By Tim Farrant
Balzac's attractiveness is as a novelist. yet brief tales make up over part los angeles Com?die humaine, in addition to ratings of alternative stories and articles. Balzac's Shorter Fictions seems on the complete of this corpus, on the nature of brief fiction, and at how Balzac's novels constructed from his stories--at the hyperlinks among literary genesis and style.
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Additional info for Balzac's Shorter Fictions: Genesis and Genre
Mais il est une autre sorte de 45 Cf. F. Schlegel, Nachricht von den poetischen Werken des Johannes Boccaccio—Kritische FriedrichSchlegel-Ausgabe, ed. H. Eichner (Munich, Padeborn, and Vienna, ), ii. , cited by A. –June ), . 46 On the wider influence of Sterne in the period, cf. Sangsue, Le Récit excentrique, passim, esp. ch. . 47 Cf. Chollet, ‘Une heure de ma vie’, . 48 It is thus hardly true to speak of ‘une “philosophie” ad hoc dont la seule justification est précisément de permettre la réalisation d’un désir littéraire’ (L.
Its emphasis on his creation as a mosaic implies the interrelationship of its parts—characters and narratives—to each other, and the often disordered and anachronistic way in which this may emerge. We may encounter the middle or the end of a story before its beginning, or the established Rastignac before meeting the student. This is partly a response to circumstance: Balzac’s frenzied and simultaneous composition of different fictions, the uncertainties of book and newspaper publications, and the pressure of writing for the ill-fated enterprises he engaged in, in order to escape them: his inordinate contributions to his newspapers (the Chronique de Paris) and single-handed writing of the Revue parisienne () gave rise to short fictions like La Messe de l’athée and Z.
Ivanhoe’s interest in historical conflict, in the past as a reflection on the present, in Normans versus Saxons, would be translated into bourgeois and aristocrats, just as, in Scott’s own country, into English and Scots, Hanoverians and Stuarts. Its Shakespearian confrontation of opposing characters and factions—Rebecca versus Rowena, Bois-Guilbert versus Ivanhoe, Jew versus Gentile—would reinforce the dichotomies of philosophy. Scott’s Robin Hood embodies and transcends these oppositions, as would later Balzac’s Argow or his Vautrin—in the latter case at least, the characteranalogue of the authorial narrator.
Balzac's Shorter Fictions: Genesis and Genre by Tim Farrant