This study of Balzac's work examines theater in La Comedie humaine both as a theme in itself and for its influence on Balzac's techniques and modes of presentation in his novels, and demonstrates the symbiotic influence of novel and stage on Balzac's work as a playwright and novelist. Gives an account of his experience in theater, and examines the history of his portrayal of the theater world and how this portrayal serves his narrative purpose. Demonstrates how and why Balzac relies on the theater for metaphor and expressive devices, and shows how he brought scrutiny of the capitalist ethos to the stage. Annotation copyrighted by Book News Inc., Portland, OR

This is the first study of Balzac's work to examine theatre in La Comédie humaine both as a theme in itself and for its influence on Balzac's techniques and modes of presentation in his novels, and to demonstrate the symbiotic influence of novel and stage on Balzac's work as a playwright and novelist. It will be of interest not only to students of Balzac, but also to students of nineteenth-century theatre and history. The introduction gives an account of Balzac's experience of the theatre; the first three chapters examine the historicity of Balzac's portrayal of the theatre world and how this portrayal serves his wider narrative purpose; the two following chapters demonstrate how and why Balzac relies on the theatre to provide a rich tissue of metaphor and bank of expressive devices with which to communicate his critique of society; finally the work shows how Balzac succeeded in bringing to the stage the same scrutiny of the capitalist ethos which underpins La Comédie humaine. An index of references to playwrights, plays, actors and stage characters in La Comédie humaine is given in an appendix.

This series of three novellas is unified by an overarching motif: in all three tales, a mysterious secret society known as The Thirteen is at work behind the scenes. The men in the group have pledged eternal loyalty to each other, and if any member ever finds himself in peril, it is the sworn duty of the others to come to his aid. Honore de Balzac uses this premise as a device to explore a wide range of topics, including clashes between different classes of society, doomed romances, and intrigue driven by greed.

Texts about paintings, painters and sculptors are obvious test cases for issues of representation. A significant corpus of artist stories is scattered through Honore de Balzac's Commedie humaine which, from Marx to Lukacs to Roland Barthes's enormously influential S/Z (1970), has been a key literary work for critical debates around French realism. In a series of close readings, Diana Knight explores Barthes's 'model of painting' - the metaphorical code of painting and sculpture that underpins realist discourse - in the context of Balzac's fictional representations of the relation between artists, their models and their works of art. Whereas critics have tended to denounce Balzac's realist aesthetic as complicit with the misogyny of the society he portrays, Balzac and the Model of Painting takes the artist-model relationship, variously gendered in these stories, as the focus of the author's powerful realist critique of the sexual politics of prostitution and marriage in nineteenth-century France.