Uncle Bons

Author: (French) Balzac Xu Jun
Publisher:
Publish Date: 1998-01-01
Features: A traditional novel, naturally, can be interpreted using traditional methods. Let's focus on the main character, Uncle Bons, in Uncle Bons. Uncle Bons is a "remnant" of the old era. Right from the beginning of the novel, with highly symbolic and summarizing techniques, we are depicted his tragic appearance and the tragic fate it foreshadows. The story takes place in Paris in the 1840s, during the July Monarchy, when all aspects of French social life were experiencing intense turmoil. The aristocracy was gradually declining, while bourgeois politicians, big bankers, speculators, and a occupied the political and economic stage of France. Uncle Bons, on the stage of this era, seemed so out of place: "some minor details of his clothing remained faithfully to the style of 1806, reminding one of the Empire era." This "thin and gaunt" old man, "wearing a dark green coat adorned with white metal buttons, and over it, a chestnut Spencer! A man in a Spencer in 1844 was no less than Napoleon's temporary revival," No wonder, upon his arrival, the already numb and bored onlookers on the streets of Paris couldn't help but smile with rich meaning, filled with irony, ridicule, or pity: he "unintentionally retained the entire comedy of a certain era, looking like the very embodiment of an entire era," "just like people called Empire-style furniture, he was unhesitatingly called an Empire-era figure." This "Empire-era figure" was originally a talented musician, whose compositions had even won the Roman Prize. Initially, the state sent him to Rome, intending to mold him into a great musician, but he developed a passion for antiques there and also "contracted one of the lighter sins among the seven deadly sins: gluttony." On one hand, Uncle Bons' "vibrant soul tirelessly appreciated the magnificent creations of humanity," finding solace and elevation in collecting and appreciating human artistic creations. On the other hand, his discerning and greedy mouth corrupted his integrity, as "greed lurked in the human heart, everywhere, commanding, breaking through the gap of human will and honor." On the surface, it seemed that Uncle Bons' sin of "gluttony" pushed him toward tragedy, turning him from an artistically inclined musician into a "freeloader"; he developed the habit of "eating well and drinking well," as long as he could live freely and taste all those fresh fruits and vegetables, and devour (though vulgar, yet expressive) those delicately prepared delicacies with an open mouth, he could do anything lowly. He not only paid a heavy price for satisfying his greed, losing his independent personality, but also had his soul corrupted, "becoming accustomed to the hypocrisy of social circles, those superficial performances that replaced genuine emotion; when it came to flattery, it was as easy as spending a few pennies." However, this is only one aspect of Uncle Bons' life tragedy, a non-essential aspect. The profound reason for his tragedy lies in his "poverty," in his fundamental incompatibility with his wealthy and prominent "relatives." An "Empire-era figure" still wearing a Spencer in 1844, yet living among the beneficiaries of the July Revolution. Around him were figures like the French pharmaceutical industry giant Bobin, who "during the July Revolution, benefited as much as the second branch of the Bourbon dynasty"; the old Camuzot, who "sacrificed his eldest son" and climbed the political ladder desperately; the ambitious court president who dreamed of becoming the Minister of Justice; the notary by origin, later became the district chief of a certain district in Paris, and had made the most of it; Cardo, a notary by origin, later became the district chief of a certain district in Paris, and had made the most of it. The manager of the theater where Uncle Bons conducted the orchestra was also a typical bourgeois upstart. Essentially, Uncle Bons was an artist. Only in the realm of art did he possess youth; only when interacting with art did he seem so talented. At the conductor's podium, his gestures were so powerful; in his collection room filled with the creations of human beauty, he was so happy. He was so deeply in love with art and the creation of beauty. He "loved art," and felt an unsatisfiable desire for any handicraft, any miraculous creation, "like a man's love for a beautiful lover." Even when he was desperate because he could not obtain love and threw himself into the embrace of the "sin that even virtuous monks could not avoid—gluttony," it was "like throwing himself into the love for artworks and the worship of music." However, his love for art was at odds with the values and moral standards of his time. To the bourgeois upstarts of the July Monarchy, music was merely a means for musicians to "make a living." The theater manager Gaudissart valued Uncle Bons not for his talent, but for the compositions he wrote, which could attract audiences and bring in wealth. To the ambitious Madame de Maurel, court president, who used every means to make her husband a member of parliament, even a minister of justice, Uncle Bons' collection of artworks, those rare treasures, were "completely worthless trinkets." The art-obsessed Uncle Bons was completely a "monster." At their homes, the old Uncle Bons endured countless ridicule, mockery, and manipulation, and was ultimately driven out of "their world," an inevitable outcome. Here, there was no place for art; they "worshiped success, valuing only the wealth or prominent social status acquired since 1830." The leading actress Elouise B said it so incisively: "In this world, bosses are meticulous, kings are cunning, ministers are corrupt, and artists with money are too miserable!" It seems that Uncle Bons' transformation from an artist into a "freeloader" cannot be said to be the decline of art itself, and Uncle Bons' tragedy may well be the tragedy of art.