Old Goriot

Anyone who grew up loving Shel Silverstein's "The Giving Tree" is going to adore Pere Goriot, who drives himself into penury in support of his daughters' lavish lifestyle. But this is not Goriot's story; it belongs to the youth Eugene Rastignac's more selfish ambitions. Vautrin unleashes a poisonous speech about morality and virtue in the second chapter that I think might summarize Putin's personal philosophy these days. It justifies the taking of everything within one's grasp, and of extending that grasp as far as possible. Contrasted with this stance is Eugene's friend Bianchon, who states an opposing view in such simple, clear terms that I laughed aloud; he is Alexander's sword to Vautrin's Gordian knot (and aptly references that as show more he speaks.) Eugene is the man in the middle who honors Goriot once he understands his sacrifice, but whether he will take him as a model for himself or as a model victim remains to be seen. Foreshadowing indicates he will rise high in society - but at what price? On the strength of this one novel, Balzac has already established a place with me ahead of most other classic French authors including Hugo, Zola and Dumas; only Flaubert can contend with him until Proust comes along. I had no intention of reading more by him, but I need to reconsider. show less

This was my first Balzac and I liked it, for the most part. He reminds me somewhat of Dickens, but perhaps more elegant with his words and bit more sparing. This is the story of Paris in 1819 and evidently the First Estate survived the Revolution and is flourishing, in general. The titular character is a man that loves his daughters to excess (?) and lives in penury because of it; while his daughters disown him. Theme of this book: money trumps all! 175 pages

In retrospect, choosing to read this on the weekend of Father's Day was a hilariously ironic decision. The titular 'Old Goriot' is a poor old man living in a realistically squalid boarding house. (I swear rented accommodation in the 21st century still recalls that of the 19th.) He has brought himself to penury by spoiling his two daughters, who have married rich, successful men. Neither daughter is happy, however, and neither appreciates their father's sacrifices. Indeed, they only visit him to try and wheedle more money. I was impressed that neither was a caricature, though, and their terrible behaviour was shown to be symptomatic of society's warped priorities.

Much of the narrative looks at this tragic situation from the point of view show more of Eugène de Rastignac, a law student neighbour of Goriot. Rastignac's story and his connection with Goriot demonstrate the terrible interplay between money, ambition, and ruthlessness. The novel starts relatively slowly, setting the scene and introducing the reader to the residents of the boarding house and their foibles. This investment in scene-setting pays off towards the end, when events build to a terrible climax involving most of the cast. I find myself using theatrical terms when describing the novel, as it had a definite play-like quality. This is by no means a criticism, as I found the novel powerful and very moving, especially at the end. In part I think it's the style of writing and emphasis on dialogue that gives a theatrical feel, I would say naturalistic but for the odd soliloquy. Also, the limited number of locations - events take place either in the boarding house itself or the drawing rooms and ballrooms of wealthy women.

Balzac appears deeply cynical about Parisian society in its callousness and disregard for the past. The lesson powerfully rammed home by the end of the novel is that money and greed poison human relationships; the more money and the closer the relationship, the worse the outcome. I can't remember reading a more effective depiction of this in fiction. The message remains just as important today as 1834. show less

A really simple plot, but rendered through such an atmosphere, such cruelty, such violence, that it's all nearly suffocating. Here's the portrait of a merciless society, 'un océan de boue' ('a ocean of mud') where the cynicism and selfishness of some only equal the hypocrisy and meanness of others.

The main characters, two detestable, shameless and spoiled rotten sisters, this poor Goriot whose fatherly devotion is pathetic, the young Rastignac making here his whole moral education, and, even, a dashing Vautrin (to name but a few!) are all absolutely unforgettable. The writing style itself is stupendous; with magnificent descriptions, rich in multiple and poetical ideas.

'Do you know how a man makes his way here? By brilliant genius or show more by skilful corruption. You must either cut your way through these masses of men like a cannon ball, or steal among them like a plague.'

It all reads in one go! show less

Balzac isn’t bad, but Dumas and Hugo are better.

Goriot completely sacrificed his well-being for his two ungracious daughters. A relatively wealthy merchant, he sold everything he had and quit his business to hide away in obscurity so that his daughters, and their husbands, could hide their connection to a man of such low position. After setting up his daughters with his wealth and marrying them off to men of status, he moves into a rooming house in an off district of Paris. Here also resides Rastignac, a young man set on making his fortune and securing a place with the upper crust of Paris; and Vautrin, an escaped convict and con man who launders money for the underbelly of Paris. What follows could easily have been a British comic show more romp, with everyone trying to manipulate and pull one over on everyone else.

Set about twenty years after the revolution, [Old Goriot] is a clear comment on the ills of the remaining social stratification. Though the middle class helped drive the revolution, they are still marginalized in Balzac’s story. But, while Balzac has a keen eye for the absurdity of the situation, his comment on it carries less power than other authors who made similar comments on the subject, like Edith Wharton or Charles Dickens. Dickens and Wharton brought a more raw power to the reality of their characters plights, while Balzac is relaxes in sarcasm.

[Old Goriot]’s story is engaging enough, but it can’t completely shake loose from the prolixity of the character’s, and Balzac’s preachiness. Vautrin went on during conversations for pages, to the point that you wonder why the other characters don’t tell him to shut-up. He is not the only offender – several other characters drone on in a way that betrays Balzac’s urge to fully document his message.

Bottom Line: French social commentary. Dumas and Hugo are better for French narratives and any number of other authors are better for powerful social commentary.

3 ½ bones!!!!! show less

Age is a spoilt milk and not a fine wine in Balzac’s Old Goriot. A tale that tells that of a doting father, it is this same perpetual, immense paternal affection that drives away his daughters and throws him further down the monstrous shadows of tragedy. His outrageously spoiled and corrupt daughters who are disgustingly enchanted by materialism are tragedies of their own right. There is no love but love of money in their hearts and minds, their marriages and familial relations, akin to souls readily auctioned to the devil for the glory of wealth; and where love is ever sometimes concerned there is always a motivation to feed these immoral affairs in bank notes in the gritty streets of Paris. As if this isn't devastating or show more frustrating enough, we are hold hostage by the four walls of Madame Vauquer's boarding house where malicious boarders reside. Gossips waft and bounce in its perimeters until the latter part surprises as an unexpected and sudden mysterious crime unfolds. In this regard, Old Goriot may feel a little jagged as it touches a variety of genres.

A father's riches-to-rags story juxtaposed brilliantly by the naïve and social climber Eugène de Rastignac's immense desire to be part of the elite their narratives warily meet when their blind sacrifices turn out for nil. A kind of parasitic manipulation runs through their somehow strangely fond exchanges. This novel is heartless until its flinching struggle with mortality and hatred. This novel is heartless until the end if not for a curse of ambition. Balzac is tolerably melodramatic with a surprising knack for profound frills on the side. And no hesitation is spared by his pen in this written cursive of downfalls. show less

Just about the only thing I remembered from last time I read this, in my teens, was that Goriot was in the vermicelli business. It's odd how that sort of unimportant detail sticks in your mind!

In a way, this is the standard French novel plot, i.e. young man from the provinces comes to Paris and meets sophisticated older woman, but with two very particular twists: Goriot, the retired businessman who has sacrificed everything to launch his daughters into society and now finds himself treated like King Lear, and the elusive Vautrin, a self-made man of a different sort altogether. The very compact story makes a nice change from the long-windedness of 19th century English novelists with three volumes to fill, and so does Balzac's healthy show more cynicism: a story doesn't necessarily have to end with everyone neatly married off, and it's perfectly possible for someone to attend a sentimental deathbed scene without becoming a reformed character as a result. show less