La Comédie humaine

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For the film, see La Comédie humaine (film).

1901 edition of The Works of Honoré de Balzac, including the entire Comédie humaine
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La Comédie humaine (French: [la kɔmediː ymɛːn]; English: The Human Comedy) is
Honoré de Balzac's 1829–48 multi-volume collection of interlinked novels and
stories depicting French society in the period of the Restoration (1815–30) and the
July Monarchy (1830–48).

La Comédie humaine consists of 91 finished works (stories, novels, or analytical

essays) and 46 unfinished works (some of which exist only as titles).[1] It does
not include Balzac's five theatrical plays or his collection of humorous tales:
Contes drolatiques (1832–37).

A pioneer of the modern novel, Balzac aims to describe the totality of reality and
is interested in realities thitherto ignored in literature, because they were ugly
or vulgar. He shows in its various forms the rise of capitalism and the omnipotence
of money, leading to the disappearance of nobility and the dissolution of social
ties. The title was chosen in reference to Dante's Divine Comedy. But instead of a
theological enterprise, the author wanted to be a sociologist and created a non-
Manichean universe, where love and friendship hold a great place, and which
highlights the complexity of beings and the deep immorality of a social mechanism
where the weak are crushed while the crooked banker and the venal politician
triumph.

Gifted with a genius for observation, Balzac created human types that are
strikingly true. Some of his characters are so vivid that they have become
archetypes, such as Rastignac, the ambitious young provincial, Grandet, the miserly
domestic tyrant, or Father Goriot, the icon of fatherhood. He gives an important
place to financiers and notaries, but also to the character of Vautrin, the outlaw
with multiple identities. His work includes a large proportion of courtesans and
grisettes, alongside admirable and angelic women. The importance he gives to these
women and their psychology earned him an enthusiastic female readership very early
on.

In spite of the opposition of the Church, this work quickly became a printing
phenomenon and obtained an immense repercussion in France and in Europe, deeply
influencing the genre of the novel. Translated into many languages, it is still
published today and has often been adapted for film and television.

Contents
1 The title
2 Evolution of the work
3 The "Avant-propos"
4 Sources of the Comédie humaine
4.1 The historical novel
4.2 The popular novel
4.3 Fantasy
4.4 Swedenborg
5 Themes of the Comédie humaine
5.1 France after the Revolution
5.2 Money and power
5.3 Social success
5.4 Paternity
5.5 Maternity
5.6 Women, society and sex
6 Structure of La Comédie humaine
6.1 Studies of manners (Études de moeurs)
6.1.1 Scenes from private life (Scènes de la vie privée)
6.1.2 Scenes from provincial life (Scènes de la vie de province)
6.1.2.1 The Celibates (Les Célibataires)
6.1.2.2 Parisians in the Country (Les Parisiens en province)
6.1.2.3 The Jealousies of a Country Town (Les Rivalités)
6.1.2.4 Lost Illusions (Illusions perdues)
6.1.3 Scenes from Parisian life (Scènes de la vie parisienne)
6.1.3.1 The Thirteen (Histoire des Treize)
6.1.3.2 Poor Relations (Les parents pauvres)
6.1.4 Scenes from political life (Scènes de la vie politique)
6.1.5 Scenes from military life (Scènes de la vie militaire)
6.1.6 Scenes from country life (Scènes de la vie de campagne)
6.2 Philosophical studies (Études philosophiques)
6.3 Analytical studies (Études analytiques)
7 Characters
7.1 Recurring characters
7.2 Characters in a single volume
7.3 See also
8 References and notes
9 External links
The title
The title of the series is usually considered an allusion to Dante's Divine Comedy;
[2] while Ferdinand Brunetière, the famous French literary critic, suggests that it
may stem from poems by Alfred de Musset or Alfred de Vigny.[3] While Balzac sought
the comprehensive scope of Dante, his title indicates the worldly, human concerns
of a realist novelist. The stories are placed in a variety of settings, with
characters reappearing in multiple stories.

Evolution of the work

The Comédie humaine was the result of a slow evolution. The first works of Balzac
were written without any global plan (Les Chouans is a historical novel;
Physiologie du mariage is an analytical study of marriage), but by 1830 Balzac
began to group his first novels (Sarrasine, Gobseck) into a series entitled Scènes
de la vie privée ("Scenes from Private Life").

In 1833, with the publication
entitled "Scènes de la vie de
in this same year Balzac came
novel to novel, and the first
35).
of Eugénie Grandet, Balzac envisioned a second series
province" (Scenes from Provincial Life). Most likely
upon the idea of having characters reappear from
novel to use this technique was Le Père Goriot (1834–

In a letter written to Madame Hanska in 1834, Balzac decided to reorganize his

works into three larger groups, allowing him (1) to integrate his "La physiologie
du mariage" into the ensemble and (2) to separate his most fantastic or
metaphysical stories — like La Peau de chagrin (1831) and Louis Lambert (1832) —
into their own "philosophical" section. The three sections were:
"Etudes de Moeurs au XIXe siècle" (Studies of Manners in the 19th Century) –
including the various "Scènes de la vie..."
"Etudes philosophiques"
"Etudes analytiques" – including the "Physiologie du mariage"
In this letter, Balzac went on to say that the "Etudes de Moeurs" would study the
effects of society and touch on all genders, social classes, ages and professions
of people. Meanwhile, the "Etudes philosophiques" would study the causes of these
effects. Finally, the third "analytical" section would study the principles behind
these phenomena. Balzac also explained that while the characters in the first
section would be "individualités typisées" ("individuals made into types"), the
characters of the "Etudes philosophiques" would be "types individualisés" (types
made into individuals").

By 1836, the "Etudes de Moeurs" was already divided into six parts:

"Scènes de la vie privée"

"Scènes de la vie de province"
"Scènes de la vie parisienne"
"Scènes de la vie politique
"Scènes de la vie militaire"
"Scènes de la vie de campagne"
In 1839, in a letter to his publisher, Balzac mentioned for the first time the
expression Comédie humaine, and this title is in the contract he signed in 1841.
The publication of the Comédie humaine in 1842 was preceded by an important preface
or "avant-propos" describing his major principles and the work's overall structure
(see below). For this edition, novels which had appeared in serial form were
stricken of their chapter titles.

Balzac's intended collection was never finished. In 1845, Balzac wrote a complete
catalogue of the ensemble which includes works he started or envisioned but never
finished. In some cases, Balzac moved a work around between different sections as
his overall plan developed; the catalogue given below represents that last version
of that process.

Balzac's works were slow to be translated into English because they were perceived
as unsuitable for Victorian readers. John Wilson Croker attacked it in the April
1836 issue of the Quarterly Review, excoriating Balzac for immorality, saying "a
baser, meaner, filthier scoundrel never polluted society …" The consensus of the
day was that only Eugénie Grandet, Le Curé de Tours, Le Médecin de campagne and a
few of the early short stories were suitable for females.[4] Individual works
appeared, but not until the 1890s did "complete" versions appear, from Ellen
Marriage in London (1895–8, forty volumes edited by George Saintsbury, five omitted
as too shocking) and from G. B. Ives and others in Philadelphia (1895–1900).[5]

The "Avant-propos"
In 1842, Balzac wrote a preface (an "Avant-propos") to the whole ensemble in which
he explained his method and the collection's structure.

Motivated by the work of biologists Georges-Louis Leclerc, Comte de Buffon, Georges

Cuvier and most importantly Étienne Geoffroy Saint-Hilaire, Balzac explains that he
seeks to understand "social species" in the way a biologist would analyse
"zoological species", and to accomplish this he intends to describe the
interrelations of men, women and things. The importance of the woman is underlined
by Balzac's contention that, while a biologist may gloss over the differences
between a male and female lion, "in Society the woman is not simply the female of
the man".[6]

Balzac then gives an extensive list of writers and works that influenced him,
including Sir Walter Scott, François Rabelais and Miguel de Cervantes.

He then describes his writer's role as a "secretary" who is transcribing society's

"history"; moreover, he posits that he is interested in something that no previous
historian has attempted: a history of "moeurs" (customs, manners and morals). He
also notes his desire to go behind the surface of events, to show the reasons and
causes for social phenomena. Balzac then professes his belief in two profound
truths — religion and monarchy — and his concern for understanding the individual
in the context of his family.

In the last half of his preface, Balzac explains the Comédie humaine's different
parts (which he compares to "frames" and "galeries"), and which are more or less
the final form of the collection (see below).

Sources of the Comédie humaine

Because of its volume and complexity, the Comédie humaine touches on the major
literary genres in fashion in the first half of the 19th century.

The historical novel

The historical novel was a European phenomenon in the first half of the 19th
century — largely through the works of Sir Walter Scott, James Fenimore Cooper and,
in France, Alexandre Dumas, père and Victor Hugo. Balzac's first novel Les Chouans
was inspired by this vogue and tells of the rural inhabitants of Brittany during
the revolution with Cooper-like descriptions of their dress and manners.

Although the bulk of the Comédie humaine takes place during the Restoration and the
July Monarchy, there are several novels which take place during the French
Revolution and others which take place in the Middle Ages or the Renaissance,
including "About Catherine de Medici" and "The Elixir of Long Life".

The popular novel

Balzac's later works are decidedly influenced by the genre of the serialised novel
("roman feuilleton") popular at the time, especially the works of Eugène Sue which
concentrate on depicting the secret worlds of crime and vice that hide below the
surface of French society, and by the ethos of melodrama typical of these part-
works.

Fantasy
Many of Balzac's shorter works have elements taken from the popular "roman noir" or
gothic novel, but often the fantastic elements are used for very different purposes
in Balzac's work.

His use of the magical ass' skin in La Peau de chagrin for example becomes a
metaphor for diminished male potency and a key symbol of Balzac's conception of
energy and will in the modern world.

In a similar way, Balzac undermines the character of Melmoth the Wanderer in his
"Melmoth Reconciled": Balzac takes a character from a fantastic novel (by Charles
Robert Maturin) who has sold his soul for power and long life and has him sell his
own power to another man in Paris... this man then sells this gift in turn and very
quickly the infernal power is traded from person to person in the Parisian stock
exchange until it loses any of its original power.

Swedenborg
Several of Balzac's characters, particularly Louis Lambert, traverse mystical
crises and/or develop syncretic spiritual philosophies about human energy and
action that are largely modelled on the life and work of Emanuel Swedenborg (1688–
1772). As depicted in his works, Balzac's spiritual philosophy suggests that
individuals have a limited quantity of spiritual energy and that this energy is
dissipated through creative or intellectual work or through physical activity
(including sex), and this is made emblematic in his philosophical tale La Peau de
chagrin, in which a magical wild ass's skin confers on its owner unlimited powers,
but shrinks each time it is used in science.

Themes of the Comédie humaine

The following are some of the major themes that recur throughout the various
volumes of the Comédie humaine:

France after the Revolution

Balzac frequently bemoans the loss of a pre-Revolutionary society of honor which
has now become — especially after the fall of Charles X of France and the arrival
of the July Monarchy — a society dominated by money.

Money and power

"At the origin of every fortune lies a crime" : this precept from the "Red Inn"
recurs constantly in the Comédie humaine, both as a biographical truth (Taillefer's
murderous fortune, Goriot's deals with the Revolutionary army), and as a sign of
French collective guilt at the horrors of the Revolution (and most notably by the
death of Louis XVI of France).

The other source of power is rank. People of good blood aspire to a title, while
people with titles aspire to the peerage. The opening section of The Secrets of the
Princess Cadignan provides an explanation of why the title of prince is not
prevalent nor coveted in France (compared to contemporary Germany or Russia).

Social success
Two young men dominate the Comédie humaine: Lucien de Rubempré and Eugène de
Rastignac. Both are talented but poor youths from the provinces, both attempt to
achieve greatness in society through the intercession of women and both come into
contact with Vautrin, but only Rastignac succeeds while Lucien de Rubempré ends his
life by his own hand in a jail in Paris. The difference in outcome is partly
explained by Balzac's views on heredity: Rastignac comes from a noble family, while
only Rubempré's mother comes from a noble family (he had to obtain royal permission
to use his mother's family name instead of his father's name Chardon). This deficit
is compounded by the fact that his mother had not only married a commoner far
beneath her in rank, but she had also performed menial labour to support herself
when her husband died.

Another contrast is between Emile Blondet and Raoul Nathan. Both are multi-talented
men-of-letters. Blondet is the natural son of the prefect of Alençon and is
described as witty but lazy, incurably hesitant, non-partisan, a political atheist,
a player of the game of political opinions (along with Rastignac), having the most
judicious mind of the day. He marries Madame de Montcornet and eventually becomes a
prefect. Nathan is described as half-Jewish and possessing a second-rate mind.
Nathan succumbs to the flattery of unscrupulous financiers and does not see that
they are prepared to bankrupt him to achieve their purposes. Blondet sees what is
happening but does not enlighten Nathan. The downfall drives Nathan to attempt
suicide by the method of "any poor work-girl". He then sells out to the government
of the day (on Blondet's advice) to secure an income, and returns to living with
the actress/courtesan Florine. In the end he accepts the cross of the Legion of
Honour (which he formerly satirised) and becomes a defender of the doctrine of
heredity.

Paternity
The Comédie humaine frequently portrays the complex emotional, social and financial
relationships between fathers and their children, and between father-figures and
their mentors, and these relationships are metaphorically linked as well with
issues of nationhood (the king as father, regicide), nobility (bloodlines, family
names), history (parental secrets), wealth (the origin of parental fortunes,
dowries) and artistic creation (the writer or artist as father of the work of art).
Father Goriot is perhaps the most famous — and most tragic — of these father
figures, but in Le Père Goriot, Eugène de Rastignac also encounters two other
paternal figures, Vautrin and Taillefer, whose aspirations and methods define
different paternal paths. Other significant fathers in the series include Eugénie
Grandet's abusive and money-hoarding father and César Birotteau, the doomed
capitalist.

Maternity
At one end of the scale we have 100% maternal involvement – as depicted by the
upbringing of the sisters de Granville (A Daughter of Eve) later Mesdames Felix de
Vandenesse and du Tillet.

At the other end of the scale we have 0% maternal involvement – as depicted by the
upbringing of Ursule Mirouët by four men: her half-uncle-in-law (an atheist and
republican), the local priest (saintly), the district judge (learned) and a retired
soldier (worldly).

We are left in no doubt that it is the second option that produces what Balzac
considers to be the ideal woman. Ursula is pious and prone to collapsing in tears
at the slightest emotion.

Women, society and sex

The representation of women in the Comédie humaine is extremely varied — spanning
material from both the romantic and pulp traditions — and includes idealized women
(like Pauline in La Peau de chagrin or Eugénie Grandet), the tragic prostitute
Esther Gobsek (Splendeurs et misères des courtisanes), the worldly daughters of
Goriot and other women in society who can help their lovers advance, the masculine
and domineering Cousine Bette, and the alluring and impossible love object (Foedora
in La Peau de chagrin or the heroine of La fille aux yeux d'or). The latter
category also includes several lesbian or bisexual characters.

Structure of La Comédie humaine

See also: Category:Books of La Comédie humaine
Balzac's final plan (1845) of the Comédie Humaine is as follows (projected works
are not included; dates are those of initial publication, whether or not the work
was initially conceived as part of the Comédie Humaine):

Studies of manners (Études de moeurs)

Scenes from private life (Scènes de la vie privée)
At the Sign of the Cat and Racket (La Maison du chat-qui-pelote, 1830)
The Ball at Sceaux (Le Bal de Sceaux, 1830)
Letters of Two Brides (Mémoires de deux jeunes mariées, 1842)
The Purse (La Bourse, 1832)
Modeste Mignon (1844)
A Start in Life (Un début dans la vie, 1845; first published as Le danger des
mystifications, 1842)
Albert Savarus (1842)
The Vendetta (La Vendetta, 1830)
A Second Home (Une double famille, 1830)
Domestic Bliss (La Paix du ménage, 1830)
Madame Firmiani (1832)
Study of a Woman (Étude de femme, 1830)
The Imaginary Mistress (La fausse maîtresse, 1842, a.k.a. Paz)
A Daughter of Eve (Une fille d'Ève, 1838–39)
The Message (Le Message, 1832)
La Grande Bretèche (1832)
La Grenadière (1832)
The Deserted Woman (La Femme abandonnée, 1832)
Honorine (1843)
Béatrix (1839)
Gobseck (1830)
A Woman of Thirty (La Femme de trente ans, 1832)
Old Goriot (le Père Goriot, 1835)
Le Colonel Chabert (1844, first published as La transaction, 1832)
The Atheist's Mass (La Messe de l'athée, 1836)
L'Interdiction (1836, a.k.a. The Commission in Lunacy)
A Marriage Contract (Le Contrat de mariage, 1835)
Another Study of a Woman (Autre étude de femme, 1842)
Scenes from provincial life (Scènes de la vie de province)
Ursule Mirouët (1841)
Eugénie Grandet (1834)
The Celibates (Les Célibataires)
Pierrette (1840)
The Vicar of Tours (Le Curé de Tours, first published as Les célibataires, 1832)
The Black Sheep (La Rabouilleuse, 1842, a.k.a. A Bachelor's Establishment, a.k.a.
The Two Brothers)
Parisians in the Country (Les Parisiens en province)
The Illustrious Gaudissart (L'Illustre Gaudissart, 1833)
The Muse of the Department (La Muse du département, 1843)
The Jealousies of a Country Town (Les Rivalités)
The Old Maid (La Vieille Fille, 1836)
The Collection of Antiquities (Le Cabinet des Antiques, 1839)
Lost Illusions (Illusions perdues)
The Two Poets (Les Deux poètes, 1837)
A Great Provincial in Paris (Un grand homme de province à Paris, 1839)
Eve and David (Ève et David, 1843)
Scenes from Parisian life (Scènes de la vie parisienne)
César Birotteau (Histoire de la grandeur et de la décadence de César Birotteau,
1837)
The Firm of Nucingen (La Maison Nucingen, 1838)
Splendors and Miseries of Courtesans (Splendeurs et Misères des courtisanes, 1847,
a.k.a. A Harlot High and Low), comprising
Esther Happy (Esther heureuse, 1838)
What Love Costs an Old Man (À combien l’amour revient aux vieillards, 1843)
The End of Evil Ways (Où mènent les mauvais chemins, 1846)
The Last Incarnation of Vautrin (La Dernière incarnation de Vautrin, 1847)
The Secrets of the Princess Cadignan (Les Secrets de la princesse de Cadignan,
1840, first published as Une Princesse parisienne, 1839)
Facino Cane (1836)
Sarrasine (1830)
Pierre Grassou (1840)
A Man of Business (Un homme d'affaires, 1846; first published as les Roueries d’un
créancier, 1845)
A Prince of Bohemia (Un prince de la Bohème, 1844; first published as les
Fantaisies de Claudine, 1840)
Gaudissart II (1846; first published as un Gaudissart de la rue Richelieu; les
Comédies qu'on peut voir gratis, 1844)
The Government Clerks (Les Employés, 1838; first published as la Femme supérieure,
1837, a.k.a. Bureaucracy)
The Unwitting Comedians (Les Comédiens sans le savoir, 1846)
The Lesser Bourgeoisie (Les Petits Bourgeois, 1854, a.k.a. The Middle Classes)
The Seamy Side of History (L'envers de l'histoire contemporaine, 1848, a.k.a. The
Wrong Side of Paris, a.k.a. The Brotherhood of Consolation)
The Thirteen (Histoire des Treize)
Ferragus (1833)
The Duchess of Langeais (La Duchesse de Langeais, 1834)
The Girl with the Golden Eyes (La fille aux yeux d'or, 1835)
Poor Relations (Les parents pauvres)
Cousin Bette (La Cousine Bette, 1846)
Cousin Pons (Le Cousin Pons, 1847)
Scenes from political life (Scènes de la vie politique)
An Episode Under the Terror (Un épisode sous la Terreur, 1830)
A Murky Business (Une ténébreuse affaire, 1841, a.k.a. A Historical Mystery, a.k.a.
The Gondreville Mystery)
The Deputy for Arcis (the only part written by Balzac was published as l'Élection,
1847)
Z. Marcas (1840)
Scenes from military life (Scènes de la vie militaire)
The Chouans (Les Chouans, 1829)
A Passion in the Desert (Une passion dans le désert, 1830)
Scenes from country life (Scènes de la vie de campagne)
The Country Doctor (Le Médecin de campagne, 1833)
The Lily of the Valley (Le Lys dans la vallée, 1836)
The Village Rector (Le Curé de Village, 1839)
The Peasants (Les Paysans, 1855; first part published in 1844, a.k.a. Sons of the
Soil)
Philosophical studies (Études philosophiques)
The Wild Ass's Skin (La Peau de chagrin, 1831)
Christ in Flanders (Jésus-Christ en Flandre, 1831)
Melmoth Reconciled (Melmoth réconcilié, 1835)
The Unknown Masterpiece (Le Chef-d'oeuvre inconnu, 1831)
Gambara (1837)
Massimilla Doni (1839)
The Quest of the Absolute (La Recherche de l'Absolu, 1834, a.k.a. Alkahest)
The Hated Son (L'Enfant maudit, 1831)
Farewell (Adieu, 1830)
The Maranas (Les Marana, 1834, a.k.a. Juana)
The Conscript (Le Réquisitionnaire, 1831)
El Verdugo (1830)
A Drama on the Seashore (Un drame au bord de la mer, 1834)
Maître Cornélius (1831)
The Red Inn (L'Auberge rouge, 1831)
About Catherine de' Medici (Sur Catherine de Médicis, 1842)
The Elixir of Life (L'Élixir de longue vie, 1831)
The Exiles (Les Proscrits, 1831)
Louis Lambert (1832)
Séraphîta (1835)
Analytical studies (Études analytiques)
Physiology of Marriage (Physiologie du Mariage, 1829)
Little Miseries of Conjugal Life (Petites misères de la vie conjugale, 1846)
Characters
Main article: List of La Comédie humaine characters
Recurring characters
Eugène de Rastignac – student, dandy, financier, politician (appears in 28 works)
Lucien Chardon de Rubempré (the use of "de Rubempré" is contested) – journalist,
parvenu
Jacques Collin a.k.a. Abbé Carlos Herrera a.k.a. Vautrin a.k.a. Trompe-la-Mort – a
criminal run away from forced labour
Camusot – examining magistrate (The Collection of Antiquities, A Commission in
Lunacy, Scenes from a Courtesan's Life; his father also appears in A Distinguished
Provincial at Paris)
Blondet, Emile – journalist, man of letters, prefect (The Collection of
Antiquities, A Distinguished Provincial at Paris, Scenes from a Courtesan's Life).
Compare and contrast with Raoul Nathan.
Raoul Nathan – in 19 works, writer, politician
Daniel d'Arthez
Delphine de Nucingen née Goriot
Roger de Granville
Louis Lambert
la duchesse de Langeais
la comtesse de Mortsauf
Jean-Jacques Bixiou – in 19 works, artist
Joseph Bridau – in 13 works, painter
Marquis de Ronquerolles – in 20 works
la comtesse Hugret de Sérisy – in 20 works
Félix-Amédée de Vandenesse
Horace Bianchon – in 24 works, doctor
des Lupeaulx – public servant
Salon leaders: the Duchesse de Maufrigneuse, the Marquise d'Espard
Dandies: Maxime de Trailles, Henri de Marsay
Courtesans: La Torpille (Esther van Gobseck), Madame du Val-Noble
Financiers: Ferdinand du Tillet, Frédérick de Nucingen, Keller brothers
Actresses: Florine (Sophie Grignault), Coralie
Publishers/Journalists/Critics: Finot, Etienne Lousteau, Felicien Vernou
Money lenders: Jean-Esther van Gobseck, Bidault a.k.a. Gigonnet
Characters who appear in several titles but only significantly in one of them
Birotteau
Goriot
Claude Vignon
Mademoiselle des Touches (aka Camille Maupin)
Characters in a single volume
Raphaël de Valentin
le baron Hulot
Balthazar Claës
Grandet
le cousin Pons
See also
Repertory of The Comedie Humaine
References and notes
Pierre Citron edition, vol 1, 49–50.
Robb, Graham: Balzac: A Life, pg. 330, 1996, W. W. Norton and Company, Inc.
Brunetière, Ferdinand, Sanderson, Robert Louis: Honoré de Balzac, pg. 77, J.P.
Lippincott Company, London, 1906.
Tilby, Michael (2000). "Honoré de Balzac: 1799–1850: French Novelist". In Classe,
Olive (ed.). Encyclopedia of Literary Translation into English. 1 (A–L). Chicago,
Illinois: Fitzroy Dearborn Publishers. pp. 98–104, 100. ISBN 1884964362.
Margaret Lesser: Marriage, Ellen (1865–1946). In: Oxford Dictionary of National
Biography (Oxford: Oxford University Press, May 2010). Subscription required.
Retrieved 23 August 2010.
Oeuvres complètes volume 1, La maison du Chat-qui-pelote quotation:
dans la Societe la femme ne se trouve pas toujours etre la femelle du male

(in French) Balzac. La Comédie humaine. Pierre Citron, ed. Preface by Pierre-
Georges Castex. Paris: Seuil, 1965. 7 vols. ISBN 2-02-000726-6
(in French) Rey, Pierre-Louis. La Comédie humaine. Collection: Profil d'une œuvre.
Number 64. Paris: Hatier, 1979. ISBN 2-218-04589-3
External links
French Wikisource has original text related to this article:
La Comédie humaine
Wikisource has the text of the 1920 Encyclopedia Americana article Comédie
Humaine.
Works by Honoré de Balzac at Project Gutenberg
Works by Honoré de Balzac in eBook form at Standard Ebooks
A collection of works in the sequence as eBooks at Standard Ebooks
Petri Liukkonen. "Honoré de Balzac". Books and Writers
Full text of Repertory of the Comedie Humaine (an extensive reference of characters
appearing in La Comédie humaine)
Thorsten Wetzenstein: Les personnages dans la Comédie humaine sous tension entre
"type" et "caractère" (french)
Complete Comedie Humaine in English
Scott Sprenger, Summary and Analysis of "Une Passion dans le désert", originally
published in Masterplots II: Short Story, Pasadena, Salem Press, 1996, 3819-21.
vte
Dante's Divine Comedy
vte
La Comédie humaine by Honoré de Balzac
Authority control: National libraries Edit this at Wikidata
France (data)
Categories: La Comédie humaineNovel sequencesNovels set in 19th-century France
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