The Parisians — Volume 03, Baron Edward Bulwer Lytton Lytton [the rosie project TXT] 📗

our guests let me place the Count de Passy and Madame son espouse. The Count was seventy-one, and, it is needless to add, a type of Frenchman rapidly vanishing, and not likely to find itself renewed. How shall I describe him so as to make my English reader understand? Let me try by analogy. Suppose a man of great birth and fortune, who in his youth had been an enthusiastic friend of Lord Byron and a jocund companion of George IV.; who had in him an immense degree of lofty romantic sentiment with an equal degree of well-bred worldly cynicism, but who, on account of that admixture, which is so rare, kept a high rank in either of the two societies into which, speaking broadly, civilized life divides itself,—the romantic and the cynical. The Count de Passy had been the most ardent among the young disciples of Chateaubriand, the most brilliant among the young courtiers of Charles X. Need I add that he had been a terrible lady-killer?

But in spite of his admiration of Chateaubriand and his allegiance to Charles X., the Count had been always true to those caprices of the French noblesse from which he descended,—caprices which destroyed them in the old Revolution; caprices belonging to the splendid ignorance of their nation in general and their order in particular. Speaking without regard to partial exceptions, the French gentilhomme is essentially a Parisian; a Parisian is essentially impressionable to the impulse or fashion of the moment. Is it a la mode for the moment to be Liberal or anti-Liberal? Parisians embrace and kiss each other, and swear through life and death to adhere forever to the mode of the moment. The Three Days were the mode of the moment,—the Count de Passy became an enthusiastic Orleanist. Louis Philippe was very gracious to him. He was decorated; he was named prefet of his department; he was created senator; he was about to be sent Minister to a German Court when Louis Philippe fell. The Republic was proclaimed. The Count caught the popular contagion, and after exchanging tears and kisses with patriots whom a week before he had called canaille, he swore eternal fidelity to the Republic. The fashion of the moment suddenly became Napoleonic, and with the coup d'etat the Republic was metamorphosed into an Empire. The Count wept on the bosoms of all the Vieilles Moustaches he could find, and rejoiced that the sun of Austerlitz had re-arisen. But after the affair of Mexico the sun of Austerlitz waxed very sickly. Imperialism was fast going out of fashion. The Count transferred his affection to Jules Favre, and joined the ranks of the advanced Liberals. During all these political changes, the Count had remained very much the same man in private life; agreeable, good-natured, witty, and, above all, a devotee of the fair sex. When he had reached the age of sixty-eight he was still fort bel homme, unmarried, with a grand presence and charming manner. At that age he said, "Je me range," and married a young lady of eighteen. She adored her husband, and was wildly jealous of him; while the Count did not seem at all jealous of her, and submitted to her adoration with a gentle shrug of the shoulders.

The three other guests who, with Graham and the two Italian ladies, made up the complement of ten, were the German Count von Rudesheim, a celebrated French physician named Bacourt, and a young author whom Savarin had admitted into his clique and declared to be of rare promise. This author, whose real name was Gustave Rameau, but who, to prove, I suppose, the sincerity of that scorn for ancestry which he professed, published his verses under the patrician designation of Alphonse de Valcour, was about twenty-four, and might have passed at the first glance for younger; but, looking at him closely, the signs of old age were already stamped on his visage.

He was undersized, and of a feeble slender frame. In the eyes of women and artists the defects of his frame were redeemed by the extraordinary beauty of the face. His black hair, carefully parted in the centre, and worn long and flowing, contrasted the whiteness of a high though narrow forehead, and the delicate pallor of his cheeks. His feature, were very regular, his eyes singularly bright; but the expression of the face spoke of fatigue and exhaustion; the silky locks were already thin, and interspersed with threads of silver; the bright eyes shone out from sunken orbits; the lines round the mouth were marked as they are in the middle age of one who has lived too fast.

It was a countenance that might have excited a compassionate and tender interest but for something arrogant and supercilious in the expression,- something that demanded not tender pity but enthusiastic admiration. Yet that expression was displeasing rather to men than to women; and one could well conceive that, among the latter, the enthusiastic admiration it challenged would be largely conceded.

The conversation at dinner was in complete contrast to that at the Americans' the day before. There the talk, though animated, had been chiefly earnest and serious; here it was all touch and go, sally and repartee. The subjects were the light on lots and lively anecdotes of the day, not free from literature and politics, but both treated as matters of persiflage, hovered round with a jest and quitted with an epigram. The two French lady authors, the Count de Passy, the physician, and the host far outspoke all the other guests. Now and then, however, the German Count struck in with an ironical remark condensing a great deal of grave wisdom, and the young author with ruder and more biting sarcasm. If the sarcasm told, he showed his triumph by a low-pitched laugh; if it failed, he evinced his displeasure by a contemptuous sneer or a grim scowl.

Isaura and Graham were not seated near each other, and were for the most part contented to be listeners.

On adjourning to the salon after dinner, Graham, however, was approaching the chair in which Isaura had placed herself, when the young author, forestalling him, dropped into the seat next to her, and began a conversation in a voice so low that it might have passed for a whisper. The Englishman drew back and observed them. He soon perceived, with a pang of jealousy not unmingled with scorn, that the author's talk appeared to interest Isaura. She listened with evident attention; and when she spoke in return, though Graham did not hear her words, he could observe on her expressive countenance an increased gentleness of aspect.

"I hope," said the physician, joining Graham, as most of the other guests gathered round Savarin, who was in his liveliest vein of anecdote and wit,—"I hope that the fair Italian will not allow that ink-bottle imp to persuade her that she has fallen in love with him."

"Do young ladies generally find him so seductive?" asked Graham, with a forced smile.

"Probably enough. He has the reputation of being very clever and very wicked, and that is a sort of character which has the serpent's fascination for the daughters of Eve."

"Is the reputation merited?"

"As to the cleverness, I am not a fair judge. I dislike that sort of writing which is neither manlike nor womanlike, and in which young Rameau excels. He has the knack of finding very exaggerated phrases by which to express commonplace thoughts. He writes verses about love in words so stormy that you might fancy that Jove was descending upon Semele; but when you examine his words, as a sober pathologist like myself is disposed to do, your fear for the peace of households vanishes,—they are Fox et proeterea nihil; no man really in love would use them. He writes prose about the wrongs of humanity. You feel for humanity; you say, 'Grant the wrongs, now for the remedy,'—and you find nothing but balderdash. Still I am bound to say that both in verse and prose Gustave Rameau is in unison with a corrupt taste of the day, and therefore he is coming into vogue. So much as to his writings; as to his wickedness, you have only to look at him to feel sure that he is not a hundredth part so wicked as he wishes to seem. In a word, then, M. Gustave Rameau is a type of that somewhat numerous class among the youth of Paris, which I call 'the lost Tribe of Absinthe.' There is a set of men who begin to live full gallop while they are still boys. As a general rule, they are originally of the sickly frames which can scarcely even trot, much less gallop without the spur of stimulants, and no stimulant so fascinates their peculiar nervous system as absinthe. The number of patients in this set who at the age of thirty are more worn out than septuagenarians increases so rapidly as to make one dread to think what will be the next race of Frenchmen. To the predilection for absinthe young Rameau and the writers of his set add the imitation of Heine, after, indeed, the manner of caricaturists, who effect a likeness striking in proportion as it is ugly. It is not easy to imitate the pathos and the wit of Heine; but it is easy to imitate his defiance of the Deity, his mockery of right and wrong, his relentless war on that heroic standard of thought and action which the writers who exalt their nation intuitively preserve. Rameau cannot be a Heine, but he can be to Heine what a misshapen snarling dwarf is to a mangled blaspheming Titan. Yet he interests the women in general, and he evidently interests the fair Signorina in especial."

Just as Bacourt finished that last sentence, Isaura lifted the head which had hitherto bent in an earnest listening attitude that seemed to justify the Doctor's remarks, and looked round. Her eyes met Graham's with the fearless candour which made half the charm of their bright yet soft intelligence; but she dropped them suddenly with a half-start and a change of colour, for the expression of Graham's face was unlike that which she had hitherto seen on it,—it was hard, stern, and somewhat disdainful. A minute or so afterwards she rose, and in passing across the room towards the group round the host, paused at a table covered with books and prints near to which Graham was standing alone. The Doctor had departed in company with the German Count.

Isaura took up one of the prints.

"Ah!" she exclaimed, "Sorrento, my Sorrento. Have you ever visited
Sorrento, Mr. Vane?"

Her question and her movement were evidently in conciliation. Was the conciliation prompted by coquetry, or by a sentiment more innocent and artless?

Graham doubted, and replied coldly, as he bent over the print,—

"I once stayed there a few days, but my recollection of it is not sufficiently lively to enable me to recognize its features in this design."

"That is the house, at least so they say, of Tasso's father; of course you visited that?"

"Yes, it was a hotel in my time; I lodged there."

"And I too. There I first read 'The Gerusalemine.'" The last words were said in Italian, with a low measured tone, inwardly and dreamily.

A somewhat sharp and incisive voice speaking in French here struck in and prevented Graham's rejoinder: "Quel joli dessin! What is it, Mademoiselle?"

Graham recoiled; the speaker was Gustave Rameau, who had, unobserved, first watched Isaura, then rejoined her side.

"A view of Sorrento, Monsieur, but it does not do justice to the place.
I was pointing out the house which belonged to Tasso's father."

"Tasso! Hein! and which is the fair Eleonora's?"

"Monsieur," answered Isaura, rather startled at that question, from a professed homme de lettres, "Eleonora did not live at Sorrento."

"Tant pis pour Sorrente," said the homme de lettres, carelessly. "No one would care for Tasso if it were not for Eleonora."

"I should rather have thought," said Graham, "that no one would have cared for Eleonora if it were not for Tasso."

Rameau glanced at the Englishman superciliously. "Pardon, Monsieur, in every age a love-story keeps its interest; but who cares nowadays for le clinquant du Tasse?"

"Le clinquant du Tasse!" exclaimed Isaura, indignantly.

"The expression is Boileau's, Mademoiselle, in ridicule of the 'Sot de qualite,' who prefers—

"'Le clinquant