  And still no letter from you! I see in the journals that you have left Nice. Is it that you are too absorbed in your work to have leisure to write to me? I know you are not ill, for if you were, all Paris would know of it. All Europe has an interest in your health. Positively I will write to you no more till a word from yourself bids me do so. I fear I must give up my solitary walks in the Bois de Boulogne: they were very dear to me, partly because the quiet path to which I confined myself was that to which you directed me as the one you habitually selected when at Paris, and in which you had brooded over and revolved the loveliest of your romances; and partly because it was there that, catching, alas! not inspiration but enthusiasm from the genius that had hallowed the place, and dreaming I might originate music, I nursed my own aspirations and murmured my own airs. And though so close to that world of Paris to which all artists must appeal for judgment or audience, the spot was so undisturbed, so sequestered. But of late that path has lost its solitude, and therefore its charm. Six days ago the first person I encountered in my walk was a man whom I did not then heed. He seemed in thought, or rather in revery, like myself; we passed each other twice or thrice, and I did not notice whether he was young or old, tall or short; but he came the next day, and a third day, and then I saw that he was young, and, in so regarding him, his eyes became fixed on mine. The fourth day he did not come, but two other men came, and the look of one was inquisitive and offensive. They sat themselves down on a bench in the walk, and though I did not seem to notice them, I hastened home; and the next day, in talking with our kind Madame Savarin, and alluding to these quiet walks of mine, she hinted, with the delicacy which is her characteristic, that the customs of Paris did not allow demoiselles comme il faut to walk alone even in the most sequestered paths of the Bois. I begin now to comprehend your disdain of customs which impose chains so idly galling on the liberty of our sex. We dined with the Savarins last evening: what a joyous nature he has! Not reading Latin, I only know Horace by translations, which I am told are bad; but Savarin seems to me a sort of half Horace,—Horace on his town-bred side, so playfully well-bred, so good-humoured in his philosophy, so affectionate to friends, and so biting to foes. But certainly Savarin could not have lived in a country farm upon endives and mallows. He is town-bred and Parisian, jusqu'au bout des ongles. How he admires you, and how I love him for it! Only in one thing he disappoints me there. It is your style that he chiefly praises: certainly that style is matchless; but style is only the clothing of thought, and to praise your style seems to me almost as invidious as the compliment to some perfect beauty, not on her form and face, but on her taste and dress. We met at dinner an American and his wife,—a Colonel and Mrs. Morley: she is delicately handsome, as the American women I have seen generally are, and with that frank vivacity of manner which distinguishes them from English women. She seemed to take a fancy to me, and we soon grew very good friends. She is the first advocate I have met, except yourself, of that doctrine upon the rights of Women, of which one reads more in the journals than one hears discussed in salons. Naturally enough I felt great interest in that subject, more especially since my rambles in the Bois were forbidden; and as long as she declaimed on the hard fate of the women who, feeling within them powers that struggle for air and light beyond the close precinct of household duties, find themselves restricted from fair rivalry with men in such fields of knowledge and toil and glory as men since the world began have appropriated to themselves, I need not say that I went with her cordially: you can guess that by my former letters. But when she entered into the detailed catalogue of our exact wrongs and our exact rights, I felt all the pusillanimity of my sex and shrank back in terror. Her husband, joining us when she was in full tide of eloquence, smiled at me with a kind of saturnine mirth. "Mademoiselle, don't believe a word she says: it is only tall talk! In America the women are absolute tyrants, and it is I who, in concert with my oppressed countrymen, am going in for a platform agitation to restore the Rights of Men." Upon this there was a lively battle of words between the spouses, in which, I must own, I thought the lady was decidedly worsted. No, Eulalie, I see nothing in these schemes for altering our relations towards the other sex which would improve our condition. The inequalities we suffer are not imposed by law,—not even by convention: they are imposed by nature. Eulalie, you have had an experience unknown to me: you have loved. In that day did you,—you, round whom poets and sages and statesmen gather, listening to your words as to an oracle,—did you feel that your pride of genius had gone out from you, that your ambition lived in whom you loved, that his smile was more to you than the applause of a world? I feel as if love in a woman must destroy her rights of equality, that it gives to her a sovereign even in one who would be inferior to herself if her love did not glorify and crown him. Ah! if I could but merge this terrible egotism which oppresses me, into the being of some one who is what I would wish to be were I man! I would not ask him to achieve fame. Enough if I felt that he was worthy of it, and happier methinks to console him when he failed than to triumph with him when he won. Tell me, have you felt this? When you loved did you stoop as to a slave, or did you bow down as to a master? FROM MADAME DE GRANTMESNIL TO ISAURA CICOGNA.Chere enfant,—All your four letters have reached me the same day. In one of my sudden whims I set off with a few friends on a rapid tour along the Riviera to Genoa, thence to Turin on to Milan. Not knowing where we should rest even for a day, my letters were not forwarded. I came back to Nice yesterday, consoled for all fatigues in having insured that accuracy in description of localities which my work necessitates. You are, my poor child, in that revolutionary crisis through which genius passes in youth before it knows its own self, and longs vaguely to do or to be a something other than it has done or has been before. For, not to be unjust to your own powers, genius you have,—that inborn undefinable essence, including talent, and yet distinct from it. Genius you have, but genius unconcentrated, undisciplined. I see, though you are too diffident to say so openly, that you shrink from the fame of singer, because, fevered by your reading, you would fain aspire to the thorny crown of author. I echo the hard saying of the Maestro: I should be your worst enemy did I encourage you to forsake a career in which a dazzling success is so assured, for one in which, if it were your true vocation, you would not ask whether you were fit for it; you would be impelled to it by the terrible star which presides over the birth of poets. Have you, who are so naturally observant, and of late have become so reflective, never remarked that authors, however absorbed in their own craft, do not wish their children to adopt it? The most successful author is perhaps the last person to whom neophytes should come for encouragement. This I think is not the case with the cultivators of the sister arts. The painter, the sculptor, the musician, seem disposed to invite disciples and welcome acolytes. As for those engaged in the practical affairs of life, fathers mostly wish their sons to be as they have been. The politician, the lawyer, the merchant, each says to his children, "Follow my steps." All parents in practical life would at least agree in this,—they would not wish their sons to be poets. There must be some sound cause in the world's philosophy for this general concurrence of digression from a road of which the travellers themselves say to those whom they love best, "Beware!" Romance in youth is, if rightly understood, the happiest nutriment of wisdom in after-years; but I would never invite any one to look upon the romance of youth as a thing "To case in periods and embalm in ink." Enfant, have you need of a publisher to create romance? Is it not in yourself? Do not imagine that genius requires for its enjoyment the scratch of the pen and the types of the printer. Do not suppose that the poet, the romancier, is most poetic, most romantic, when he is striving, struggling, labouring, to check the rush of his ideas, and materialize the images which visit him as souls into such tangible likenesses of flesh and blood that the highest compliment a reader can bestow on them is to say that they are lifelike: No: the poet's real delight is not in the mechanism of composing; the best part of that delight is in the sympathies he has established with innumerable modifications of life and form, and art and Nature, sympathies which are often found equally keen in those who have not the same gift of language. The poet is but the interpreter. What of?—Truths in the hearts of others. He utters what they feel. Is the joy in the utterance? Nay, it is in the feeling itself. So, my dear, dark-bright child of song, when I bade thee open, out of the beaten thoroughfare, paths into the meads and river-banks at either side of the formal hedgerows, rightly dost thou add that I enjoined thee to make thine art thy companion. In the culture of that art for which you are so eminently gifted, you will find the ideal life ever beside the real. Are you not ashamed to tell me that in that art you do but utter the thoughts of others? You utter them in music; through the music you not only give to the thoughts a new character, but you make them reproductive of fresh thoughts in your audience. You said very truly that you found in composing you could put into music thoughts which you could not put into words. That is the peculiar distinction of music. No genuine musician can explain in words exactly what he means to convey in his music. How little a libretto interprets an opera; how little we care even to read it! It is the music that speaks to us; and how?—Through the human voice. We do not notice how poor are the words which the voice warbles. It is the voice itself interpreting the soul of the musician which enchants and enthralls us. And you who have that voice pretend to despise the gift. What! despise the power of communicating delight!—the power that we authors envy; and rarely, if ever, can we give delight with so little alloy as the singer. And when an audience disperses, can you guess what griefs the singer may have comforted? what hard hearts he may have softened? what high thoughts he may have awakened? You say, "Out on the vamped-up hypocrite! Out on the stage-robes and painted cheeks!" I say, "Out on the morbid spirit which so cynically regards the mere details by which a whole effect on the minds and hearts and souls of races and nations can be produced!" There, have I scolded you sufficiently? I should scold you more, if I did not see in the affluence of your youth and your intellect the cause of your restlessness. Riches are always restless. It is only to poverty that the gods give content. You question me about love; you ask if I have ever bowed to a master, ever merged my life in another's: expect no answer on this from me. Circe herself could give no answer to the simplest maid, who, never having loved, asks, "What is love?" In the history of the passions each human heart is a world in itself; its experience profits no others. In no two lives does love play the same part or bequeath the same record. I know not whether I am glad or sorry that the word "love" now falls on my ear with a sound as slight and as faint as the dropping of a leaf in autumn may fall on thine. I volunteer but this lesson, the wisest I can give, if thou canst understand it: as I bade thee take art into thy life, so learn to look on life itself as an art. Thou couldst discover the charm in Tasso; thou couldst perceive that the requisite of all art, that which pleases, is in the harmony of proportion. We lose sight of beauty if we exaggerate the feature most beautiful. Love proportioned adorns the homeliest existence; love disproportioned deforms the fairest. Alas! wilt thou remember this warning when the time comes in which it may be needed? E——- G———-.****** Corrected EDITIONS of our eBooks get a new NUMBER, b164w11.txt This eBook was produced by David Widger We are now trying to release all our eBooks one year in advance of the official release dates, leaving time for better editing. Please be encouraged to tell us about any error or corrections, even years after the official publication date. Most people start at our Web sites at: or http://promo.net/pg http://www.ibiblio.org/gutenberg/etext03 or Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90 |
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