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Honoré de Balzac
Published by Good Press, 2019
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“Neither Hoffmann nor Maturin, the two weirdest imaginations of our time, ever gave me such a thrill of terror as I used to feel when I watched the automaton movements of those bodies sheathed in whalebone. The paint on actors’ faces never caused me a shock; I could see below it the rouge in grain, the rouge de naissance, to quote a comrade at least as malicious as I can be. Years had leveled those women’s faces, and at the same time furrowed them with wrinkles, till they looked like the heads on wooden nutcrackers carved in Germany. Peeping in through the window-panes, I gazed at the battered bodies, and ill-jointed limbs (how they were fastened together, and, indeed, their whole anatomy was a mystery I never attempted to explain); I saw the lantern jaws, the protuberant bones, the abnormal development of the hips; and the movements of these figures as they came and went seemed to me no whit less extraordinary than their sepulchral immobility as they sat round the card-tables.
“The men looked gray and faded like the ancient tapestries on the wall, in dress they were much more like the men of the day, but even they were not altogether convincingly alive. Their white hair, their withered waxen-hued faces, their devastated foreheads and pale eyes, revealed their kinship to the women, and neutralized any effects of reality borrowed from their costume.
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