Lost Illusions

Lost Illusions

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by Honore de Balzac
     
 

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Handsome would-be poet Lucien Chardon is poor and naïve, but highly ambitious. Failing to make his name in his dull provincial hometown, he is taken up by a patroness, the captivating married woman Madame de Bargeton, and prepares to forge his way in the glamorous beau monde of Paris. But Lucien has entered a world far more dangerous than he realized, as

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Overview

Handsome would-be poet Lucien Chardon is poor and naïve, but highly ambitious. Failing to make his name in his dull provincial hometown, he is taken up by a patroness, the captivating married woman Madame de Bargeton, and prepares to forge his way in the glamorous beau monde of Paris. But Lucien has entered a world far more dangerous than he realized, as Madame de Bargeton's reputation becomes compromised and the fickle, venomous denizens of the courts and salons conspire to keep him out of their ranks. Lucien eventually learns that, wherever he goes, talent counts for nothing in comparison to money, intrigue and unscrupulousness. Lost Illusions is one of the greatest novels in the rich procession of the Comédie humaine, Balzac's panoramic social and moral history of his times.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

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Product Details

ISBN-13:
9780140442519
Publisher:
Penguin Publishing Group
Publication date:
10/28/1976
Series:
Classics Series
Pages:
704
Sales rank:
1,364,634
Product dimensions:
5.10(w) x 7.80(h) x 1.30(d)
Age Range:
18 Years

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At the time when this story opens, the Stanhope press and the ink-distributing roller had not yet come into use in small provincial printing- houses; and, notwithstanding its paper industry, that linked Angouleme so closely with Paris printing, wooden presses-of the kind to which the figure of speech "to make the press groan" was literally applicable-were still in use in that town. Old-fashioned printing-houses were still using leather ink-balls, with which the printers used to ink the type by hand. The movable tables for the formes of type, set ready for the sheets of paper to be applied, were still made of stone and justly called marbles. The rapid spread of machine presses has swept away all this obsolete gear to which, for all its imperfections, we owe the beautiful books printed by Elzevir, Plantin, Aldus Didot, and the rest; so that some description is necessary of the old tools to which Jerome-Nicolas Sechard was almost superstitiously attached, for they play a part in this great story of small things.
Sechard had been a journeyman printer, a "bear", according to compositor's slang. The movement to and fro, like that of a bear in a cage, of the printers coming and going from the ink-table to the press, from the press to the table, no doubt suggested the name. In revenge, the "bears" used to call the compositors "monkeys keys", because of those gentlemen's constant employment in picking out letters from the hundred and fifty-two compartments of the type cases. In the disastrous year of 1793 Sechard, who was about fifty at the time and a married man, was passed over in the great conscription which swept the bulk of the workmen of Franceinto the army. The old pressman was the only hand left in the printing-house when the master (otherwise known as "the boss") died, leaving a widow but no children, The business seemed on the point of closing down altogether. The single-handed bear could not transform himself into a monkey, for, in his capacity as pressman, he had never learned to read or write. But, regardless of his incapacities, a Representative of the People who was in a hurry to spread the good tidings of the Decrees of the Convention issued a master-printer's licence to Sechard and requistioned the press. Citizen Sechard accepted this dangerous patent, compensated his master's widow by giving her his wife's savings, and bought up the press at half its value. But that was only the beginning; he was faced with the problem of printing, quickly and without mistakes, the Decrees of the Republic. In this dilemma, Jerome-Nicolas Sechard had the good luck to meet a nobleman from Marseilles who did not want to emigrate and lose his estate, nor, on the other hand, to be discovered and lose his head, and who in consequence had no alternative but to earn a living in in some kind of manual work. M. le Comte de Maucombe accordingly donned the jacket of a provicincial prtiner and set up read, and corrected, single-handed, he decrees that forbade citizens to harbour nobles, on pain of death. The "ber:, now "the boss", printed them off and had them posted up, so that both of them were safe and sound. By 1795 the mad fit of the Terror was over, and Nicolas Secahrd had to look for another jack-of-all trades for the job of compositor, proofreader, and foreman; and an Abbe (he became a bishop after the Restoration),who refused to take the Oath, succeeded M. Le Comte de Maucombe until the day when the First consul restored the Catholic religion. The Count and the Bishop met later when both were sitting on the same bench in the House of Peers.
Jerome-Nicolas Sechard could read no better in 1802 than he could in 1793; but by allowing a god margin for "materials" in his estimates he was able to pay a foreman. Their onetime easy-going mate had become a terror to his monkeys and bears. For avarice beings where poverty ends. From the day the printer saw the possibility of making a fortune sulfites brought out in him a covetous, suspicious, keen-eyed practical aptitude for business. His methods disdained theory. He had learned by experience to estimate at a glance the cost per page of per sheet, in every kind of type. He used to prove to his illiterate customers that big letters cost more to move than small; or if they wanted small type, that small letters were more difficult to handle. Compositing was the process in printing about which he knew nothing, and he was so frightened of cheating himself over that item that he always piled on the price. If his compositors were paid by the hour, he never took his eyes off them. If he knew that a manufacturer was in difficulties, he would buy up his paper stocks cheap and store them. He owned, besides, by this time, the premises in which the printing office had been housed from time immemorial.

Copyright© 2001 by Honoré de Balzac

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What People are saying about this

Theodore Adorno
Desillusion, or disillusionment, which provided the name of one of his greatest novels, Les Illusions Perdues, or Lost Illusions, as well as a literary genre, is the experience that human beings and their social functions do not coincide. With the thunderbolt of citation Balzac brought society as totality, something classical political economy and Hegelian philosophy had formulated in theoretical terms, down from the airy realm of ideas to the sphere of sensory evidence.
—(Theodore Adorno, from Notes to Literature)
Charles Baudelaire
All Balzac's characters are endowed with the zest for life with which he himself was animated. All his fabrications are as intensely colored as dreams. From the highest ranks of the aristocracy to the lowest dregs of society, all the actors in his Comédié are more eager for life, more energetic and cunning in their struggles, more patient in misfortune, more greedy in pleasure, more angelic in devotion, than they are in the comedy of the real world. In a word, everyone in Balzac has genius….Every living soul is a weapon loaded to the very muzzle with will.
—(Charles Baudelaire)

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