The Memoirs of Jacques Casanova de Seingalt, 1725-1798. Complete

“It is singular,” she said, “that we cannot have a ‘De profundis’ for a man who makes us sing the ‘Te Deum’ so often.”

As we left the Tuileries, Patu took me to the house of a celebrated actress of the opera, Mademoiselle Le Fel, the favourite of all Paris, and member of the Royal Academy of Music. She had three very young and charming children, who were fluttering around her like butterflies.

“I adore them,” she said to me.

“They deserve adoration for their beauty,” I answered, “although they have all a different cast of countenance.”

“No wonder! The eldest is the son of the Duke d’Anneci, the second of Count d’Egmont, and the youngest is the offspring of Maison-Rouge, who has just married the Romainville.”

“Ah! pray excuse me, I thought you were the mother of the three.”

“You were not mistaken, I am their mother.”

As she said these words she looked at Patu, and both burst into hearty laughter which did not make me blush, but which shewed me my blunder.

I was a novice in Paris, and I had not been accustomed to see women encroach upon the privilege which men alone generally enjoy. Yet mademoiselle Le Fel was not a bold-faced woman; she was even rather ladylike, but she was what is called above prejudices. If I had known the manners of the time better, I should have been aware that such things were every-day occurrences, and that the noblemen who thus sprinkled their progeny everywhere were in the habit of leaving their children in the hands of their mothers, who were well paid. The more fruitful, therefore, these ladies were, the greater was their income.

My want of experience often led me into serious blunders, and Mademoiselle Le Fel would, I have no doubt, have laughed at anyone telling her that I had some wit, after the stupid mistake of which I had been guilty.

Another day, being at the house of Lani, ballet-master of the opera, I saw five or six young girls of thirteen or fourteen years of age accompanied by their mothers, and all exhibiting that air of modesty which is the characteristic of a good education. I addressed a few gallant words to them, and they answered me with down-cast eyes. One of them having complained of the headache, I offered her my smelling-bottle, and one of her companions said to her,

“Very likely you did not sleep well last night.”

“Oh! it is not that,” answered the modest-looking Agnes, “I think I am in the family-way.”

On receiving this unexpected reply from a girl I had taken for a maiden, I said to her,

“I should never have supposed that you were married, madam.”

She looked at me with evident surprise for a moment, then she turned towards her friend, and both began to laugh immoderately. Ashamed, but for them more than myself, I left the house with a firm resolution never again to take virtue for granted in a class of women amongst whom it is so scarce. To look for, even to suppose, modesty, amongst the nymphs of the green room, is, indeed, to be very foolish; they pride themselves upon having none, and laugh at those who are simple enough to suppose them better than they are.

Thanks to my friend Patu, I made the acquaintance of all the women who enjoyed some reputation in Paris. He was fond of the fair sex, but unfortunately for him he had not a constitution like mine, and his love of pleasure killed him very early. If he had lived, he would have gone down to posterity in the wake of Voltaire, but he paid the debt of nature at the age of thirty.

I learned from him the secret which several young French literati employ in order to make certain of the perfection of their prose, when they want to write anything requiring as perfect a style as they can obtain, such as panegyrics, funeral orations, eulogies, dedications, etc. It was by surprise that I wrested that secret from Patu.

Being at his house one morning, I observed on his table several sheets of paper covered with dode-casyllabic blank verse.

I read a dozen of them, and I told him that, although the verses were very fine, the reading caused me more pain than pleasure.

“They express the same ideas as the panegyric of the Marechal de Saxe, but I confess that your prose pleases me a great deal more.”

“My prose would not have pleased you so much, if it had not been at first composed in blank verse.”

“Then you take very great trouble for nothing.”

“No trouble at all, for I have not the slightest difficulty in writing that sort of poetry. I write it as easily as prose.”

“Do you think that your prose is better when you compose it from your own poetry?”

“No doubt of it, it is much better, and I also secure the advantage that my prose is not full of half verses which flow from the pen of the writer without his being aware of it.”

“Is that a fault?”

“A great one and not to be forgiven. Prose intermixed with occasional verses is worse than prosaic poetry.”

“Is it true that the verses which, like parasites, steal into a funeral oration, must be sadly out of place?”

“Certainly. Take the example of Tacitus, who begins his history of Rome by these words: ‘Urbem Romam a principio reges habuere’. They form a very poor Latin hexameter, which the great historian certainly never made on purpose, and which he never remarked when he revised his work, for there is no doubt that, if he had observed it, he would have altered that sentence. Are not such verses considered a blemish in Italian prose?”

“Decidedly. But I must say that a great many poor writers have purposely inserted such verses into their prose, believing that they would make it more euphonious. Hence the tawdriness which is justly alleged against much Italian literature. But I suppose you are the only writer who takes so much pains.”

“The only one? Certainly not. All the authors who can compose blank verses very easily, as I can, employ them when they intend to make a fair copy of their prose. Ask Crebillon, the Abby de Voisenon, La Harpe, anyone you like, and they will all tell you the same thing. Voltaire was the first to have recourse to that art in the small pieces in which his prose is truly charming. For instance, the epistle to Madame du Chatelet, which is magnificent. Read it, and if you find a single hemistich in it I will confess myself in the wrong.”

I felt some curiosity about the matter, and I asked Crebillon about it. He told me that Fatu was right, but he added that he had never practised that art himself.

Patu wished very much to take me to the opera in order to witness the effect produced upon me by the performance, which must truly astonish an Italian. ‘Les Fetes Venitiennes’ was the title of the opera which was in vogue just then—a title full of interest for me. We went for our forty sous to the pit, in which, although the audience was standing, the company was excellent, for the opera was the favourite amusement of the Parisians.

After a symphony, very fine in its way and executed by an excellent orchestra, the curtain rises, and I see a beautiful scene representing the small St. Mark’s Square in Venice, taken from the Island of St. George, but I am shocked to see the ducal palace on my left, and the tall steeple on my right, that is to say the very reverse of reality. I laugh at this ridiculous mistake, and Patu, to whom I say why I am laughing, cannot help joining me. The music, very fine although in the ancient style, at first amused me on account of its novelty, but it soon wearied me. The melopaeia fatigued me by its constant and tedious monotony, and by the shrieks given out of season. That melopaeia, of the French replaces—at least they think so—the Greek melapaeia and our recitative which they dislike, but which they would admire if they understood Italian.

The action of the opera was limited to a day in the carnival, when the Venetians are in the habit of promenading masked in St. Mark’s Square. The stage was animated by gallants, procuresses, and women amusing themselves with all sorts of intrigues. The costumes were whimsical and erroneous, but the whole was amusing. I laughed very heartily, and it was truly a curious sight for a Venetian, when I saw the Doge followed by twelve Councillors appear on the stage, all dressed in the most ludicrous style, and dancing a ‘pas d’ensemble’. Suddenly the whole of the pit burst into loud applause at the appearance of a tall, well-made dancer, wearing a mask and an enormous black wig, the hair of which went half-way down his back, and dressed in a robe open in front and reaching to his heels. Patu said, almost reverently, “It is the inimitable Dupres.” I had heard of him before, and became attentive. I saw that fine figure coming forward with measured steps, and when the dancer had arrived in front of the stage, he raised slowly his rounded arms, stretched them gracefully backward and forward, moved his feet with precision and lightness, took a few small steps, made some battements and pirouettes, and disappeared like a butterfly. The whole had not lasted half a minute. The applause burst from every part of the house. I was astonished, and asked my friend the cause of all those bravos.

“We applaud the grace of Dupres and, the divine harmony of his movements. He is now sixty years of age, and those who saw him forty years ago say that he is always the same.”

“What! Has he never danced in a different style?”

“He could not have danced in a better one, for his style is perfect, and what can you want above perfection?”

“Nothing, unless it be a relative perfection.”

“But here it is absolute. Dupres always does the same thing, and everyday we fancy we see it for the first time. Such is the power of the good and beautiful, of the true and sublime, which speak to the soul. His dance is true harmony, the real dance, of which you have no idea in Italy.”

At the end of the second act, Dupres appeared again, still with a mask, and danced to a different tune, but in my opinion doing exactly the same as before. He advanced to the very footlights, and stopped one instant in a graceful attitude. Patu wanted to force my admiration, and I gave way. Suddenly everyone round me exclaimed,—

“Look! look! he is developing himself!”

And in reality he was like an elastic body which, in developing itself, would get larger. I made Patu very happy by telling him that Dupres was truly very graceful in all his movements. Immediately after him we had a female dancer, who jumped about like a fury, cutting to right and left, but heavily, yet she was applauded ‘con furore’.

“This is,” said Patu, “the famous Camargo. I congratulate you, my friend, upon having arrived in Paris in time to see her, for she has accomplished her twelfth lustre.”

I confessed that she was a wonderful dancer.

“She is the first artist,” continued my friend, “who has dared to spring and jump on a French stage. None ventured upon doing it before her, and, what is more extraordinary, she does not wear any drawers.”

“I beg your pardon, but I saw....”

“What? Nothing but her skin which, to speak the truth, is not made of lilies and roses.”

“The Camargo,” I said, with an air of repentance, “does not please me. I like Dupres much better.”

An elderly admirer of Camargo, seated on my left, told me that in her youth she could perform the ‘saut de basque’ and even the ‘gargouillade’, and that nobody had ever seen her thighs, although she always danced without drawers.

“But if you never saw her thighs, how do you know that she does not wear silk tights?”

“Oh! that is one of those things which can easily be ascertained. I see you are a foreigner, sir.”

“You are right.”

But I was delighted at the French opera, with the rapidity of the scenic changes which are done like lightning, at the signal of a whistle—a thing entirely unknown in Italy. I likewise admired the start given to the orchestra by the baton of the leader, but he disgusted me with the movements of his sceptre right and left, as if he thought that he could give life to all the instruments by the mere motion of his arm. I admired also the silence of the audience, a thing truly wonderful to an Italian, for it is with great reason that people complain of the noise made in Italy while the artists are singing, and ridicule the silence which prevails through the house as soon as the dancers make their appearance on the stage. One would imagine that all the intelligence of the Italians is in their eyes. At the same time I must observe that there is not one country in the world in which extravagance and whimsicalness cannot be found, because the foreigner can make comparisons with what he has seen elsewhere, whilst the natives are not conscious of their errors. Altogether the opera pleased me, but the French comedy captivated me. There the French are truly in their element; they perform splendidly, in a masterly manner, and other nations cannot refuse them the palm which good taste and justice must award to their superiority. I was in the habit of going there every day, and although sometimes the audience was not composed of two hundred persons, the actors were perfect. I have seen ‘Le Misanthrope’, ‘L’Avare’, ‘Tartufe’, ‘Le Joueur’, ‘Le Glorieux’, and many other comedies; and, no matter how often I saw them. I always fancied it was the first time. I arrived in Paris to admire Sarrazin, La Dangeville, La Dumesnil, La Gaussin, La Clairon, Preville, and several actresses who, having retired from the stage, were living upon their pension, and delighting their circle of friends. I made, amongst others, the acquaintance of the celebrated Le Vasseur. I visited them all with pleasure, and they related to me several very curious anecdotes. They were generally most kindly disposed in every way.

One evening, being in the box of Le Vasseur, the performance was composed of a tragedy in which a very handsome actress had the part of a dumb priestess.

“How pretty she is!” I said.

“Yes, charming,” answered Le Vasseur, “She is the daughter of the actor who plays the confidant. She is very pleasant in company, and is an actress of good promise.”

“I should be very happy to make her acquaintance.”

“Oh! well; that is not difficult. Her father and mother are very worthy people, and they will be delighted if you ask them to invite you to supper. They will not disturb you; they will go to bed early, and will let you talk with their daughter as long as you please. You are in France, sir; here we know the value of life, and try to make the best of it. We love pleasure, and esteem ourselves fortunate when we can find the opportunity of enjoying life.”

“That is truly charming, madam; but how could I be so bold as to invite myself to supper with worthy persons whom I do not know, and who have not the slightest knowledge of me?”

“Oh, dear me! What are you saying? We know everybody. You see how I treat you myself. After the performance, I shall be happy to introduce you, and the acquaintance will be made at once.”

“I certainly must ask you to do me that honour, but another time.”

“Whenever you like.”