The Parisians — Volume 06 by Baron Edward Bulwer Lytton Lytton (best novels of all time .txt) 📕

by exaggerated terms of praise, wounded her pride of woman in flattering her vanity as author. Among this latter set were wealthy, high-born men, who addressed her as woman—as woman beautiful and young—with words of gallantry that implied love, but certainly no thought of marriage,—many of the most ardent were indeed married already. But once launched into the thick of Parisian hospitalities, it was difficult to draw back. The Venosta wept at the thought of missing some lively soiree, and Savarin laughed at her shrinking fastidiousness as that of a child's ignorance of the world. But still she had her mornings to herself; and in those mornings, devoted to the continuance of her work (for the commencement was in print before a third was completed), she forgot the commonplace world that received her in the evenings. Insensibly to herself the tone of this work had changed as it proceeded. It had begun seriously indeed, but in the seriousness there was a certain latent joy. It might be the joy of having found vent of utterance; it might be rather a joy still more latent, inspired by the remembrance of Graham's words and looks, and by the thought that she had renounced all idea of the professional career which he had evidently disapproved. Life then seemed to her a bright possession. We have seen that she had begun her roman without planning how it should end. She had, however, then meant it to end, somehow or other, happily. Now the lustre had gone from life; the tone of the work was saddened; it foreboded a tragic close. But for the general reader it became, with every chapter, still more interesting; the poor child had a singularly musical gift of style,—a music which lent itself naturally to pathos. Every very young writer knows how his work, if one of feeling, will colour itself from the views of some truth in his innermost self; and in proportion as it does so, how his absorption in the work increases, till it becomes part and parcel of his own mind and heart. The presence of a hidden sorrow may change the fate of the beings he has created, and guide to the grave those whom, in a happier vein, he would have united at the altar. It is not till a later stage of experience and art that the writer escapes from the influence of his individual personality, and lives in existences that take no colourings from his own. Genius usually must pass through the subjective process before it gains the objective. Even a Shakspeare represents himself in the Sonnets before no trace of himself is visible in a Falstaff or a Lear.

No news of the Englishman,—not a word. Isaura could not but feel that in his words, his looks, that day in her own garden, and those yet happier days at Enghien, there had been more than friendship; there had been love,—love enough to justify her own pride in whispering to herself, "And I love too." But then that last parting! how changed he was! how cold! She conjectured that jealousy of Rameau might, in some degree, account for the coldness when he first entered the room, but surely not when he left; surely not when she had overpassed the reserve of her sex, and implied by signs rarely misconstrued by those who love that he had no cause for jealousy of another. Yet he had gone,—parted with her pointedly as a friend, a mere friend. How foolish she had been to think this rich ambitious foreigner could ever have meant to be more! In the occupation of her work she thought to banish his image; but in that work the image was never absent; there were passages in which she pleadingly addressed it, and then would cease abruptly, stifled by passionate tears. Still she fancied that the work would reunite them; that in its pages he would hear her voice and comprehend her heart. And thus all praise of the work became very, very dear to her.

At last, after many weeks, Savarin heard from Graham. The letter was dated Aix-la-Chapelle, at which the Englishman said he might yet be some time detained. In the letter Graham spoke chiefly of the new journal: in polite compliment of Savarin's own effusions; in mixed praise and condemnation of the political and social articles signed Pierre Firmin,— praise of their intellectual power, condemnation of their moral cynicism.

"The writer," he said, "reminds me of a passage in which Montesquieu compares the heathen philosophers to those plants which the earth produces in places that have never seen the heavens. The soil of his experience does not grow a single belief; and as no community can exist without a belief of some kind, so a politician without belief can but help to destroy; he cannot reconstruct. Such writers corrupt a society; they do not reform a system."

He closed his letter with a reference to Isaura:

"Do, in your reply, my dear Savarin, tell me something about your friends Signora Venosta and the Signorina, whose work, so far as yet published, I have read with admiring astonishment at the power of a female writer so young to rival the veteran practitioners of fiction in the creation of interest in imaginary characters, and in sentiments which, if they appear somewhat over-romantic and exaggerated, still touch very fine chords in human nature not awakened in our trite every-day existence. I presume that the beauty of the roman has been duly appreciated by a public so refined as the Parisian, and that the name of the author is generally known. No doubt she is now much the rage of the literary circles, and her career as a writer may be considered fixed. Pray present my congratulations to the Signorina when you see her."

Savarin had been in receipt of this letter some days before he called on Isaura, and carelessly showed it to her. She took it to the window to read, in order to conceal the trembling of her hands. In a few minutes she returned it silently.

"Those Englishmen," said Savarin, "have not the heart of compliment. I am by no means flattered by what he says of my trifles, and I dare say you are still less pleased with this chilly praise of your charming tale; but the man means to be civil."

"Certainly," said Isaura, smiling faintly.

"Only think of Rameau!" resumed Savarin. "On the strength of his salary in the 'Sens Commun,' and on the chateaux en Espagne which he constructs thereon, he has already furnished an apartment in the Chaussee d'Antin, and talks of setting up a coupe in order to maintain the dignity of letters when he goes to dine with the duchesses who are some day or other to invite him. Yet I admire his self-confidence, though I laugh at it. A man gets on by a spring in his own mechanism, and he should always keep it wound up. Rameau will make a figure. I used to pity him; I begin to respect. Nothing succeeds like success. But I see I am spoiling your morning. Au revoir, mon enfant."

Left alone, Isaura brooded in a sort of mournful wonderment over the words referring to herself in Graham's letter. Read though but once, she knew them by heart. What! did he consider those characters she had represented as wholly imaginary? In one—the most prominent, the most attractive—could he detect no likeness to himself? What! did he consider so "over-romantic and exaggerated" sentiments which couched appeals from her heart to his? Alas! in matters of sentiment it is the misfortune of us men that even the most refined of us often grate upon some sentiment in a woman, though she may not be romantic,—not romantic at all, as people go,—some sentiment which she thought must be so obvious if we cared a straw about her, and which, though we prize her above the Indies, is by our dim, horn-eyed, masculine vision undiscernible. It may be something in itself the airiest of trifles: the anniversary of a day in which the first kiss was interchanged, nay, of a violet gathered, a misunderstanding cleared up; and of that anniversary we remember no more than we do of our bells and coral. But she—she remembers it; it is no bells and coral to her. Of course, much is to be said in excuse of man, brute though he be. Consider the multiplicity of his occupations, the practical nature of his cares. But granting the validity of all such excuse, there is in man an original obtuseness of fibre as regards sentiment in comparison with the delicacy of woman's. It comes, perhaps, from the same hardness of constitution which forbids us the luxury of ready tears. Thus it is very difficult for the wisest man to understand thoroughly a woman. Goethe says somewhere that the highest genius in man must have much of the woman in it. If this be true, the highest genius alone in man can comprehend and explain the nature of woman, because it is not remote from him, but an integral part of his masculine self. I am not sure, however, that it necessitates the highest genius, but rather a special idiosyncrasy in genius which the highest may or may not have. I think Sophocles a higher genius than Euripides; but Euripides has that idiosyncrasy, and Sophocles not. I doubt whether women would accept Goethe as their interpreter with the same readiness with which they would accept Schiller. Shakspeare, no doubt, excels all poets in the comprehension of women, in his sympathy with them in the woman-part of his nature which Goethe ascribes to the highest genius; but, putting aside that "monster," I do not remember any English poet whom we should consider conspicuously eminent in that lore, unless it be the prose poet, nowadays generally underrated and little read, who wrote the letters of Clarissa Harlowe. I say all this in vindication of Graham Vane, if, though a very clever man in his way, and by no means uninstructed in human nature, he had utterly failed in comprehending the mysteries which to this poor woman-child seemed to need no key for one who really loved her. But we have said somewhere before in this book that music speaks in a language which cannot explain itself except in music. So speaks, in the human heart, much which is akin to music. Fiction (that is, poetry, whether in form of rhyme or prose) speaks thus pretty often. A reader must be more commonplace than, I trust, my gentle readers are, if he suppose that when Isaura symbolized the real hero of her thoughts in the fabled hero of her romance, she depicted him as one of whom the world could say, "That is Graham Vane." I doubt if even a male poet would so vulgarize any woman whom he thoroughly reverenced and loved. She is too sacred to him to be thus unveiled to the public stare; as the sweetest of all ancient love-poets says well—

"Qui sapit in tacito gaudeat ille sinu."

But a girl, a girl in her first untold timid love, to let the world know, "that is the man I love and would die for!"—if such a girl be, she has no touch of the true woman-genius, and certainly she and Isaura have nothing in common. Well, then, in Isaura's invented hero, though she saw the archetypal form of Graham Vane,—saw him as in her young, vague, romantic dreams idealized, beautified, transfigured,—he would have been the vainest of men if he had seen therein the reflection of himself. On the contrary he said, in the spirit of that jealousy to which he