Sarrasine Part 2

"Sarrasine devoured with his eyes what seemed to him Pygmalion's statue descended from its pedestal. When La Zambinella sang, he was beside himself. He was cold; then suddenly he felt a fire burning in the secret depths of his being, in what, for lack of a better word, we call the heart. He did not applaud, he said nothing; he felt a mad impulse, a sort of frenzy of the sort that seizes us only at the age when there is a something indefinably terrible and infernal in our desires. Sarrasine longed to rush upon the stage and seize that woman. His strength, increased a hundredfold by a moral depression impossible to describe,--for such phenomena take place in a sphere inaccessible to human observation,--insisted upon manifesting itself with deplorable violence. Looking at him, you would have said that he was a cold, dull man. Renown, science, future, life, prizes, all vanished.

"'To win her love or die!' Such was the sentence Sarrasine p.r.o.nounced upon himself.

"He was so completely intoxicated that he no longer saw theatre, audience, or actors, no longer heard the music. Nay, more, there was no s.p.a.ce between him and La Zambinella; he possessed her; his eyes, fixed steadfastly upon her, took possession of her. An almost diabolical power enabled him to feel the breath of that voice, to inhale the fragrant powder with which her hair was covered, to see the slightest inequalities of her face, to count the blue veins which threaded their way beneath the satiny skin. And that fresh, brisk voice of silvery _timbre_, flexible as a thread to which the faintest breath of air gives form, which it rolls and unrolls, tangles and blows away, that voice attacked his heart so fiercely that he more than once uttered an involuntary exclamation, extorted by the convulsive ecstasy too rarely evoked by human pa.s.sions. He was soon obliged to leave the theatre. His trembling legs almost refused to bear him. He was prostrated, weak, like a nervous man who has given way to a terrible burst of anger. He had had such exquisite pleasure, or perhaps had suffered so, that his life had flowed away like water from an overturned vessel. He felt a void within him, a sense of goneness like the utter lack of strength which discourages a convalescent just recovering from a serious sickness.

Overwhelmed by inexplicable melancholy, he sat down on the steps of a church. There, with his back resting against a pillar, he lost himself in a fit of meditation as confused as a dream. Pa.s.sion had dealt him a crushing blow. On his return to his apartments he was seized by one of those paroxysms of activity which reveal to us the presence of new principles in our existence. A prey to that first fever of love which resembles pain as much as pleasure, he sought to defeat his impatience and his frenzy by sketching La Zambinella from memory. It was a sort of material meditation. Upon one leaf La Zambinella appeared in that pose, apparently calm and cold, affected by Raphael, Georgione, and all the great painters. On another, she was coyly turning her head as she finished a roulade, and seemed to be listening to herself. Sarrasine drew his mistress in all poses: he drew her unveiled, seated, standing, reclining, chaste, and amorous--interpreting, thanks to the delirious activity of his pencil, all the fanciful ideas which beset our imagination when our thoughts are completely engrossed by a mistress.

But his frantic thoughts outran his pencil. He met La Zambinella, spoke to her, entreated her, exhausted a thousand years of life and happiness with her, placing her in all imaginable situations, trying the future with her, so to speak. The next day he sent his servant to hire a box near the stage for the whole season. Then, like all young men of powerful feelings, he exaggerated the difficulties of his undertaking, and gave his pa.s.sion, for its first pasturage, the joy of being able to admire his mistress without obstacle. The golden age of love, during which we enjoy our own sentiments, and in which we are almost as happy by ourselves, was not likely to last long with Sarrasine. However, events surprised him when he was still under the spell of that springtime hallucination, as naive as it was voluptuous. In a week he lived a whole lifetime, occupied through the day in molding the clay with which he succeeded in copying La Zambinella, notwithstanding the veils, the skirts, the waists, and the bows of ribbon which concealed her from him. In the evening, installed at an early hour in his box, alone, reclining on a sofa, he made for himself, like a Turk drunk with opium, a happiness as fruitful, as lavish, as he wished. First of all, he familiarized himself gradually with the too intense emotions which his mistress' singing caused him; then he taught his eyes to look at her, and was finally able to contemplate her at his leisure without fearing an explosion of concealed frenzy, like that which had seized him the first day. His pa.s.sion became more profound as it became more tranquil. But the unsociable sculptor would not allow his solitude, peopled as it was with images, adorned with the fanciful creations of hope, and full of happiness, to be disturbed by his comrades. His love was so intense and so ingenuous, that he had to undergo the innocent scruples with which we are a.s.sailed when we love for the first time. As he began to realize that he would soon be required to bestir himself, to intrigue, to ask where La Zambinella lived, to ascertain whether she had a mother, an uncle, a guardian, a family,--in a word, as he reflected upon the methods of seeing her, of speaking to her, he felt that his heart was so swollen with such ambitious ideas, that he postponed those cares until the following day, as happy in his physical sufferings as in his intellectual pleasures."

"But," said Madame de Rochefide, interrupting me, "I see nothing of Marianina or her little old man in all this."

"You see nothing but him!" I cried, as vexed as an author for whom some one has spoiled the effect of a _coup de theatre_.

"For some days," I resumed after a pause, "Sarrasine had been so faithful in attendance in his box, and his glances expressed such pa.s.sionate love, that his pa.s.sion for La Zambinella's voice would have been the town-talk of Paris, if the episode had happened here; but in Italy, madame, every one goes to the theatre for his own enjoyment, with all his own pa.s.sions, with a heartfelt interest which precludes all thought of espionage with opera-gla.s.ses. However, the sculptor's frantic admiration could not long escape the notice of the performers, male and female. One evening the Frenchman noticed that they were laughing at him in the wings. It is hard to say what violent measures he might have resorted to, had not La Zambinella come on the stage. She cast at Sarrasine one of those eloquent glances which often say more than women intend. That glance was a complete revelation in itself. Sarrasine was beloved!

"'If it is a mere caprice,' he thought, already accusing his mistress of too great ardor, 'she does not know the sort of domination to which she is about to become subject. Her caprice will last, I trust, as long as my life.'

"At that moment, three light taps on the door of his box attracted the artist's attention. He opened the door. An old woman entered with an air of mystery.

"'Young man,' she said, 'if you wish to be happy, be prudent. Wrap yourself in a cloak, pull a broad-brimmed hat over your eyes, and be on the Rue du Corso, in front of the Hotel d'Espagne, about ten o'clock to-night.'

"'I will be there,' he replied, putting two louis in the duenna's wrinkled hand.

"He rushed from his box, after a sign of intelligence to La Zambinella, who lowered her voluptuous eyelids modestly, like a woman overjoyed to be understood at last. Then he hurried home, in order to borrow from his wardrobe all the charms it could loan him. As he left the theatre, a stranger grasped his arm.

"'Beware, Signor Frenchman,' he said in his ear. 'This is a matter of life and death. Cardinal Cicognara is her protector, and he is no trifler.'

"If a demon had placed the deep pit of h.e.l.l between Sarrasine and La Zambinella, he would have crossed it with one stride at that moment.

Like the horses of the immortal G.o.ds described by Homer, the sculptor's love had traversed vast s.p.a.ces in a twinkling.

"'If death awaited me on leaving the house, I would go the more quickly,' he replied.

"'_Poverino!_' cried the stranger, as he disappeared.

"To talk of danger to a man in love is to sell him pleasure. Sarrasine's valet had never seen his master so painstaking in the matter of dress.

His finest sword, a gift from Bouchardon, the bow-knot Clotilde gave him, his coat with gold braid, his waistcoat of cloth of silver, his gold snuff-box, his valuable watch, everything was taken from its place, and he arrayed himself like a maiden about to appear before her first lover. At the appointed hour, drunk with love and boiling over with hope, Sarrasine, his nose buried in his cloak, hurried to the rendezvous appointed by the old woman. She was waiting.

"'You are very late,' she said. 'Come.'

"She led the Frenchman through several narrow streets and stopped in front of a palace of attractive appearance. She knocked; the door opened. She led Sarrasine through a labyrinth of stairways, galleries, and apartments which were lighted only by uncertain gleams of moonlight, and soon reached a door through the cracks of which stole a bright light, and from which came the joyous sound of several voices. Sarrasine was suddenly blinded when, at a word from the old woman, he was admitted to that mysterious apartment and found himself in a salon as brilliantly lighted as it was sumptuously furnished; in the centre stood a bountifully supplied table, laden with inviolable bottles, with laughing decanters whose red facets sparkled merrily. He recognized the singers from the theatre, male and female, mingled with charming women, all ready to begin an artists' spree and waiting only for him. Sarrasine restrained a feeling of displeasure and put a good face on the matter.

He had hoped for a dimly lighted chamber, his mistress leaning over a brazier, a jealous rival within two steps, death and love, confidences exchanged in low tones, heart to heart, hazardous kisses, and faces so near together that La Zambinella's hair would have touched caressingly his desire-laden brow, burning with happiness.

"'_Vive la folie!_' he cried. '_Signori e belle donne_, you will allow me to postpone my revenge and bear witness to my grat.i.tude for the welcome you offer a poor sculptor.'

"After receiving congratulations not lacking in warmth from most of those present, whom he knew by sight, he tried to approach the couch on which La Zambinella was nonchalantly reclining. Ah! how his heart beat when he spied a tiny foot in one of those slippers which--if you will allow me to say so, madame--formerly imparted to a woman's feet such a coquettish, voluptuous look that I cannot conceive how men could resist them. Tightly fitting white stockings with green clocks, short skirts, and the pointed, high-heeled slippers of Louis XV.'s time contributed somewhat, I fancy, to the demoralization of Europe and the clergy."

"Somewhat!" exclaimed the marchioness. "Have you read nothing, pray?"

"La Zambinella," I continued, smiling, "had boldly crossed her legs, and as she prattled swung the upper one, a d.u.c.h.ess' att.i.tude very well suited to her capricious type of beauty, overflowing with a certain attractive suppleness. She had laid aside her stage costume, and wore a waist which outlined a slender figure, displayed to the best advantage by a _panier_ and a satin dress embroidered with blue flowers. Her breast, whose treasures were concealed by a coquettish arrangement of lace, was of a gleaming white. Her hair was dressed almost like Madame du Barry's; her face, although overshadowed by a large cap, seemed only the daintier therefor, and the powder was very becoming to her. She smiled graciously at the sculptor. Sarrasine, disgusted beyond measure at finding himself unable to speak to her without witnesses, courteously seated himself beside her, and discoursed of music, extolling her prodigious talent; but his voice trembled with love and fear and hope.

"'What do you fear?' queried Vitagliani, the most celebrated singer in the troupe. 'Go on, you have no rival here to fear.'

"After he had said this the tenor smiled silently. The lips of all the guests repeated that smile, in which there was a lurking expression of malice likely to escape a lover. The publicity of his love was like a sudden dagger-thrust in Sarrasine's heart. Although possessed of a certain strength of character, and although nothing that might happen could subdue the violence of his pa.s.sion, it had not before occurred to him that La Zambinella was almost a courtesan, and that he could not hope to enjoy at one and the same time the pure delights which would make a maiden's love so sweet, and the pa.s.sionate transports with which one must purchase the perilous favors of an actress. He reflected and resigned himself to his fate. The supper was served. Sarrasine and La Zambinella seated themselves side by side without ceremony. During the first half of the feast the artists exercised some restraint, and the sculptor was able to converse with the singer. He found that she was very bright and quick-witted; but she was amazingly ignorant and seemed weak and superst.i.tious. The delicacy of her organs was reproduced in her understanding. When Vitagliani opened the first bottle of champagne, Sarrasine read in his neighbor's eyes a shrinking dread of the report caused by the release of the gas. The involuntary shudder of that thoroughly feminine temperament was interpreted by the amorous artist as indicating extreme delicacy of feeling. This weakness delighted the Frenchman. There is so much of the element of protection in a man's love!

"'You may make use of my power as a shield!'

"Is not that sentence written at the root of all declarations of love?

Sarrasine, who was too pa.s.sionately in love to make fine speeches to the fair Italian, was, like all lovers, grave, jovial, meditative, by turns.

Although he seemed to listen to the guests, he did not hear a word that they said, he was so wrapped up in the pleasure of sitting by her side, of touching her hand, of waiting on her. He was swimming in a sea of concealed joy. Despite the eloquence of divers glances they exchanged, he was amazed at La Zambinella's continued reserve toward him. She had begun, it is true, by touching his foot with hers and stimulating his pa.s.sion with the mischievous pleasure of a woman who is free and in love; but she had suddenly enveloped herself in maidenly modesty, after she had heard Sarrasine relate an incident which ill.u.s.trated the extreme violence of his temper. When the supper became a debauch, the guests began to sing, inspired by the Peralta and the Pedro-Ximenes. There were fascinating duets, Calabrian ballads, Spanish _sequidillas_, and Neapolitan _canzonettes_. Drunkenness was in all eyes, in the music, in the hearts and voices of the guests. There was a sudden overflow of bewitching vivacity, of cordial unconstraint, of Italian good nature, of which no words can convey an idea to those who know only the evening parties of Paris, the routs of London, or the clubs of Vienna. Jests and words of love flew from side to side like bullets in a battle, amid laughter, impieties, invocations to the Blessed Virgin or the _Bambino_.

One man lay on a sofa and fell asleep. A young woman listened to a declaration, unconscious that she was spilling Xeres wine on the tablecloth. Amid all this confusion La Zambinella, as if terror-stricken, seemed lost in thought. She refused to drink, but ate perhaps a little too much; but gluttony is attractive in women, it is said. Sarrasine, admiring his mistress' modesty, indulged in serious reflections concerning the future.

"'She desires to be married, I presume,' he said to himself.

"Thereupon he abandoned himself to blissful antic.i.p.ations of marriage with her. It seemed to him that his whole life would be too short to exhaust the living spring of happiness which he found in the depths of his heart. Vitagliani, who sat on his other side, filled his gla.s.s so often that, about three in the morning, Sarrasine, while not absolutely drunk, was powerless to resist his delirious pa.s.sion. In a moment of frenzy he seized the woman and carried her to a sort of boudoir which opened from the salon, and toward which he had more than once turned his eyes. The Italian was armed with a dagger.

"'If you come hear me,' she said, 'I shall be compelled to plunge this blade into your heart. Go! you would despise me. I have conceived too great a respect for your character to abandon myself to you thus. I do not choose to destroy the sentiment with which you honor me.'

"'Ah!' said Sarrasine, 'to stimulate a pa.s.sion is a poor way to extinguish it! Are you already so corrupt that, being old in heart, you act like a young prost.i.tute who inflames the emotions in which she trades?'

"'Why, this is Friday,' she replied, alarmed by the Frenchman's violence.

"Sarrasine, who was not piously inclined, began to laugh. La Zambinella gave a bound like a young deer, and darted into the salon. When Sarrasine appeared, running after her, he was welcomed by a roar of infernal laughter. He saw La Zambinella swooning on a sofa. She was very pale, as if exhausted by the extraordinary effort she had made. Although Sarrasine knew but little Italian, he understood his mistress when she said to Vitagliani in a low voice:

"'But he will kill me!'

"This strange scene abashed the sculptor. His reason returned. He stood still for a moment; then he recovered his speech, sat down beside his mistress, and a.s.sured her of his profound respect. He found strength to hold his pa.s.sion in check while talking to her in the most exalted strain; and, to describe his love, he displayed all the treasures of eloquence--that sorcerer, that friendly interpreter, whom women rarely refuse to believe. When the first rays of dawn surprised the boon companions, some woman suggested that they go to Frascati. One and all welcomed with loud applause the idea of pa.s.sing the day at Villa Ludovisi. Vitagliani went down to hire carriages. Sarrasine had the good fortune to drive La Zambinella in a phaeton. When they had left Rome behind, the merriment of the party, repressed for a moment by the battle they had all been fighting against drowsiness, suddenly awoke. All, men and women alike, seemed accustomed to that strange life, that constant round of pleasures, that artistic energy, which makes of life one never ending _fete_, where laughter reigns, unchecked by fear of the future.

The sculptor's companion was the only one who seemed out of spirits.

"'Are you ill?' Sarrasine asked her. 'Would you prefer to go home?'

"'I am not strong enough to stand all this dissipation,' she replied. 'I have to be very careful; but I feel so happy with you! Except for you, I should not have remained to this supper; a night like this takes away all my freshness.'

"'You are so delicate!' rejoined Sarrasine, gazing in rapture at the charming creature's dainty features.

"'Dissipation ruins my voice.'

"'Now that we are alone,' cried the artist, 'and that you no longer have reason to fear the effervescence of my pa.s.sion, tell me that you love me.'

"'Why?' said she; 'for what good purpose? You think me pretty. But you are a Frenchman, and your fancy will pa.s.s away. Ah! you would not love me as I should like to be loved.'

"'How?'

"'Purely, with no mingling of vulgar pa.s.sion. I abhor men even more, perhaps than I hate women. I need to take refuge in friendship. The world is a desert to me. I am an accursed creature, doomed to understand happiness, to feel it, to desire it, and like many, many others, compelled to see it always fly from me. Remember, signor, that I have not deceived you. I forbid you to love me. I can be a devoted friend to you, for I admire your strength of will and your character. I need a brother, a protector. Be both of these to me, but nothing more.'

"'And not love you!' cried Sarrasine; 'but you are my life, my happiness, dear angel!'

"'If I should say a word, you would spurn me with horror.'

"'Coquette! nothing can frighten me. Tell me that you will cost me my whole future, that I shall die two months hence, that I shall be d.a.m.ned for having kissed you but once----'

"And he kissed her, despite La Zambinella's efforts to avoid that pa.s.sionate caress.