The Memoirs of Jacques Casanova de Seingalt Volume III Part 74

"Certainly. He will have real tears. He says that if an actor wants to draw tears he must shed them himself."

"I think he is right there; but he should not be so severe with amateurs, above all with charming actresses like you. Such perfection is only to be looked for from professionals, but all authors are the same.

They never think that the actor has p.r.o.nounced the words with the force which the sense, as they see it, requires."

"I told him, one day, that it was not my fault if his lines had not the proper force."

"I am sure he laughed."

"Laughed? No, sneered, for he is a rude and impertinent man."

"But I suppose you overlook all these failings?"

"Not at all; we have sent him about his business."

"Sent him about his business?"

"Yes. He left the house he had rented here, at short notice, and retired to where you will find him now. He never comes to see us now, even if we ask him."

"Oh, you do ask him, though you sent him about his business?"

"We cannot deprive ourselves of the pleasure of admiring his talents, and if we have teased him, that was only from revenge, and to teach him something of the manners of good society."

"You have given a lesson to a great master."

"Yes; but when you see him mention Lausanne, and see what he will say of us. But he will say it laughingly, that's his way."

During my stay I often saw Lord Rosebury, who had vainly courted my charming Dubois. I have never known a young man more disposed to silence. I have been told that he had wit, that he was well educated, and even in high spirits at times, but he could not get over his shyness, which gave him an almost indefinable air of stupidity. At b.a.l.l.s, a.s.semblies--in fact, everywhere, his manners consisted of innumerable bows. When one spoke to him, he replied in good French but with the fewest possible words, and his shy manner shewed that every question was a trouble to him. One day when I was dining with him, I asked him some question about his country, which required five or six small phrases by way of answer. He gave me an excellent reply, but blushed all the time like a young girl when she comes out. The celebrated Fox who was then twenty, and was at the same dinner, succeeded in making him laugh, but it was by saying something in English, which I did not understand in the least. Eight months after I saw him again at Turin, he was then amorous of a banker's wife, who was able to untie his tongue.

At Lausanne I saw a young girl of eleven or twelve by whose beauty I was exceedingly struck. She was the daughter of Madame de Saconai, whom I had known at Berne. I do not know her after history, but the impression she made on me has never been effaced. Nothing in nature has ever exercised such a powerful influence over me as a pretty face, even if it be a child's.

The Beautiful, as I have been told, is endowed with this power of attraction; and I would fain believe it, since that which attracts me is necessarily beautiful in my eyes, but is it so in reality? I doubt it, as that which has influenced me has not influenced others. The universal or perfect beauty does not exist, or it does not possess this power.

All who have discussed the subject have hesitated to p.r.o.nounce upon it, which they would not have done if they had kept to the idea of form.

According to my ideas, beauty is only form, for that which is not beautiful is that which has no form, and the deformed is the opposite of the 'pulchrum' and 'formosum'.

We are right to seek for the definitions of things, but when we have them to hand in the words; why should we go farther? If the word 'forma'

is Latin, we should seek for the Latin meaning and not the French, which, however, often uses 'deforme' or 'difforme' instead of 'laid', ugly, without people's noticing that its opposite should be a word which implies the existence of form; and this can only be beauty. We should note that 'informe' in French as well as in Latin means shapeless, a body without any definite appearance.

We will conclude, then, that it is the beauty of woman which has always exercised an irresistible sway over me, and more especially that beauty which resides in the face. It is there the power lies, and so true is that, that the sphinxes of Rome and Versailles almost make me fall in love with them though, the face excepted, they are deformed in every sense of the word. In looking at the fine proportions of their faces one forgets their deformed bodies. What, then, is beauty? We know not; and when we attempt to define it or to enumerate its qualities we become like Socrates, we hesitate. The only thing that our minds can seize is the effect produced by it, and that which charms, ravishes, and makes me in love, I call beauty. It is something that can be seen with the eyes, and for my eyes I speak. If they had a voice they would speak better than I, but probably in the same sense.

No painter has surpa.s.sed Raphael in the beauty of the figures which his divine pencil produced; but if this great painter had been asked what beauty was, he would probably have replied that he could not say, that he knew it by heart, and that he thought he had reproduced it whenever he had seen it, but that he did not know in what it consisted.

"That face pleases me," he would say, "it is therefore beautiful!"

He ought to have thanked G.o.d for having given him such an exquisite eye for the beautiful; but 'omne pulchrum difficile'.

The painters of high renown, all those whose works proclaim genius, have excelled in the delineation of the beautiful; but how small is their number compared to the vast craved who have strained every nerve to depict beauty and have only left us mediocrity!

If a painter could be dispensed from making his works beautiful, every man might be an artist; for nothing is easier than to fas.h.i.+on ugliness, and brush and canvas would be as easy to handle as mortar and trowel.

Although portrait-painting is the most important branch of the art, it is to be noted that those who have succeeded in this line are very few.

There are three kinds of portraits: ugly likenesses, perfect likenesses, and those which to a perfect likeness add an almost imperceptible character of beauty. The first cla.s.s is worthy only of contempt and their authors of stoning, for to want of taste and talent they add impertinence, and yet never seem to see their failings. The second cla.s.s cannot be denied to possess real merit; but the palm belongs to the third, which, unfortunately, are seldom found, and whose authors deserve the large fortunes they ama.s.s. Such was the famous Notier, whom I knew in Paris in the year 1750. This great artist was then eighty, and in spite of his great age his talents seemed in all their freshness. He painted a plain woman; it was a speaking likeness, and in spite of that those who only saw the portrait p.r.o.nounced her to be a handsome woman.

Nevertheless, the most minute examination would not have revealed any faithlessness to the original, but some imperceptible touches gave a real but indefinite air of beauty to the whole. Whence does that magic art take its source? One day, when he had been painting the plain-looking "Mesdames de France," who on the canvas looked like two Aspasias, I asked him the above question. He answered:--

"It is a magic which the G.o.d of taste distils from my brains through my brushes. It is the divinity of Beauty whom all the world adores, and which no one can define, since no one knows of what it consists. That canvas shews you what a delicate shade there is between beauty and ugliness; and nevertheless this shade seems an enormous difference to those unacquainted with art."

The Greek painters made Venus, the G.o.ddess of beauty, squint-eyed, and this odd idea has been praised by some; but these painters were certainly in the wrong.

Two squinting eyes might be beautiful, but certainly not so beautiful as if they did not squint, for whatever beauty they had could not proceed from their deformity.

After this long digression, with which the reader may not be very well pleased, it is time for me to return to my sweetheart. The tenth day of my visit to Lausanne, I went to sup and sleep with my mistress, and that night was the happiest I remember. In the morning, while we were taking coffee with her mother, I observed that we seemed in no hurry to part.

At this, the mother, a woman of few words, took up the discourse in a polite and dignified manner, and told me it was my duty to undeceive Lebel before I left; and at the same time she gave me a letter she had had from him the evening before. The worthy man begged her to remind me that if I could not make up my mind to separate from her daughter before I left Lausanne, it would be much more difficult for me to do so when I was farther off; above all, if, as would probably be the case, she gave me a living pledge of her love. He said that he had no thoughts of drawing back from his word, but he should wish to be able to say that he had taken his wife from her mother's hands.

When I had read the letter aloud, the worthy mother wept, and left us alone. A moment's silence ensued, and with a sigh that shewed what it cost her, my dear Dubois had the courage to tell me that I must instantly write to Lebel to give up all pretensions to her, or to come and take her at once.

"If I write and tell him to think no more of you, I must marry you myself."

"No."

With this no she arose and left me. I thought it over for a quarter of an hour, I weighed the pros and cons and still my love shrank from the sacrifice. At last, on consideration that my housekeeper would never have such a chance again, that I was not sure that I could always make her happy, I resolved to be generous, and determined to write to Lebel that Madame Dubois had decided of her own free will to become his wife, that I had no right to oppose her resolution, and that I would go so far as to congratulate him on a happiness I envied him. I begged him to leave Soleure at once and come and receive her in my presence from the hands of her worthy mother.

I signed the letter and took it to my housekeeper, who was in her mother's room. "Take this letter, dearest, and read it, and if you approve its contents put your signature beside mine." She read it several times, while her good mother wept, and then, with an affectionate and sorrowful air, she took the pen and signed. I begged her mother to find somebody to take the letter to Soleure immediately, before my resolution was weakened by repentance.

The messenger came, and as soon as he had gone, "Farewell," said I, embracing her, with my eyes wet with tears, "farewell, we shall see each other again as soon as Lebel comes."

I went to my inn, a prey to the deepest grief. This sacrifice had given a new impetus to my love for this charming woman, and I felt a sort of spasm, which made me afraid I should get ill. I shut myself up in my room, and I ordered the servants to say I was unwell and could see no one.

In the evening of the fourth day after, Lebel was announced. He embraced me, saying his happiness would be due to me. He then left me, telling me he would expect me at the house of his future bride.

"Excuse me to-day, my dear fellow," said I, "but I will dine with you there to-morrow."

When he had left me, I told Le Duc to make all preparations for our leaving the next day after dinner.

I went out early on the following day to take leave of everybody, and at noon Lebel came to take me to that sad repast, at which, however, I was not so sad as I had feared.

As I was leaving I begged the future Madame Lebel to return me the ring I had given her, and as we had agreed, I presented her with a roll of a hundred Louis, which she took with a melancholy air.

"I should never have sold it," she said, "for I have no need of money."

"In that case I will give it back to you, but promise me never to part with it, and keep the hundred Louis as some small reward of the services you have rendered me."

She shook my hand affectionately, put on my finger her wedding ring, and left me to hide her grief. I wiped my tears away, and said to Lebel,

"You are about to possess yourself of a treasure which I cannot commend too highly. You are a man of honour; you will appreciate her excellent qualities, and you will know how to make her happy. She will love you only, take care of your household, and keep no secrets from you. She is full of wit and spirits, and will easily disperse the slightest shadow of ill humour which may fall on you."

I went in with him to the mother's room to take leave of her, and Madame Dubois begged me to delay my departure and sup once more with her. I told her that my horses were put in and the carriage waiting at my door, and that such a delay would set tongues talking; but that if she liked, she, her future husband and her mother, could come and see me at an inn two leagues off on the Geneva road, where we could stay as long as we liked. Lebel approved of the plan, and my proposition was accepted.

When I got back to my inn I found my carriage ready, and I got in and drove to the meeting-place, and ordered a good supper for four, and an hour later my guests arrived.