Une Double Famille (A Second Home) by Honoré de Balzac

Twice the romance, half the suspense
In a dark, narrow street in Paris lives an old widow and her pretty young daughter. They share a poor but contented existence, supporting themselves through embroidery work. All day long they sit before the barred window that looks out upon their dank alleyway. Observing the passers-by who file past their modest home is their sole source of entertainment. Over time they come to know the familiar faces as if they were old acquaintances, but one day they notice a new pedestrian—a dark, attractive gentleman of about forty—who has begun to frequent their neighborhood. The window goes both ways, and the mystery man likewise takes notice of beautiful young Caroline Crochard as she stitches away at her needlework. After months of passing glances, the gentleman finally makes the acquaintance of the young woman and her mother. Soon Roger, as he comes to be called, assumes the role of benefactor to the two women. He sets Caroline up in a private love nest where they share stolen moments of unwedded bliss.

The writings of Honoré de Balzac usually bear titles that give the reader no indication whatsoever of what they’re about. Such is not the case with Une Double Famille (A Second Home), a novella originally published in 1830. The title lets the cat out of the bag, confirming any suspicions the reader may have in regards to the unusual nature of the lovers’ relationship. Even the main characters seem to see the shocking revelation coming a mile away. The fact that the ending is a foregone conclusion is not the story’s biggest flaw, however. The main problem with this novella is its structure. The book is essentially cut in half. The first story, as described above, deeply involves the reader in the lives of Madame Crochard and her daughter. Just when things are really starting to take off, however, Balzac flashes back several years and begins a second, parallel story, this time from the gentleman’s perspective, with the promise that the two tales will eventually meet in the end. The man’s tale is as engaging as the woman’s, but when the twain finally meet the conclusion is less than impressive. The narrative just grinds to a depressing halt. Balzac builds the foundations for two good stories, but caps them off with a conclusion that is worthy of neither.

Marriage—what makes one work or fail—is a favorite topic of Balzac’s, but this is not his best take on the subject. Another topic he covers to better effect in Une Double Famille is religion. In the translation by Clara Bell, done about a century ago, the word “bigot” is frequently used, not in the way we use it today, to mean a racist, but in an earlier sense of the word, meaning a religious zealot. In his depiction of the “bigot” in question, Balzac delivers some of his most biting commentary on religion, which must have been quite shocking for his time. The scandalous subject matter of Une Double Famille may have provided the Parisian audience of its day with a fair degree of titillation, but for today’s reader the work holds few surprises. While Balzac’s admirable talent for creating memorable characters and situations is quite evident, this piece is by no means an outstanding example of his body of work. Ardent fans of Balzac’s Comédie Humaine will like it, but casual readers of Balzac shouldn’t go out of their way for it.
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