Le Cousin Pons
Encyclopedia
Le Cousin Pons is virtually the last of the 94 works of Honoré de Balzac
’s Comédie humaine
, which are in both novel
and short story
form. Begun in 1846 as a novella
, or long-short story, it was envisaged as one part of a diptych, Les Parents pauvres (The Poor Relations), the other part of which was La Cousine Bette
(Cousin Bette). The was originally published as a serial in Le Constitutionnel
.
The novella grew in 1847 into a full-length novel with a male poor relation, Pons, as its subject, whereas La Cousine Bette describes the female aspect of that subordinate relationship. The two novels were thus similar yet diametrically different. They were complementary, forming two parts of a whole.
Le Cousin Pons has been classified by Balzac as the second Episode of Les Parents pauvres, the first Episode being La Cousine Bette. Especially admired by Paul Bourget
, it is one of the very greatest of his novels.
The novella becomes a novel as Mme Camusot learns of the value of Pons’s art collection and strives to obtain possession of it as the basis of a dowry for her daughter. In this new development of the plot line a bitter struggle ensues between various vulture-like figures all of whom are keen to lay their hands on the collection: Rémonencq, Élie Magus, Mme Camusot – and Mme Cibot herself. Betraying his client Mme Cibot’s interests, the unsavoury barrister Fraisier acts for the Camusots. Mme Cibot sells Rémonencq eight of Pons’s choicest paintings, untruthfully stating in the receipt that they are works of lesser value. She also steals one for herself.
Horrified to discover his betrayal by Mme Cibot, and the plots that are raging around him, Pons dies, bequeathing all his worldly possessions to Schmucke. The latter is browbeaten out of them by Fraisier. He in turn dies a broken-hearted man, for in Pons he has lost all that he valued in the world. The art collection comes to the Camusot de Marville family, and the vultures profit from their ill-gotten gains.
Honoré de Balzac
Honoré de Balzac was a French novelist and playwright. His magnum opus was a sequence of short stories and novels collectively entitled La Comédie humaine, which presents a panorama of French life in the years after the 1815 fall of Napoleon....
’s Comédie humaine
La Comédie humaine
La Comédie humaine is the title of Honoré de Balzac's multi-volume collection of interlinked novels and stories depicting French society in the period of the Restoration and the July Monarchy .-Overview:...
, which are in both novel
Novel
A novel is a book of long narrative in literary prose. The genre has historical roots both in the fields of the medieval and early modern romance and in the tradition of the novella. The latter supplied the present generic term in the late 18th century....
and short story
Short story
A short story is a work of fiction that is usually written in prose, often in narrative format. This format tends to be more pointed than longer works of fiction, such as novellas and novels. Short story definitions based on length differ somewhat, even among professional writers, in part because...
form. Begun in 1846 as a novella
Novella
A novella is a written, fictional, prose narrative usually longer than a novelette but shorter than a novel. The Science Fiction and Fantasy Writers of America Nebula Awards for science fiction define the novella as having a word count between 17,500 and 40,000...
, or long-short story, it was envisaged as one part of a diptych, Les Parents pauvres (The Poor Relations), the other part of which was La Cousine Bette
La Cousine Bette
La Cousine Bette |Bette]]) is an 1846 novel by French author Honoré de Balzac. Set in mid-19th century Paris, it tells the story of an unmarried middle-aged woman who plots the destruction of her extended family. Bette works with Valérie Marneffe, an unhappily married young lady, to seduce and...
(Cousin Bette). The was originally published as a serial in Le Constitutionnel
Le Constitutionnel
Le Constitutionnel was a French political and literary newspaper, founded in Paris during the Hundred Days by Joseph Fouché. Originally established in October 1815 as The Independent, it took its current name during the Second Restoration. A voice for Liberals, Bonapartists, and critics of the...
.
The novella grew in 1847 into a full-length novel with a male poor relation, Pons, as its subject, whereas La Cousine Bette describes the female aspect of that subordinate relationship. The two novels were thus similar yet diametrically different. They were complementary, forming two parts of a whole.
Le Cousin Pons has been classified by Balzac as the second Episode of Les Parents pauvres, the first Episode being La Cousine Bette. Especially admired by Paul Bourget
Paul Bourget
Paul Charles Joseph Bourget , was a French novelist and critic.-Biography:He was born in Amiens in the Somme département of Picardie, France. His father, a professor of mathematics, was later appointed to a post in the college at Clermont-Ferrand, where Bourget received his early education...
, it is one of the very greatest of his novels.
Plot summary
The novella was based on a short story by an acquaintance of Balzac, Albéric Second, as Tim Farrant has demonstrated. Its original title was to have been “Le Parasite”. Sylvain Pons, a musician in a Parisian boulevard orchestra, has a close friend in another musician from that same orchestra, the German pianist Wilhelm Schmucke. They lodge with Mme Cibot, but Pons – unlike Schmucke – has two failings: his passion (which is almost a mania) for collecting works of art, and his passion for good food. Schmucke, on the other hand, has only one passion, and that is his affection for Pons. Pons, being a gourmet, much enjoys dining regularly with his wealthy lawyer cousins M. and Mme Camusot de Marville, for their food is more interesting than Mme Cibot’s and full of gastronomic surprises. In an endeavour to remain on good terms with the Camusots, and to repay their favour, he tries to find a bridegroom for their unappealing only child Cécile. However, when this ill-considered marriage project falls through, Pons is banished from the house.The novella becomes a novel as Mme Camusot learns of the value of Pons’s art collection and strives to obtain possession of it as the basis of a dowry for her daughter. In this new development of the plot line a bitter struggle ensues between various vulture-like figures all of whom are keen to lay their hands on the collection: Rémonencq, Élie Magus, Mme Camusot – and Mme Cibot herself. Betraying his client Mme Cibot’s interests, the unsavoury barrister Fraisier acts for the Camusots. Mme Cibot sells Rémonencq eight of Pons’s choicest paintings, untruthfully stating in the receipt that they are works of lesser value. She also steals one for herself.
Horrified to discover his betrayal by Mme Cibot, and the plots that are raging around him, Pons dies, bequeathing all his worldly possessions to Schmucke. The latter is browbeaten out of them by Fraisier. He in turn dies a broken-hearted man, for in Pons he has lost all that he valued in the world. The art collection comes to the Camusot de Marville family, and the vultures profit from their ill-gotten gains.
Fundamental themes of the work
- Le Cousin Pons is set entirely in Paris, where, as Balzac informs us in his Avant-propos (Foreword) to the Comédie humaine, “the extremes of good and evil are to be found”. However, Le Cousin Pons is not exclusively about the clash of extremes. Some characters, even the eponymous hero himself, are presented in a nuanced way.
- Balzac’s hatred of the bourgeoisieBourgeoisieIn sociology and political science, bourgeoisie describes a range of groups across history. In the Western world, between the late 18th century and the present day, the bourgeoisie is a social class "characterized by their ownership of capital and their related culture." A member of the...
is epitomized by the greedy, money-obsessed M. and Mme Camusot de Marville who put up with the weekly visits of their poor relation Sylvain Pons until they realize he is a very wealthy art collector, whereupon their sole concern is to exploit him. Balzac also presents the lawyer Fraisier and the doctor Poulain in an ambivalent light. - The morals of the working-class characters, e.g., La Cibot and Rémonencq, are scarcely any better than those of the bourgeoisie. As in Balzac’s novel of the countryside, Les Paysans, the proletarian world is displayed in a fiercely aggressive, acquisitive light – almost to the extent of engaging in bitter class conflict.
- The values of art are contrasted with those of money. As Balzac says in Splendeurs et misères des courtisanesSplendeurs et misères des courtisanesHonoré de Balzac's Splendeurs et misères des courtisanes, translated either as The Splendors and Miseries of Courtesans or as A Harlot High and Low, was published in four parts from 1838-1847. It continues the story of Lucien de Rubempré, who was a main character in Illusions perdues, a preceding...
, “la Charte ( Charter of 1814Charter of 1814The French Charter of 1814 was a constitution granted by King Louis XVIII of France shortly after his restoration. The Congress of Vienna demanded that Louis bring in a constitution of some form before he was restored. It guaranteed many of the rights that most other countries in western Europe had...
) a proclamé le règne de l’argent, le succès devient alors la raison suprême d’une époque athée”. Artistic values aside, Balzac displays the reification or materialization of the world. - The law is seen by Balzac as a way of depriving people of their rightful property. Harassed by Fraisier, Schmucke renounces his property rights. Pons’s second will is more vulnerable than the first.
- Balzac subverts conventional social values as social norms are revealed to be a fiction. The values of the Camusot de Marville family are materialistic. It is not the personality of Cécile Camusot herself but Pons’s art collection which is “the heroine of this story”; it is that, not her value as a person, which secures her marriage. The union of the Topinards, who are not strictly married, is the kindest, most affectionate relationship of man and woman in the novel. The friendship of Pons and Schmucke is true love but not love within marriage. The two men are poor and physically ugly but their relationship is golden and pure. Their Platonic friendship runs parallel to the idealizing function of art.
- Though not a lover in the human physical sense, Pons is a man with an overriding passion, the passion for artistic beauty. In its etymological sense passion equates to suffering. Pons is a Christ-like figure, like some other characters in Balzac's novels (e.g., Joseph Bridau in La RabouilleuseLa RabouilleuseLa Rabouilleuse , is a 1842 novel by Honoré de Balzac as part of his series La Comédie humaine. The Black Sheep is the title of the English translation by Donald Adamson published by Penguin Classics...
, and Goriot). He is a man with a mania or idee fixe, and this passion is the cause of his suffering and death.
Narrative strategies
- As has been shown by Donald AdamsonDonald AdamsonDonald Adamson is a historian, biographer, philosophical writer, textual scholar, literary critic, and translator of French literature...
, Le Cousin Pons began its existence as a novella, or nouvelle, and was suddenly transformed into a full-length novel. This process of transformation necessitated certain inconsistencies and an uneasy transition from long-short story to fiction of sizable proportions and complexity. Though this longer fiction is often referred to as “Part II” of the novel, Balzac himself does not embark upon his “Part II” of Le Cousin Pons until all the new characters – the corrupt Mme Cibot, Rémonencq, Élie Magus, Poulain and Fraisier – have been introduced. It is in dispute whether these two narrative elements have been fused into a perfect whole. V.S. Pritchett considers that Balzac has been totally successful in combining the two storylines. - Le Cousin Pons thus became one of Balzac’s four inheritance novels (the others being Eugénie GrandetEugénie GrandetEugénie Grandet is an 1833 novel by Honoré de Balzac about miserliness, and how it is bequeathed from the father to the daughter, Eugénie, through her unsatisfying love attachment with her cousin. As is usual with Balzac, all the characters in the novel are fully realized...
, Ursule MirouëtUrsule MirouëtUrsule Mirouët, an often overlooked novel, belongs to Honoré de Balzac’s great series of 94 novels and short stories La Comédie humaine. Written in 1841 and published in 1842, it forms part of his Scènes de la vie de province....
and La RabouilleuseLa RabouilleuseLa Rabouilleuse , is a 1842 novel by Honoré de Balzac as part of his series La Comédie humaine. The Black Sheep is the title of the English translation by Donald Adamson published by Penguin Classics...
). From being the vignette of a downtrodden elderly man it mutated into a story of conflict, though with a plot far less complex than that of La Cousine Bette or Splendeurs et misères des courtisanes. The struggle for an inheritance was one of the narrative situations most congenial to Balzac. - In the tradition of melodramaMelodramaThe term melodrama refers to a dramatic work that exaggerates plot and characters in order to appeal to the emotions. It may also refer to the genre which includes such works, or to language, behavior, or events which resemble them...
Schmucke represents “extreme good”, Mme Camusot “extreme evil”, whereas Pons is an amalgam of the two whilst, Janus-like, Mme Cibot embodies aspects of both. The lurid tones of Pons’s deathbed scene are the height of melodrama. In this drama of light and darkness, or chiaroscuroChiaroscuroChiaroscuro in art is "an Italian term which literally means 'light-dark'. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted"....
, the art collection is the heroine of the story. - Roman-feuilleton (serialSerial (literature)In literature, a serial is a publishing format by which a single large work, most often a work of narrative fiction, is presented in contiguous installments—also known as numbers, parts, or fascicles—either issued as separate publications or appearing in sequential issues of a single periodical...
). The serialization of novels was a feature of the rapid growth of the newspaper industry in France after 1814. Leading feuilletonistes were Eugène SueEugène SueJoseph Marie Eugène Sue was a French novelist.He was born in Paris, the son of a distinguished surgeon in Napoleon's army, and is said to have had the Empress Joséphine for godmother. Sue himself acted as surgeon both in the Spanish campaign undertaken by France in 1823 and at the Battle of Navarino...
, Alexandre Dumas, pèreAlexandre Dumas, pèreAlexandre Dumas, , born Dumas Davy de la Pailleterie was a French writer, best known for his historical novels of high adventure which have made him one of the most widely read French authors in the world...
, Paul Féval, pèrePaul Féval, pèrePaul Henri Corentin Féval, père was a French novelist and dramatist.He was the author of popular swashbuckler novels such as Le Loup Blanc and the perennial best-seller Le Bossu...
, Frédéric Soulié and Eugène ScribeEugène ScribeAugustin Eugène Scribe , was a French dramatist and librettist. He is best known for the perfection of the so-called "well-made play" . This dramatic formula was a mainstay of popular theater for over 100 years.-Biography:...
. Balzac became increasingly preoccupied by their popularity in the 1840s and tried to emulate them. This involved incorporating many features of melodramaMelodramaThe term melodrama refers to a dramatic work that exaggerates plot and characters in order to appeal to the emotions. It may also refer to the genre which includes such works, or to language, behavior, or events which resemble them...
; it also encouraged the ending of each serialized extract on a note of high suspense. - The serialization of fiction also necessitated the increasing use of dialogue. This is particularly so in the later stages of the novel. In Donald Adamson’s words, “the second half of Le Cousin Pons is surely unsurpassed in the extent to which it uses dialogue and in the variety of purposes to which dialogue is applied. It contains few narrative interludes or other digressions”. This gave the novel its markedly dramatic flavour.