Honoré de Balzac
translation: Ellen Marriage

LOST ILLUSIONS I: Two poets
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Inside and outside, the condition of the Sechard printing establishment bore testimony to the sordid avarice of the old "bear," who never spent a penny on repairs. The old house had stood in sun and rain, and borne the brunt of the weather, till it looked like some venerable tree trunk set down at the entrance of the alley, so riven it was with seams and cracks of all sorts and sizes. The house front, built of brick and stone, with no pretensions to symmetry, seemed to be bending beneath the weight of a worm-eaten roof covered with the curved pantiles in common use in the South of France. The decrepit casements were fitted with the heavy, unwieldy shutters necessary in that climate, and held in place by massive iron cross bars. It would have puzzled you to find a more dilapidated house in Angouleme; nothing but sheer tenacity of mortar kept it together. Try to picture the workshop, lighted at either end, and dark in the middle; the walls covered with handbills and begrimed by friction of all the workmen who had rubbed past them for thirty years; the cobweb of cordage across the ceiling, the stacks of paper, the old-fashioned presses, the pile of slabs for weighting the damp sheets, the rows of cases, and the two dens in the far corners where the master printer and foreman sat—and you will have some idea of the life led by the two friends.

One day early in May, 1821, David and Lucien were standing together by the window that looked into the yard. It was nearly two o'clock, and the four or five men were going out to dinner. David waited until the apprentice had shut the street door with the bell fastened to it; then he drew Lucien out into the yard as if the smell of paper, ink, and presses and old woodwork had grown intolerable to him, and together they sat down under the vines, keeping the office and the door in view. The sunbeams, playing among the trellised vine-shoots, hovered over the two poets, making, as it were, an aureole about their heads, bringing the contrast between their faces and their characters into a vigorous relief that would have tempted the brush of some great painter.

David's physique was of the kind that Nature gives to the fighter, the man born to struggle in obscurity, or with the eyes of all men turned upon him. The strong shoulders, rising above the broad chest, were in keeping with the full development of his whole frame. With his thick crop of black hair, his fleshy, high-colored, swarthy face, supported by a thick neck, he looked at first sight like one of Boileau's canons: but on a second glance there was that in the lines about the thick lips, in the dimple of the chin, in the turn of the square nostrils, with the broad irregular line of central cleavage, and, above all, in the eyes, with the steady light of an all-absorbing love that burned in them, which revealed the real character of the man—the wisdom of the thinker, the strenuous melancholy of a spirit that discerns the horizon on either (...)

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