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Honoré de BalzacA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The ambitious young Eugène De Rastignac emerges as the protagonist of Père Goriot. The novel charts his desire to enter Parisian high society and his growing disillusionment regarding what this world is really like. At the beginning of the novel, Rastignac is a naïve youngster. He comes from the provinces of France, and his family members have gathered their money together to send him to university in the capital. On arrival, he is quickly seduced by the glamor of the Parisian elite, but his comparative poverty seemingly bars him from this world.
However, while Rastignac may be financially poor, he does come from an aristocratic family. They may not have the money they once had, but they have not entirely lost the benefits of their proximity to France’s elite. Rastignac is thus able to depend on his name and his connections to work his way into high society. Through his aunt, he is placed in contact with his cousin, Madame de Beauséant. Despite missteps that expose his unfamiliarity with Parisian social etiquette and his general naivete, Rastignac enjoys an unusual degree of social mobility, which comments on Wealth and Social Class in Restoration France.
Rastignac plans to enter high society by seducing a woman. By marrying into the elite, he hopes to accelerate his advancement in society. This plan simultaneously reveals Rastignac’s cynicism and his naivete. Rastignac presumes that he will have something to offer the women of Paris, who—he quickly discovers—are not as loyal, as kind, or as glamorous as he first believed. His mentor, Madame de Beauséant, is the subject of malicious gossip, while his presumed beau, Delphine, exploits her father and allows him to die in destitution. The male lovers of the women Rastignac meets are no better, accumulating gambling debts that they ask their mistresses to pay. Rastignac is thus confronted with The Hypocrisy of 19th-Century French Society, in which a cynical and self-interested elite deludes itself into believing that its members are better than everyone else.
Rastignac’s relationship with Père Goriot puts a fine point on his changing impression of Paris. The old man loves his daughters, but this love is not returned. Rastignac is in a similar position to Delphine and Anastasie; he begs his family for money to further his own social advancement. Whereas Rastignac feels immense guilt and tries to repay his debt immediately, the two daughters feel nothing as they drive their father further and further into poverty. Nevertheless, Rastignac cannot help but fall in love with Delphine, fixating on her as the symbol of the beautiful moral vacuum that is Parisian society. He hates the way she treats her father, but after Goriot’s funeral, Rastignac goes to dine with her. He decides to wage war on the cynical, hypocritical society by embracing its worst qualities—an ambiguous ending to a novel full of morally gray characters and situations.
The titular Père Goriot serves as a cautionary tale of paternal love and The Corruption of Parent-Child Relationships. Goriot’s defining quality is his capacity for love, which he focuses solely on his daughters following the death of his wife. After making his fortune during the French Revolution, he spent vast sums to ensure that his daughters were ready to enter the high society of the postrevolutionary world. They have had the best teachers and tutors to ensure that they do not make the same naïve mistakes that Rastignac makes during his first forays into the world of the elite. Goriot thus expresses his love in financial terms, and the tragedy and irony of his story is that in doing so, he turns his daughters into materialistic, cynical members of the same high society that rejects him. His sons-in-law reject him as an embarrassment, and his daughters visit him only for money. The poorer he makes himself on his daughters’ behalf, the less welcome he is in their homes.
For much of the novel, Goriot is unable to recognize this. He is mocked and castigated by the other boarders in the Maison Vauquer even though he has made (and spent) more money than they could ever imagine. Madame Vauquer reveals her foolishness when she refuses to entertain the idea that a man like Goriot could ever be wealthy, utterly misunderstanding his character. Rastignac is virtually alone in pitying Goriot, and as Rastignac embarks on a relationship with Goriot’s daughter, the two men become close. For Rastignac, Goriot and his suffering symbolize the rot at the heart of Parisian high society. As Delphine and Anastasie live in luxury, Goriot suffers in the smallest rooms in the Maison Vauquer. His suffering is the cost of his daughters’ status, Rastignac comes to believe.
Goriot gets genuine pleasure from helping his daughters, but he only has so much to squander. By the end of the novel, he has sold almost everything he has to cover the debts incurred by his ungrateful daughters and their lovers. He never lives to realize his one personal ambition—a small set of servants’ quarters above an apartment where Rastignac will live as Delphine’s lover. Instead, his daughters’ demands for money that he does not have trigger a series of strokes that are ultimately fatal. As he is dying, he realizes that his daughters are too distracted by their own lives to visit his deathbed. The love he has devoted to them means nothing to them now that he has nothing left to give. Goriot dies a tragic figure whose exploitation reflects the broader ways in which a societal elite subsists on the labors of the poor.
Delphine is the youngest daughter of Goriot. Like her older sister, Anastasie, she has been spoiled by Goriot’s adoration. From a young age, Delphine was told that she would enter high society. She has grown up with the money and manners of the elite, yet she is not as respected as her sister, and their relationship explains much of Delphine’s behavior. The two sisters are petty rivals whose choices of husband have determined whether they are true members of Parisian high society. Anastasie married a French nobleman, while Delphine married a German banker. Delphine’s husband may be wealthier than Anastasie’s, but he lacks the social clout of a true French aristocrat. As such, Delphine resents her sister’s frequent attendance at balls and parties, knowing that her company is not as desirable as her sister’s. Coupled with their selfishness and materialism, the two sisters’ competition renders them unable to recognize their father’s suffering. They are so obsessed with their own status that they treat their father with near contempt. Delphine’s behavior demonstrates how the materialistic lust for wealth and status can never be truly satisfied.
At first, Rastignac plans on using Delphine to enter high society. When he meets Delphine, she already has a lover, whom her husband seems to tolerate. He too is unfaithful, as are many other French aristocrats portrayed in the novel. This infidelity indicts society on multiple levels: It reveals the political and financial motivations that often underpin marriage, it demonstrates the absence of loyalty among the rich and powerful, and it underscores elite hypocrisy, as these affairs are conducted in near-public. Delphine’s receptiveness to an affair with Rastignac hammers these points home. Since he is the cousin of Madame de Beauséant, he can offer Delphine connections of his own, and as a very transactional person, Delphine welcomes the invitations and company that Rastignac provides. However, Rastignac eventually develops real feelings for Delphine, whereas Delphine’s love for Rastignac seems tenuous. She wants to be loved and she wants to be seen to be loved, but she never offers love without receiving something in return.
This is equally true of Delphine’s relationship with Goriot. Delphine does not visit her father on his deathbed, nor does she attend his funeral. After the funeral, however, Rastignac attends dinner with Delphine. This dinner suggests that Rastignac has accepted Delphine’s worldview; the world is a cynical and materialistic place, so Delphine and Rastignac need not pretend to be anything other than as selfish as the society they inhabit.
Vautrin is a notable criminal who is living under a pseudonym at the Maison Vauquer. He is tangential to the novel’s explorations of Parisian high society, yet his schemes and his arrest function as a mirror to the morality of the upper classes.
In the boarding house, Vautrin is a forceful presence. He dominates every conversation and insinuates himself into the lives of the other boarders. His jokes and conversations have a dark edge even before Vautrin’s past is fully revealed. Vautrin’s dream is to own a plantation worked by enslaved laborers in the United States. To fund this, he suggests that Rastignac manipulate the young, vulnerable Victorine into a marriage while he arranges for her brother to be killed; through Victorine, Rastignac will thus inherit everything from her wealthy but estranged father. Despite himself, Rastignac is sorely tempted by this scheme, not least because Vautrin’s diagnosis of the moral rot in French society seems increasingly true: Vautrin warns that the only way to get ahead in French society is to be cynical, cunning, and amoral. Rastignac does not follow through with Vautrin’s plan, but his efforts to save the life of Victorine’s brother fall through. Vautrin does not care; the brother is a meaningless casualty in his pursuit of wealth.
Vautrin is unmasked and arrested amid his plotting, revealing his status as a financier and advisor to many criminals. His nickname—Death-Dodger—hints at the cunning way in which he has been able to deceive the authorities and his enemies. When Vautrin is arrested, he launches into a monologue about the state of society, picking up on the themes that resonated so strongly with Rastignac by pointing out the absurd moral standards that govern society. Criminals are charged for stealing small amounts, he says, while the wealthy are celebrated for stealing huge sums. There are two standards of justice in French society, according to Vautrin, and concerns of morality and the law apply only to the poor.
The novel endorses Vautrin’s indictment of society, but it is more ambivalent about whether this justifies his response. Vautrin himself is a villainous figure, and the fact that Rastignac adopts much the same worldview as Vautrin by the novel’s conclusion implies that Vautrin may have successfully corrupted him despite the apparent failure of his schemes. What is clear is that the novel challenges readers repelled by Vautrin’s behavior to cast a similarly critical look on the wealthy and powerful.
By Honoré de Balzac