Wednesday, 13 December 1882

The architect Bastien, who boasted the other evening of teaching me perspective, comes to give a lesson; Bojidar attends. But I grasp these things with extraordinary difficulty — it is like mathematics, which used to stupefy me and make me cry, since I wanted to force myself to master it. Everyone dines together, and Maman and I go to the Opéra with the Gavinis while the others go to the Gymnase.
At the Opéra — a great box, magnificent toilettes, Maman in all her diamonds. And I, still warm from reading Balzac, was searching for the Marquises d'Espard, the Rubemprés and the Rastignacs; and without looking far, Comte Plater and Comte de Solms seated behind me seemed close cousins of Lucien Chardon.
Immortal genius.

Notes

The Gymnase: the Théâtre du Gymnase-Dramatique on the boulevard Bonne-Nouvelle, one of the most fashionable Parisian theatres for lighter comedy and drama.
The Marquise d'Espard, Lucien de Rubempré and Eugène de Rastignac: three of Balzac's most memorable characters from the Comédie humaine — the icy aristocratic grande dame, the ambitious provincial poet destroyed by Paris, and the calculating social climber who succeeds. Marie looking for them in the Opéra audience is the quintessential act of a Balzac reader.
Lucien Chardon (alias Lucien de Rubempré): the protagonist of Illusions perdues (1837–43) and Splendeurs et misères des courtisanes (1838–47), the handsome but weak provincial who is consumed by Parisian ambition.