The Memoirs of Jacques Casanova de Seingalt Volume II Part 12

Thereupon an elderly man told me, with a voice full of sweetness, that I ought not to say that the gentlemen were wrong, though I might say that they were not right, thus imitating Cicero, who, instead of declaring to the Romans that Catilina and the other conspirators were dead, only said that they had lived.

"Is it not the same thing?"

"I beg your pardon, sir, one way of speaking is polite, the other is not." And after treating me to a long dissection on politeness, he concluded by saying, with a smile, "I suppose you are an Italian?"

"Yes, I am, but would you oblige me by telling me how you have found it out?"

"Oh! I guessed it from the attention with which you have listened to my long prattle."

Everybody laughed, and, I, much pleased with his eccentricity, began to coax him. He was the tutor of a young boy of twelve or thirteen years who was seated near him. I made him give me during the journey lessons in French politeness, and when we parted he took me apart in a friendly manner, saying that he wished to make me a small present.

"What is it?"

"You must abandon, and, if I may say so, forget, the particle 'non', which you use frequently at random. 'Non' is not a French word; instead of that unpleasant monosyllable, say, 'Pardon'. 'Non' is equal to giving the lie: never say it, or prepare yourself to give and to receive sword-stabs every moment."

"I thank you, monsieur, your present is very precious, and I promise you never to say non again."

During the first fortnight of my stay in Paris, it seemed to me that I had become the most faulty man alive, for I never ceased begging pardon.

I even thought, one evening at the theatre, that I should have a quarrel for having begged somebody's pardon in the wrong place. A young fop, coming to the pit, trod on my foot, and I hastened to say,

"Your pardon, sir."

"Sir, pardon me yourself."

"No, yourself."

"Yourself!"

"Well, sir, let us pardon and embrace one another!" The embrace put a stop to the discussion.

One day during the journey, having fallen asleep from fatigue in the inconvenient gondola, someone pushed my arm.

"Ah, sir! look at that mansion!"

"I see it; what of it?"

"Ah! I pray you, do you not find it...."

"I find nothing particular; and you?"

"Nothing wonderful, if it were not situated at a distance of forty leagues from Paris. But here! Ah! would my 'badauds' of Parisians believe that such a beautiful mansion can be found forty leagues distant from the metropolis? How ignorant a man is when he has never travelled!"

"You are quite right."

That man was a Parisian and a 'badaud' to the backbone, like a Gaul in the days of Caesar.

But if the Parisians are lounging about from morning till night, enjoying everything around them, a foreigner like myself ought to have been a greater 'badaud' than they! The difference between us was that, being accustomed to see things such as they are, I was astonished at seeing them often covered with a mask which changed their nature, while their surprise often arose from their suspecting what the mask concealed.

What delighted me, on my arrival in Paris, was the magnificent road made by Louis XV., the cleanliness of the hotels, the excellent fare they give, the quickness of the service, the excellent beds, the modest appearance of the attendant, who generally is the most accomplished girl of the house, and whose decency, modest manners, and neatness, inspire the most shameless libertine with respect. Where is the Italian who is pleased with the effrontery and the insolence of the hotel-waiters in Italy? In my days, people did not know in France what it was to overcharge; it was truly the home of foreigners. True, they had the unpleasantness of often witnessing acts of odious despotism, 'lettres de cachet', etc.; it was the despotism of a king. Since that time the French have the despotism of the people. Is it less obnoxious?

We dined at Fontainebleau, a name derived from Fontaine-belle-eau; and when we were only two leagues from Paris we saw a berlin advancing towards us. As it came near the diligence, my friend Baletti called out to the postillions to stop. In the berlin was his mother, who offered me the welcome given to an expected friend. His mother was the celebrated actress Silvia, and when I had been introduced to her she said to me;

"I hope, sir, that my son's friend will accept a share of our family supper this evening."

I accepted gratefully, sat down again in the gondola, Baletti got into the berlin with his mother, and we continued our journey.

On reaching Paris, I found a servant of Silvia's waiting for me with a coach; he accompanied me to my lodging to leave my luggage, and we repaired to Baletti's house, which was only fifty yards distant from my dwelling.

Baletti presented me to his father, who was known under the name of Mario. Silvia and Mario were the stage names a.s.sumed by M. and Madame Baletti, and at that time it was the custom in France to call the Italian actors by the names they had on the stage. 'Bon jour', Monsieur Arlequin; 'bon jour', Monsieur Pantalon: such was the manner in which the French used to address the actors who personified those characters on the stage.

CHAPTER VI

My Apprentices.h.i.+p in Paris--Portraits--Oddities--All Sorts of Things

To celebrate the arrival of her son, Silvia gave a splendid supper to which she had invited all her relatives, and it was a good opportunity for me to make their acquaintance. Baletti's father, who had just recovered from a long illness, was not with us, but we had his father's sister, who was older than Mario. She was known, under her theatrical name of Flaminia, in the literary world by several translations, but I had a great wish to make her acquaintance less on that account than in consequence of the story, known throughout Italy, of the stay that three literary men of great fame had made in Paris. Those three literati were the Marquis Maffei, the Abbe Conti, and Pierre Jacques Martelli, who became enemies, according to public rumour, owing to the belief entertained by each of them that he possessed the favours of the actress, and, being men of learning, they fought with the pen. Martelli composed a satire against Maffei, in which he designated him by the anagram of Femia.

I had been announced to Flaminia as a candidate for literary fame, and she thought she honoured me by addressing me at all, but she was wrong, for she displeased me greatly by her face, her manners, her style, even by the sound of her voice. Without saying it positively, she made me understand that, being herself an ill.u.s.trious member of the republic of letters, she was well aware that she was speaking to an insect. She seemed as if she wanted to dictate to everybody around her, and she very likely thought that she had the right to do so at the age of sixty, particularly towards a young novice only twenty-five years old, who had not yet contributed anything to the literary treasury. In order to please her, I spoke to her of the Abbe Conti, and I had occasion to quote two lines of that profound writer. Madam corrected me with a patronizing air for my p.r.o.nunciation of the word 'scevra', which means divided, saying that it ought to be p.r.o.nounced 'sceura', and she added that I ought to be very glad to have learned so much on the first day of my arrival in Paris, telling me that it would be an important day in my life.

"Madam, I came here to learn and not to unlearn. You will kindly allow me to tell you that the p.r.o.nunciation of that word 'scevra' with a v, and not 'sceura' with a u, because it is a contraction of 'sceverra'."

"It remains to be seen which of us is wrong."

"You, madam, according to Ariosto, who makes 'scevra' rhyme with 'persevra', and the rhyme would be false with 'sceura', which is not an Italian word."

She would have kept up the discussion, but her husband, a man eighty years of age, told her that she was wrong. She held her tongue, but from that time she told everybody that I was an impostor.

Her husband, Louis Riccoboni, better known as Lelio, was the same who had brought the Italian company to Paris in 1716, and placed it at the service of the regent: he was a man of great merit. He had been very handsome, and justly enjoyed the esteem of the public, in consequence not only of his talent but also of the purity of his life.

During supper my princ.i.p.al occupation was to study Silvia, who then enjoyed the greatest reputation, and I judged her to be even above it.

She was then about fifty years old, her figure was elegant, her air n.o.ble, her manners graceful and easy; she was affable, witty, kind to everybody, simple and unpretending. Her face was an enigma, for it inspired everyone with the warmest sympathy, and yet if you examined it attentively there was not one beautiful feature; she could not be called handsome, but no one could have thought her ugly. Yet she was not one of those women who are neither handsome nor ugly, for she possessed a certain something which struck one at first sight and captivated the interest. Then what was she?

Beautiful, certainly, but owing to charms unknown to all those who, not being attracted towards her by an irresistible feeling which compelled them to love her, had not the courage to study her, or the constancy to obtain a thorough knowledge of her.

Silvia was the adoration of France, and her talent was the real support of all the comedies which the greatest authors wrote for her, especially of, the plays of Marivaux, for without her his comedies would never have gone to posterity. Never was an actress found who could replace her, and to find one it would be necessary that she should unite in herself all the perfections which Silvia possessed for the difficult profession of the stage: action, voice, intelligence, wit, countenance, manners, and a deep knowledge of the human heart. In Silvia every quality was from nature, and the art which gave the last touch of perfection to her qualities was never seen.

To the qualities which I have just mentioned, Silvia added another which surrounded her with a brilliant halo, and the absence of which would not have prevented her from being the s.h.i.+ning star of the stage: she led a virtuous life. She had been anxious to have friends, but she had dismissed all lovers, refusing to avail herself of a privilege which she could easily have enjoyed, but which would have rendered her contemptible in her own estimation. The irreproachable conduct obtained for her a reputation of respectability which, at her age, would have been held as ridiculous and even insulting by any other woman belonging to the same profession, and many ladies of the highest rank honoured her with her friends.h.i.+p more even than with their patronage. Never did the capricious audience of a Parisian pit dare to hiss Silvia, not even in her performance of characters which the public disliked, and it was the general opinion that she was in every way above her profession.

Silvia did not think that her good conduct was a merit, for she knew that she was virtuous only because her self-love compelled her to be so, and she never exhibited any pride or a.s.sumed any superiority towards her theatrical sisters, although, satisfied to s.h.i.+ne by their talent or their beauty, they cared little about rendering themselves conspicuous by their virtue. Silvia loved them all, and they all loved her; she always was the first to praise, openly and with good faith, the talent of her rivals; but she lost nothing by it, because, being their superior in talent and enjoying a spotless reputation, her rivals could not rise above her.

Nature deprived that charming woman of ten year of life; she became consumptive at the age of sixty, ten years after I had made her acquaintance. The climate of Paris often proves fatal to our Italian actresses. Two years before her death I saw her perform the character of Marianne in the comedy of Marivaux, and in spite of her age and declining health the illusion was complete. She died in my presence, holding her daughter in her arms, and she was giving her the advice of a tender mother five minutes before she breathed her last. She was honourably buried in the church of St. Sauveur, without the slightest opposition from the venerable priest, who, far from sharing the anti-christain intolerancy of the clergy in general, said that her profession as an actress had not hindered her from being a good Christian, and that the earth was the common mother of all human beings, as Jesus Christ had been the Saviour of all mankind.

You will forgive me, dear reader, if I have made you attend the funeral of Silvia ten years before her death; believe me I have no intention of performing a miracle; you may console yourself with the idea that I shall spare you that unpleasant task when poor Silvia dies.

Her only daughter, the object of her adoration, was seated next to her at the supper-table. She was then only nine years old, and being entirely taken up by her mother I paid no attention to her; my interest in her was to come.