und ist 1832 im Kampf gegen die Truppe der Herzogin von Bérry gefallen, die das Rad der Geschichte zurück drehen und ihren Sohn als absoluten Herrscher auf den Thron setzen.
Die Unterhaltung mit dÀrthéz beginnt als gemeinsame Trauer,
Als Ergänzung zu Verlorene Illusionen bzw. Blick hinter bislang nie zugängliche Kulissen zu zahlreichen anderen Romanen der CH durchaus lesenswert, als isoliertes Stück Prosa nicht ganz so wertvoll.
June 8, 2018
Brimming with other Human Comedy characters, like Rastignac, Ajuda-Pinto, Nucingen, Dr. Bianchon and others found in numerous stories and novels that make up Balzac's La Comédie humaine, "The Secrets of the Princesse de Cadignan" reveals to us the workings of a female Don Juan. The themes are familiar to readers of Balzac, and this particular comedy of manners was very likely read by Marcel Proust, as there are many parallels to be found here and in Proust's À la recherche du temps perdu.
"There are," Balzac informs his readers, "women for whom curiosities of this kind [the writer Daniel d'Arthez] have all the attraction that magic-lantern pictures possess for children; but the pleasure for the eyes is poor enough at best, and fraught with disenchantment. The more interesting a clever man seems at a distance, the less he answers expectations on a nearer view; the more brilliant he was imagined to be, the duller the figure that he subsequently cuts."
How many figures and places does Proust's narrator encounter that dazzle on the surface, just as the magic lantern did for him as a boy, only to disappoint? The contrast between expectation and reality always leads to a certain disillusionment.
Balzac also gives much attention to women's dress, makes references to the Arabian Nights and paints an unfortunate love story not at all dissimilar from the one between Swann and Odette in "Swann in Love." Bewitched by the Princesse de Cadignan, d'Arthez defends her, while aware of her wiles, but one can just imagine either he, who ceased to publish after winning her heart, or the Princesse herself, at the end muttering, "To think that I've wasted years of my life, that I've wished for death, that I've experienced my greatest love, for a woman [or man, if the positions were reversed] whom I didn't like, who wasn't my type!"
"There are," Balzac informs his readers, "women for whom curiosities of this kind [the writer Daniel d'Arthez] have all the attraction that magic-lantern pictures possess for children; but the pleasure for the eyes is poor enough at best, and fraught with disenchantment. The more interesting a clever man seems at a distance, the less he answers expectations on a nearer view; the more brilliant he was imagined to be, the duller the figure that he subsequently cuts."
How many figures and places does Proust's narrator encounter that dazzle on the surface, just as the magic lantern did for him as a boy, only to disappoint? The contrast between expectation and reality always leads to a certain disillusionment.
Balzac also gives much attention to women's dress, makes references to the Arabian Nights and paints an unfortunate love story not at all dissimilar from the one between Swann and Odette in "Swann in Love." Bewitched by the Princesse de Cadignan, d'Arthez defends her, while aware of her wiles, but one can just imagine either he, who ceased to publish after winning her heart, or the Princesse herself, at the end muttering, "To think that I've wasted years of my life, that I've wished for death, that I've experienced my greatest love, for a woman [or man, if the positions were reversed] whom I didn't like, who wasn't my type!"
January 17, 2024
the setup for this is pretty crazy, because it's like maneater Amy Dunne à la française meets Jane Eyre, which is what's saving it from being a lower rating. every torturous page of Diane de Cadignan lamenting her terrible life— having to throw parties, bearing a son, and being so wealthy that she just couldn't quite find anything to do but amuse herself by pursuing a bunch of men, ensnaring them, and draining their coffers after her husband was exiled for political reasons— was simply too verbose. her friend was an underrated character to be sure, and without her this tomfoolery could not have occurred.
i just also happen to think that this could have been much shorter. 62 pages is a lie! it is like 130, many of which are composed of literally a single sentence with at least four semicolons. usually, these rants are simply about how emotionally moved one character or another is, and they're frequently punctuated by an endless flow of Thesaurus O'Clock words; he was as sad as a cat ! no— to say that he was sad is to completely understate the pain he felt with his knowledge, heavy as *insert reference to Biblical or Greek figure* rendered his leaden feet even heavier still; indeed, if I may treat myself to say, he was depressed, melancholic, rendered mute by his ennui, his boredom, his dread, his hatred; no ! his loathing for what he pathetically called his life.
like actually i too would enjoy being poignardé — why does this word come up at least 10 times!
at least i'm finished with my readings for another two weeks hip hip hooray!
i just also happen to think that this could have been much shorter. 62 pages is a lie! it is like 130, many of which are composed of literally a single sentence with at least four semicolons. usually, these rants are simply about how emotionally moved one character or another is, and they're frequently punctuated by an endless flow of Thesaurus O'Clock words; he was as sad as a cat ! no— to say that he was sad is to completely understate the pain he felt with his knowledge, heavy as *insert reference to Biblical or Greek figure* rendered his leaden feet even heavier still; indeed, if I may treat myself to say, he was depressed, melancholic, rendered mute by his ennui, his boredom, his dread, his hatred; no ! his loathing for what he pathetically called his life.
like actually i too would enjoy being poignardé — why does this word come up at least 10 times!
at least i'm finished with my readings for another two weeks hip hip hooray!
April 16, 2021
Every story brings clarity to the work at whole of "La Comedie Humaine", the Princess de Cadignan who is the Duchesse Diane de Maufrigneuse, this story takes place after the 1832 Revolution where her quiet admirer, Michel Chrestien, was killed at Saint-Merri. She is interested in knowing his friend, Daniel d'Arthez and enlist her friend Marquise d'Espard to help meet him.
Story in short- Diane looks to hoodwink Daniel, but does she?
I did not read this edition but from a Delphi Collection of his works.
"First published as Une Princesse parisienne in 1839, Les Secrets de la princesse de Cadignan is an 1840 novella. It tells the story of the Princess de Cadignan, who has the reputation of a coquette. The consequences of the July Revolution and a history of affairs have made the princess retire from the centre of society."
“I should like that sort of innocence,” cried the princess, laughing; “but ours is worse, and it is very humiliating. Well, it is a mortification we offer up in expiation of our fruitless search; yes, my dear, fruitless, for it isn’t probable we shall find in our autumn season the fine flower we missed in the spring and summer.” “That’s not the question,” resumed the marquise, after a meditative pause. “We are both still beautiful enough to inspire love, but we could never convince any one of our innocence and virtue.”
“Like you,” resumed the princess, “I have received more love than most women; but through all my many adventures, I have never found happiness. I committed great follies, but they had an object, and that object retreated as fast as I approached it. I feel to-day in my heart, old as it is, an innocence which has never been touched. Yes, under all my experience, lies a first love intact, — just as I myself, in spite of all my losses and fatigues, feel young and beautiful. We may love and not be happy; we may be happy and never love; but to love and be happy, to unite those two immense human experiences, is a miracle. That miracle has not taken place for me.”
❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌ spoiler alert❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌❌
Princesse de Cadignan is also the coquette Duchesse Diane de Maufrigneuse after the revolution of July, her husband escaped and she was left to decreased means and a sudden change of lifestyle and also of isolation. Marquise d'Espard is one of limited friends who sees her. Diane had many lovers but now her whole focus is on her son , Duc George de Maufrigneuse. They both talk of never feeling love which leads to Michel Chrestien who loved Diane from afar and saving her husband during the revolution and a impassioned letter to her before his death at Saint-Merri in 1832. Daniel d'Arthez is invited to Madame d'Espard's home where he meets and talks to the Princesse Diane Cadingan about Michel Chrestien and soon un worldly Daniel falls in love with her thinking she is 20 yet she is 36. Rastignac warns him about her draining money from lovers without them being asked. She tells him he is welcomed at her home. Diane invites Daniel over trying to win him over with her reading and ways so this genius is simply a boy of 38 to blind him to her truth. Diane tells the story and society's misunderstanding of her affairs. She has hoodwinked him in believing her innocent and laughing at him. The princess tells him her version and then tells him to go to Madame d'Espards where she will see if he will avenge her which he does by saying that she did what all men did but she helped out and never spoke ill of her followers. When he comes back she knows he loves her and she loves him; they are not heard as a couple but they spend time together and are lovers.
"MAUFRIGNEUSE (Duc de), born in 1778, son of the Prince de Cadignan, who died an octogenarian towards the close of the Restoration, leaving then as eldest of the house the Prince de Cadignan. The prince was in love with Madame d’Uxelles, but married her daughter, Diane, in 1814, and afterwards lived unhappily with her. He supported Marie Godeschal; was a cavalry colonel during the reigns of Louis XVIII. and Charles X.; had under his command Philippe Bridau, the Vicomte de Serizy, Oscar Husson. He was on intimate terms with Messieurs de Grandlieu and d’Espard. The Secrets of a Princess. A Start in Life. A Bachelor’s Establishment. Scenes from a Courtesan’s Life."
"MAUFRIGNEUSE (Duchesse de), wife of the preceding, born Diane d’Uxelles in 1796, married in 1815. She was in turn the mistress of Marsay, Miguel d’Ajuda-Pinto, Victurnien d’Esgrignon, Maxime de Trailles, Eugene de Rastignac, Armand de Montriveau, Marquis de Ronquerolles, Prince Galathionne, the Duc de Rhetore, a Grandlieu, Lucien de Rubempre, and Daniel d’Arthez. She lived at various times in the following places: Anzy, near Sancerre; Paris, on rue Saint-Honore in the suburbs and on rue Miromesnil; Cinq-Cygne in Champagne; Geneva and the borders of Leman. She inspired a foolish platonic affection in Michel Chrestien, and kept at a distance the Duc d’Herouville, who courted her towards the end of the Restoration by sarcasm and brilliant repartee. Her first and last love affairs were especially well known. For her the Marquis Miguel d’Ajudo-Pinto gave up Berthe de Rochefide, his wife, avenging thus a former mistress, Claire de Beauseant. Her liaison with Victurnien d’Esgrignon became the most stormy of romances. Madame de Maufrigneuse, disguised as a man and possessed of a passport, bearing the name of Felix de Vandenesse, succeeded in rescuing from the Court of Assizes the young man who had compromised himself in yielding to the foolish extravagance of his mistress. The duchesse received even her tradesmen in an angelic way, and became their prey. She scattered fortunes to the four winds, and her indiscretions led to the sale of Anzy in a manner advantageous to Polydore Milaud de la Baudraye. Some years later she made a vain attempt to rescue Lucien de Rubempre, against whom a criminal charge was pending. The Restoration and the Kingdom of 1830 gave to her life a different lustre. Having fallen heir to the worldly sceptre of Mesdames de Langeais and de Beauseant, both of whom she knew socially, she became intimate with the Marquise d’Espard, a lady with whom in 1822 she disputed the right to rule the “fragile kingdom of fashion.” She visited frequently the Chaulieus, whom she met at a famous hunt near Havre. In July, 1830, reduced to poor circumstances, abandoned by her husband, who had then become the Prince de Cadignan, and assisted by her relatives, Mesdames d’Uxelles and de Navarreins, Diane operated as it were a kind of retreat, occupied herself with her son Georges, and strengthening herself by the memory of Chrestien, also by constantly visiting Madame d’Espard, she succeeded, without completely foregoing society, in making captive the celebrated deputy of the Right, a man of wealth and maturity, Daniel Arthez himself. In her own home and in that of Felicite des Touches she heard, between 1832 and 1835, anecdotes of Marsay. The Princess de Cadignan had portraits of her numerous lovers. She had also one of the Madame whom she had attended, and upon meeting him, showed it to Marsay, minister of Louis Philippe. She owned also a picture of Charles X. which was thus inscribed, “Given by the King.” After the marriage of her son to a Cinq-Cygne, she visited often at the estate of that name, and was there in 1839, during the regular election. "
"CADIGNAN (Prince de), a powerful lord of the former regime, father of the Duc de Maufrigneuse, father-in-law of the Duc de Navarreins. Ruined by the Revolution, he had regained his properties and income on the accession of the Bourbons. But he was a spendthrift and devoured everything. He also ruined his wife. He died at an advanced age some time before the Revolution of July. The Secrets of a Princess. At the end of 1829, the Prince de Cadignan, then Grand Huntsman to Charles X., rode in a great chase where were also found, amid a very aristocratic throng, the Duc d’Herouville, organizer of the jaunt, Canalis and Ernest de la Briere, all three of whom were suitors for the hand of Modeste Mignon. Modeste Mignon."
"CHRESTIEN (Michel), Federalist Republican; member of the “Cenacle” of rue des Quatre-Vents. In 1819 he and his friends were invited by the widow Bridau to her home to celebrate the return of her elder son Philippe from Texas. He posed as a Roman senator in a historic picture. The painter Joseph Bridau was a friend of his. A Bachelor’s Establishment. About 1822 Chrestien fought a duel with Lucien Chardon de Rubempre on account of Daniel d’Arthez. He was a great though unknown statesman. He was killed at Saint-Merri cloister on June 6, 1832, where he was defending ideas not his own. A Distinguished Provincial at Paris. He became foolishly enamored of Diane de Maufrigneuse, but did not confess his love save by a letter addressed to her just before he went to his death at the barricade. He had saved the life of M. de Maufrigneuse in the Revolution of July, 1830, through love for the duchesse. The Secrets of a Princess."
"ARTHEZ (Daniel d’), one of the most illustrious authors of the nineteenth century, and one of those rare men who display “the unity of excellent talent and excellent character.” Born about 1794 or 1796. A Picard gentleman. In 1821, when about twenty-five, he was poverty-stricken and dwelt on the fifth floor of a dismal house in the rue des Quatre-Vents, Paris, where had also resided the illustrious surgeon Desplein, in his youth. There he fraternized with: Horace Bianchon, then house-physician at Hotel-Dieu; Leon Giraud, the profound philosopher; Joseph Bridau, the painter who later achieved so much renown; Fulgence Ridal, comic poet of great sprightliness; Meyraux, the eminent physiologist who died young; lastly, Louis Lambert and Michel Chrestien, the Federalist Republican, both of whom were cut off in their prime. To these men of heart and of talent Lucien de Rubempre, the poet, sought to attach himself. He was introduced by Daniel d’Arthez, their recognized leader. This society had taken the name of the “Cenacle.” D’Arthez and his friends advised and aided, when in need, Lucien the “Distinguished Provincial at Paris” who ended so tragically. Moreover, with a truly remarkable disinterestedness d’Arthez corrected and revised “The Archer of Charles IX.,” written by Lucien, and the work became a superb book, in his hands. Another glimpse of d’Arthez is as the unselfish friend of Marie Gaston, a young poet of his stamp, but “effeminate.” D’Arthez was swarthy, with long locks, rather small and bearing some resemblance to Bonaparte. He might be called the rival of Rousseau, “the Aquatic,” since he was very temperate, very pure, and drank wateronly. For a long time he ate at Flicoteaux’s in the Latin Quarter. He had grown famous in 1832, besides enjoying an income of thirty thousand francs bequeathed by an uncle who had left him a prey to the most biting poverty so long as the author was unknown. D’Arthez then resided in a pretty house of his own in the rue de Bellefond, where he lived in other respects as formerly, in the rigor of work. He was a deputy sitting on the right and upholding the Royalist platform of Divine Right. When he had acquired a competence, he had a most vulgar and incomprehensible liaison with a woman tolerably pretty, but belonging to a lower society and without either education or breeding. D’Arthez maintained her, nevertheless, carefully concealing her from sight; but, far from being a pleasurable manner of life, it became odious to him. It was at this time that he was invited to the home of Diane de Maufrigneuse, Princesse de Cadignan, who was then thirty-six, but did not look it. The famous “great coquette” told him her (so-called) “secrets,” offered herself outright to this man whom she treated as a “famous simpleton,” and whom she made her lover. After that day there was no doubt about the relations of the princesse and Daniel d’Arthez. The great author, whose works became very rare, appeared only during some of the winter months at the Chamber of Deputies. A Distinguished Provincial at Paris. Letters of Two Brides. The Member for Arcis. The Secrets of a Princess. "
Story in short- Diane looks to hoodwink Daniel, but does she?
I did not read this edition but from a Delphi Collection of his works.
"First published as Une Princesse parisienne in 1839, Les Secrets de la princesse de Cadignan is an 1840 novella. It tells the story of the Princess de Cadignan, who has the reputation of a coquette. The consequences of the July Revolution and a history of affairs have made the princess retire from the centre of society."
“I should like that sort of innocence,” cried the princess, laughing; “but ours is worse, and it is very humiliating. Well, it is a mortification we offer up in expiation of our fruitless search; yes, my dear, fruitless, for it isn’t probable we shall find in our autumn season the fine flower we missed in the spring and summer.” “That’s not the question,” resumed the marquise, after a meditative pause. “We are both still beautiful enough to inspire love, but we could never convince any one of our innocence and virtue.”
“Like you,” resumed the princess, “I have received more love than most women; but through all my many adventures, I have never found happiness. I committed great follies, but they had an object, and that object retreated as fast as I approached it. I feel to-day in my heart, old as it is, an innocence which has never been touched. Yes, under all my experience, lies a first love intact, — just as I myself, in spite of all my losses and fatigues, feel young and beautiful. We may love and not be happy; we may be happy and never love; but to love and be happy, to unite those two immense human experiences, is a miracle. That miracle has not taken place for me.”
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Princesse de Cadignan is also the coquette Duchesse Diane de Maufrigneuse after the revolution of July, her husband escaped and she was left to decreased means and a sudden change of lifestyle and also of isolation. Marquise d'Espard is one of limited friends who sees her. Diane had many lovers but now her whole focus is on her son , Duc George de Maufrigneuse. They both talk of never feeling love which leads to Michel Chrestien who loved Diane from afar and saving her husband during the revolution and a impassioned letter to her before his death at Saint-Merri in 1832. Daniel d'Arthez is invited to Madame d'Espard's home where he meets and talks to the Princesse Diane Cadingan about Michel Chrestien and soon un worldly Daniel falls in love with her thinking she is 20 yet she is 36. Rastignac warns him about her draining money from lovers without them being asked. She tells him he is welcomed at her home. Diane invites Daniel over trying to win him over with her reading and ways so this genius is simply a boy of 38 to blind him to her truth. Diane tells the story and society's misunderstanding of her affairs. She has hoodwinked him in believing her innocent and laughing at him. The princess tells him her version and then tells him to go to Madame d'Espards where she will see if he will avenge her which he does by saying that she did what all men did but she helped out and never spoke ill of her followers. When he comes back she knows he loves her and she loves him; they are not heard as a couple but they spend time together and are lovers.
"MAUFRIGNEUSE (Duc de), born in 1778, son of the Prince de Cadignan, who died an octogenarian towards the close of the Restoration, leaving then as eldest of the house the Prince de Cadignan. The prince was in love with Madame d’Uxelles, but married her daughter, Diane, in 1814, and afterwards lived unhappily with her. He supported Marie Godeschal; was a cavalry colonel during the reigns of Louis XVIII. and Charles X.; had under his command Philippe Bridau, the Vicomte de Serizy, Oscar Husson. He was on intimate terms with Messieurs de Grandlieu and d’Espard. The Secrets of a Princess. A Start in Life. A Bachelor’s Establishment. Scenes from a Courtesan’s Life."
"MAUFRIGNEUSE (Duchesse de), wife of the preceding, born Diane d’Uxelles in 1796, married in 1815. She was in turn the mistress of Marsay, Miguel d’Ajuda-Pinto, Victurnien d’Esgrignon, Maxime de Trailles, Eugene de Rastignac, Armand de Montriveau, Marquis de Ronquerolles, Prince Galathionne, the Duc de Rhetore, a Grandlieu, Lucien de Rubempre, and Daniel d’Arthez. She lived at various times in the following places: Anzy, near Sancerre; Paris, on rue Saint-Honore in the suburbs and on rue Miromesnil; Cinq-Cygne in Champagne; Geneva and the borders of Leman. She inspired a foolish platonic affection in Michel Chrestien, and kept at a distance the Duc d’Herouville, who courted her towards the end of the Restoration by sarcasm and brilliant repartee. Her first and last love affairs were especially well known. For her the Marquis Miguel d’Ajudo-Pinto gave up Berthe de Rochefide, his wife, avenging thus a former mistress, Claire de Beauseant. Her liaison with Victurnien d’Esgrignon became the most stormy of romances. Madame de Maufrigneuse, disguised as a man and possessed of a passport, bearing the name of Felix de Vandenesse, succeeded in rescuing from the Court of Assizes the young man who had compromised himself in yielding to the foolish extravagance of his mistress. The duchesse received even her tradesmen in an angelic way, and became their prey. She scattered fortunes to the four winds, and her indiscretions led to the sale of Anzy in a manner advantageous to Polydore Milaud de la Baudraye. Some years later she made a vain attempt to rescue Lucien de Rubempre, against whom a criminal charge was pending. The Restoration and the Kingdom of 1830 gave to her life a different lustre. Having fallen heir to the worldly sceptre of Mesdames de Langeais and de Beauseant, both of whom she knew socially, she became intimate with the Marquise d’Espard, a lady with whom in 1822 she disputed the right to rule the “fragile kingdom of fashion.” She visited frequently the Chaulieus, whom she met at a famous hunt near Havre. In July, 1830, reduced to poor circumstances, abandoned by her husband, who had then become the Prince de Cadignan, and assisted by her relatives, Mesdames d’Uxelles and de Navarreins, Diane operated as it were a kind of retreat, occupied herself with her son Georges, and strengthening herself by the memory of Chrestien, also by constantly visiting Madame d’Espard, she succeeded, without completely foregoing society, in making captive the celebrated deputy of the Right, a man of wealth and maturity, Daniel Arthez himself. In her own home and in that of Felicite des Touches she heard, between 1832 and 1835, anecdotes of Marsay. The Princess de Cadignan had portraits of her numerous lovers. She had also one of the Madame whom she had attended, and upon meeting him, showed it to Marsay, minister of Louis Philippe. She owned also a picture of Charles X. which was thus inscribed, “Given by the King.” After the marriage of her son to a Cinq-Cygne, she visited often at the estate of that name, and was there in 1839, during the regular election. "
"CADIGNAN (Prince de), a powerful lord of the former regime, father of the Duc de Maufrigneuse, father-in-law of the Duc de Navarreins. Ruined by the Revolution, he had regained his properties and income on the accession of the Bourbons. But he was a spendthrift and devoured everything. He also ruined his wife. He died at an advanced age some time before the Revolution of July. The Secrets of a Princess. At the end of 1829, the Prince de Cadignan, then Grand Huntsman to Charles X., rode in a great chase where were also found, amid a very aristocratic throng, the Duc d’Herouville, organizer of the jaunt, Canalis and Ernest de la Briere, all three of whom were suitors for the hand of Modeste Mignon. Modeste Mignon."
"CHRESTIEN (Michel), Federalist Republican; member of the “Cenacle” of rue des Quatre-Vents. In 1819 he and his friends were invited by the widow Bridau to her home to celebrate the return of her elder son Philippe from Texas. He posed as a Roman senator in a historic picture. The painter Joseph Bridau was a friend of his. A Bachelor’s Establishment. About 1822 Chrestien fought a duel with Lucien Chardon de Rubempre on account of Daniel d’Arthez. He was a great though unknown statesman. He was killed at Saint-Merri cloister on June 6, 1832, where he was defending ideas not his own. A Distinguished Provincial at Paris. He became foolishly enamored of Diane de Maufrigneuse, but did not confess his love save by a letter addressed to her just before he went to his death at the barricade. He had saved the life of M. de Maufrigneuse in the Revolution of July, 1830, through love for the duchesse. The Secrets of a Princess."
"ARTHEZ (Daniel d’), one of the most illustrious authors of the nineteenth century, and one of those rare men who display “the unity of excellent talent and excellent character.” Born about 1794 or 1796. A Picard gentleman. In 1821, when about twenty-five, he was poverty-stricken and dwelt on the fifth floor of a dismal house in the rue des Quatre-Vents, Paris, where had also resided the illustrious surgeon Desplein, in his youth. There he fraternized with: Horace Bianchon, then house-physician at Hotel-Dieu; Leon Giraud, the profound philosopher; Joseph Bridau, the painter who later achieved so much renown; Fulgence Ridal, comic poet of great sprightliness; Meyraux, the eminent physiologist who died young; lastly, Louis Lambert and Michel Chrestien, the Federalist Republican, both of whom were cut off in their prime. To these men of heart and of talent Lucien de Rubempre, the poet, sought to attach himself. He was introduced by Daniel d’Arthez, their recognized leader. This society had taken the name of the “Cenacle.” D’Arthez and his friends advised and aided, when in need, Lucien the “Distinguished Provincial at Paris” who ended so tragically. Moreover, with a truly remarkable disinterestedness d’Arthez corrected and revised “The Archer of Charles IX.,” written by Lucien, and the work became a superb book, in his hands. Another glimpse of d’Arthez is as the unselfish friend of Marie Gaston, a young poet of his stamp, but “effeminate.” D’Arthez was swarthy, with long locks, rather small and bearing some resemblance to Bonaparte. He might be called the rival of Rousseau, “the Aquatic,” since he was very temperate, very pure, and drank wateronly. For a long time he ate at Flicoteaux’s in the Latin Quarter. He had grown famous in 1832, besides enjoying an income of thirty thousand francs bequeathed by an uncle who had left him a prey to the most biting poverty so long as the author was unknown. D’Arthez then resided in a pretty house of his own in the rue de Bellefond, where he lived in other respects as formerly, in the rigor of work. He was a deputy sitting on the right and upholding the Royalist platform of Divine Right. When he had acquired a competence, he had a most vulgar and incomprehensible liaison with a woman tolerably pretty, but belonging to a lower society and without either education or breeding. D’Arthez maintained her, nevertheless, carefully concealing her from sight; but, far from being a pleasurable manner of life, it became odious to him. It was at this time that he was invited to the home of Diane de Maufrigneuse, Princesse de Cadignan, who was then thirty-six, but did not look it. The famous “great coquette” told him her (so-called) “secrets,” offered herself outright to this man whom she treated as a “famous simpleton,” and whom she made her lover. After that day there was no doubt about the relations of the princesse and Daniel d’Arthez. The great author, whose works became very rare, appeared only during some of the winter months at the Chamber of Deputies. A Distinguished Provincial at Paris. Letters of Two Brides. The Member for Arcis. The Secrets of a Princess. "
February 6, 2025
Comment une femme du monde manipule un grand esprit mais finalement trouve l’amour
February 22, 2020
This sixty page novella did more to titillate my fancy than actually satisfy it: Balzac is capable of so much better. Falling into a classification I've come to beware of: the 'one trick pony' of a story, supported by only a single plot structure, and lacking any orchestration of background themes or situations, I found this work exceedingly thin.
Yes, the Princess Cadignan is a paragon of coquetry. Yes, she manages to wrap the reclusive yet renowned author around her little finger with consummate artistry. Yes, the scene in which he fawns at her feet as she, knowing he cannot see her face, relaxes into a smile which a monkey would exhibit after pulling some mischievous trick reveals the yawning disparity of their powers in relation to one another. Yes she, who has ruined many a man in her past, driving them through their passion for her into financial ruin, looks on d'Arthez as a mere child, a toy to be artfully moulded to her whimsical desires. Yes, she even divines the nefarious attempt of her friend d'Espard to meddle with his affections and still proceeds to help her make the attempt. All this is well and good, even if a bit too black and white (his purity and innocence is as virtually unadulterated as is her venality and manipulativeness) but when this culminates in the totally startling page-and-a-half conclusion one's credulity as a reader is stretched to the breaking point. Maybe he came up with another, stronger concept and just wanted to get this one off his desk in as expeditious a way as possible.
Maybe nuance of character was a bit much for Balzac: looking back on other of his works, I find it far too easy to dump his major personages into the 'good' and 'bad' pigeon holes of classification.
As well, what the Princess represents in this work was so much more detailed and intriguingly presented in the character of Valerie Marneffe in Cousin Bette, just partly because there was a much broader panoply of background against which her manipulations occurred.
Balzac has done stories shorter than this with more moral point to them. Unfortunately, he just didn't seem to get this one off the ground.
At least it doesn't take much of the reader's time.
Yes, the Princess Cadignan is a paragon of coquetry. Yes, she manages to wrap the reclusive yet renowned author around her little finger with consummate artistry. Yes, the scene in which he fawns at her feet as she, knowing he cannot see her face, relaxes into a smile which a monkey would exhibit after pulling some mischievous trick reveals the yawning disparity of their powers in relation to one another. Yes she, who has ruined many a man in her past, driving them through their passion for her into financial ruin, looks on d'Arthez as a mere child, a toy to be artfully moulded to her whimsical desires. Yes, she even divines the nefarious attempt of her friend d'Espard to meddle with his affections and still proceeds to help her make the attempt. All this is well and good, even if a bit too black and white (his purity and innocence is as virtually unadulterated as is her venality and manipulativeness) but when this culminates in the totally startling page-and-a-half conclusion one's credulity as a reader is stretched to the breaking point. Maybe he came up with another, stronger concept and just wanted to get this one off his desk in as expeditious a way as possible.
Maybe nuance of character was a bit much for Balzac: looking back on other of his works, I find it far too easy to dump his major personages into the 'good' and 'bad' pigeon holes of classification.
As well, what the Princess represents in this work was so much more detailed and intriguingly presented in the character of Valerie Marneffe in Cousin Bette, just partly because there was a much broader panoply of background against which her manipulations occurred.
Balzac has done stories shorter than this with more moral point to them. Unfortunately, he just didn't seem to get this one off the ground.
At least it doesn't take much of the reader's time.
January 1, 2021
Probably only to be appreciated if you've read a lot of the earlier Balzacs, you'd miss a lot of nuances and wouldn't necessarily spot her lies. I found it a very useful work for reminding me who did what and to whom.
August 1, 2021
A delightful variation on the Lys dans la Vallée, this short story questions the power of fiction with a charming touch!
Madame de Cadignan, eager to be loved, seduces a pure hearted man with a likely story. She paints herself as a sacrificed soul, murdered on the altar of calumny for the entertainment of the Parisian elite.
All at once, she’s the courageous daughter and the outraged courtesan, the spurned wife and the elegant dame. Eugénie Grandet, Esther Gobseck and Henriette de Mortsauf come together again in one gripping tale. By theatrically invoking Balzac’s beloved female archetypes, she creates a space in which the Comédie Humaine’s appeal is metatextually staged. D’Artez, ever fascinated, plays the part of the reader and finds himself trapped in that grand and seductive illusion.
Fiction blurs the limit between reality and lies. By telling that story, the Princess fell for it. Because she told it to D’Artez, she fell for him.
What is true and what is false ? Does it continue to matter when it is truly felt ? Those are the very paradoxes of fiction.
This is how one can tell Balzac is a great novelist. Like Henry James and countless others, he finds himself writing short stories which interrogate his own practice - exposing the laboratory underneath.
Madame de Cadignan, eager to be loved, seduces a pure hearted man with a likely story. She paints herself as a sacrificed soul, murdered on the altar of calumny for the entertainment of the Parisian elite.
All at once, she’s the courageous daughter and the outraged courtesan, the spurned wife and the elegant dame. Eugénie Grandet, Esther Gobseck and Henriette de Mortsauf come together again in one gripping tale. By theatrically invoking Balzac’s beloved female archetypes, she creates a space in which the Comédie Humaine’s appeal is metatextually staged. D’Artez, ever fascinated, plays the part of the reader and finds himself trapped in that grand and seductive illusion.
Fiction blurs the limit between reality and lies. By telling that story, the Princess fell for it. Because she told it to D’Artez, she fell for him.
What is true and what is false ? Does it continue to matter when it is truly felt ? Those are the very paradoxes of fiction.
This is how one can tell Balzac is a great novelist. Like Henry James and countless others, he finds himself writing short stories which interrogate his own practice - exposing the laboratory underneath.
August 24, 2020
Une nouvelle qui revient avec humour sur l’idéalisation romantique de la femme. J’ai particulièrement aimé l’impression de maîtrise et d’intelligence qui, loin de l’image de la femme fragile, fait du personnage de Diane une femme forte maîtresse de sa vie.
La conclusion, également, est délicieuse par son ouverture, tout en laissant entendre que d’Arthez a compris la situation et accepte finalement Diane comme elle est, fin très positive qui fait plaisir à croire.
La conclusion, également, est délicieuse par son ouverture, tout en laissant entendre que d’Arthez a compris la situation et accepte finalement Diane comme elle est, fin très positive qui fait plaisir à croire.
July 27, 2020
Strategies of women (especially titled women who’ve lost their fortunes) after the fall of the Bourbons in the revolution of 1830. Politically, the Bourbons may have learned and forgotten nothing but not Legitimist women like the Princess who skates through, breaking hearts and taking fortunes with her fascinating self presentation. “We never invent anything but the truth.”
October 7, 2022
In Proust’s Sodom and Gomarrah, Baron de Charlus speaks emotionally about this book. So I decided to read it. I have been some of the earliest books in the series, in English, The Human Comedy. So it was interesting to skip to #42. What people! We think we are so different now, but not really.
December 6, 2018
fabuleux,
A RELIRE A RELIRE
A RELIRE A RELIRE
May 31, 2024
Nuevamente Balzac nos cuenta la transformación y vida de una mujer. En este caso Diana, pasa de ser una inocente joven a una mujer decidida y manipuladora.
October 13, 2024
"Sólo quienes tienen la conciencia de no ser nada por sí mismos muestran pesar al caer o murmuran y vuelven sobre un pasado que nunca tornará, adivinando de sobra que nunca se sube dos veces"
December 19, 2023
Final chapter of the crazy twenty years of Diane d'Uxelles, married at seventeen to twenty years older lover of her mother, prince de Maufrigneuse. Les Maufrigneuses are from the family of immense respectability, due to the connections with king of France himself and to its own long history of serving France's royals. But, also, it is family where great fortune is destroyed because of irresponsible and unrestrained wastefulness. Last members of the family (old patriarch and his son, actual husband of the princesse) are only after pleasures and luxury.
Enters Diane, who knows virtually nothing about any kind of responsability. She is beautiful, irresistible, elegant and immensely clever. As times go by, she becomes corrupt and manipulative. She is undesputed queen of the parisian high society from 1815 - 1830. There is no young nobleman, among them even lower ones or fake ones (Rubempre, Rastignac) who doesn't end in her boudoir. Parallely, she amuses herself by making matches, ruining marriages or prospective marriages, destroying fortunes and betraying men and women alike, showing her dominance and power.
But, as she comes close to forty years of age, she realizes that game is over. Actually, game started to end few years earlier with the July revolution. Her estranged husband, loyal to the king who was forced to abdicate and had to leave the country, went abroad with royal family and left Diane without much discussion and almost without penny. She, having in her care nineteen years old son, had to restraint herself to humble life, although lived in a small elegant palace with five rooms appartement. She had to stop visiting balls, dinners, receptions and theatres. She redesigned herself as Princesse de Cadignan, while formerly known as Dutchess de Maufrigneuse.
Before parting ways with Paris, she has one, final wish: she wants to find the love of her life. This novel is the story about the final chapter of her life among parisian high society.
During course of events, she meets rather famous and respected writer, but naive and totally unexperienced in high society. She fancies him but to tie him irrevocably to her, she has to persuade him that, if he is confronted with the stories about her former misdemeanors, he must think that everything he hears is a lie. She has to convince him that she is the long suffering victim of her wicked and cold mother and indifferent husband who made pact to ruin her in her fragile age. She has to make him firmly believe that his (the writer's) utmost duty is to protect her from mean and envious people who are angry at her and gossiping about her only because she is so honourable, goodhearted and innocent.
These are the secrets of the Princesse de Cadignan, novel which is understandable only within the broader frame of Balzac's Human Comedy. It is part of the Scenes from Parisian life, and populated with characters we already know from other novels. For beginners, it would be better to start with Pere Goriot, Lost illusions or Harlot high and low.
Enters Diane, who knows virtually nothing about any kind of responsability. She is beautiful, irresistible, elegant and immensely clever. As times go by, she becomes corrupt and manipulative. She is undesputed queen of the parisian high society from 1815 - 1830. There is no young nobleman, among them even lower ones or fake ones (Rubempre, Rastignac) who doesn't end in her boudoir. Parallely, she amuses herself by making matches, ruining marriages or prospective marriages, destroying fortunes and betraying men and women alike, showing her dominance and power.
But, as she comes close to forty years of age, she realizes that game is over. Actually, game started to end few years earlier with the July revolution. Her estranged husband, loyal to the king who was forced to abdicate and had to leave the country, went abroad with royal family and left Diane without much discussion and almost without penny. She, having in her care nineteen years old son, had to restraint herself to humble life, although lived in a small elegant palace with five rooms appartement. She had to stop visiting balls, dinners, receptions and theatres. She redesigned herself as Princesse de Cadignan, while formerly known as Dutchess de Maufrigneuse.
Before parting ways with Paris, she has one, final wish: she wants to find the love of her life. This novel is the story about the final chapter of her life among parisian high society.
During course of events, she meets rather famous and respected writer, but naive and totally unexperienced in high society. She fancies him but to tie him irrevocably to her, she has to persuade him that, if he is confronted with the stories about her former misdemeanors, he must think that everything he hears is a lie. She has to convince him that she is the long suffering victim of her wicked and cold mother and indifferent husband who made pact to ruin her in her fragile age. She has to make him firmly believe that his (the writer's) utmost duty is to protect her from mean and envious people who are angry at her and gossiping about her only because she is so honourable, goodhearted and innocent.
These are the secrets of the Princesse de Cadignan, novel which is understandable only within the broader frame of Balzac's Human Comedy. It is part of the Scenes from Parisian life, and populated with characters we already know from other novels. For beginners, it would be better to start with Pere Goriot, Lost illusions or Harlot high and low.
August 15, 2014
A delicious trifle
October 29, 2021
Los secretos de la Princesa de Cadignan refleja cómo un deseo se puede convertir en una realidad mejor de lo que se esperaba, a pesar de los errores y defectos que la persona pueda tener.
Displaying 1 - 29 of 29 reviews