“It is not very easy for a foreigner, my dear Count, to recognize the differences by which the observer emeritus distinguishes them – women are such consummate actresses; but they are glaring in the eyes of Parisians: hooks ill fastened, strings showing loops of rusty-white tape through a gaping slit in the back, rubbed shoe-leather, ironed bonnet-strings, an over-full skirt, an over-tight waist. You will see a certain effort in the intentional droop of the eyelid. There is something conventional in the attitude.
“As to the bourgeoise, the citizen womankind, she cannot possibly be mistaken for the spell cast over you by the Unknown. She is bustling, and goes out in all weathers, trots about, comes, goes, gazes, does not know whether she will or will not go into a shop. Where the lady knows just what she wants and what she is doing, the townswoman is undecided, tucks up her skirts to cross a gutter, dragging a child by the hand, which compels her to look out for the vehicles; she is a mother in public, and talks to her daughter; she carries money in her bag, and has open-work stockings on her feet; in winter, she wears a boa over her fur cloak; in summer, a shawl and a scarf; she is accomplished in the redundancies of dress.
“You will meet the fair Unknown again at the Italiens, at the Opéra, at a ball. She will then appear under such a different aspect that you would think them two beings devoid of any analogy. The woman has emerged from those mysterious garments like a butterfly from its silky cocoon. She serves up, like some rare dainty, to your lavished eyes, the forms which her bodice scarcely revealed in the morning. At the theatre she never mounts higher than the second tier, excepting at the Italiens. You can there watch at your leisure the studied deliberateness of her movements. The enchanting deceiver plays off all the little political artifices of her sex so naturally as to exclude all idea of art or premeditation. If she has a royally beautiful hand, the most perspicacious beholder will believe that it is absolutely necessary that she should twist, or refix, or push aside the ringlet or curl she plays with. If she has some dignity of profile, you will be persuaded that she is giving irony or grace to what she says to her neighbor, sitting in such a position as to produce the magical effect of the ‘lost profile,’ so dear to great painters, by which the cheek catches the high light, the nose is shown in clear outline, the nostrils are transparently rosy, the forehead squarely modeled, the eye has its spangle of fire, but fixed on space, and the white roundness of the chin is accentuated by a line of light. If she has a pretty foot, she will throw herself on a sofa with the coquettish grace of a cat in the sunshine, her feet outstretched without your feeling that her attitude is anything but the most charming model ever given to a sculptor by lassitude.
“Only the perfect lady is quite at her ease in full dress; nothing inconveniences her. You will never see her, like the woman of the citizen class, pulling up a refractory shoulder-strap, or pushing down a rebellious whalebone, or looking whether her tucker is doing its office of faithful guardian to two treasures of dazzling whiteness, or glancing in the mirrors to see if her head-dress is keeping its place. Her toilet is always in harmony with her character; she had had time to study herself, to learn what becomes her, for she has long known what does not suit her. You will not find her as you go out; she vanishes before the end of the play. If by chance she is to be seen, calm and stately, on the stairs, she is experiencing some violent emotion; she has to bestow a glance, to receive a promise. Perhaps she goes down so slowly on purpose to gratify the vanity of a slave whom she sometimes obeys. If your meeting takes place at a ball or an evening party, you will gather the honey, natural or affected of her insinuating voice; her empty words will enchant you, and she will know how to give them the value of thought by her inimitable bearing.”
“To be such a woman, is it not necessary to be very clever?” asked the Polish Count.
“It is necessary to have great taste,” replied the Princesse de Cadignan.
“And in France taste is more than cleverness,” said the Russian.
“This woman’s cleverness is the triumph of a purely plastic art,” Blondet went on. “You will not know what she said, but you will be fascinated. She will toss her head, or gently shrug her white shoulders; she will gild an insignificant speech with a charming pout and smile; or throw a Voltairean epigram into an ‘Indeed!’ an ‘Ah!’ a ‘What then!’ A jerk of her head will be her most pertinent form of questioning; she will give meaning to the movement by which she twirls a vinaigrette hanging to her finger by a ring. She gets an artificial grandeur out of superlative trivialities; she simply drops her hand impressively, letting it fall over the arm of her chair as dewdrops hang on the cup of a flower, and all is said – she has pronounced judgment beyond appeal, to the apprehension of the most obtuse. She knows how to listen to you; she gives you the opportunity of shining, and – I ask your modesty – those moments are rare?”
The candid simplicity of the young Pole, to whom Blondet spoke, made all the party shout with laughter.
“Now, you will not talk for half-an-hour with a bourgeoise without her alluding to her husband in one way or another,” Blondet went on with unperturbed gravity; “whereas, even if you know that your lady is married, she will have the delicacy to conceal her husband so effectually that it will need the enterprise of Christopher Columbus to discover him. Often you will fail in the attempt single-handed. If you have had no opportunity of inquiring, towards the end of the evening you detect her gazing fixedly at a middle-aged man wearing a decoration, who bows and goes out. She has ordered her carriage, and goes.
“You are not the rose, but you have been with the rose, and you go to bed under the golden canopy of a delicious dream, which will last perhaps after Sleep, with his heavy finger, has opened the ivory gates of the temple of dreams.
“The lady, when she is at home, sees no one before four; she is shrewd enough always to keep you waiting. In her house you will find everything in good taste; her luxury is for hourly use, and duly renewed; you will see nothing under glass shades, no rags of wrappings hanging about, and looking like a pantry. You will find the staircase warmed. Flowers on all sides will charm your sight – flowers, the only gift she accepts, and those only from certain people, for nosegays live but a day; they give pleasure, and must be replaced; to her they are, as in the East, a symbol and a promise. The costly toys of fashion lie about, but not so as to suggest a museum or a curiosity shop. You will find her sitting by the fire in a low chair, from which she will not rise to greet you. Her talk will not now be what it was at the ball; there she was our creditor; in her own home she owes you the pleasure of her wit. These are the shades of which the lady is a marvelous mistress. What she likes in you is a man to swell her circle, an object for the cares and attentions which such women are now happy to bestow. Therefore, to attract you to her drawing-room, she will be bewitchingly charming. This especially is where you feel how isolated women are nowadays, and why they want a little world of their own, to which they may seem a constellation. Conversation is impossible without generalities.”
“Yes,” said de Marsay, “you have truly hit the fault of our age. The epigram – a volume in a word – no longer strikes, as it did in the eighteenth century, at persons or at things, but at squalid events, and it dies in a day.”
“Hence,” said Blondet, “the intelligence of the lady, if she has any, consists in casting doubts on everything. Here lies the great difference between two women; the townswoman is certainly virtuous; the lady does not know yet whether she is, or whether she always will be; she hesitates and struggles where the other refuses point-blank and falls full length. This hesitancy in everything is one of the last graces left to her by our horrible times. She rarely goes to church, but she will talk to you of religion; and if you have the good taste to affect Free-thought, she will try to convert you, for you will have opened the way for the stereotyped phrases, the head-shaking and gestures understood by all these women: ‘For shame! I thought you had too much sense to attack religion. Society is tottering, and you deprive it of its support. Why, religion at this moment means you and me; it is property, and the future of our children! Ah! let us not be selfish! Individualism is the disease of the age, and religion is the only remedy; it unites families which your laws put asunder,’ and so forth. Then she plunges into some neo-Christian speech sprinkled with political notions which is neither Catholic nor Protestant – but moral? Oh! deuced moral! – in which you may recognize a fag end of every material woven by modern doctrines, at loggerheads together.”
The women could not help laughing at the airs by which Blondet illustrated his satire.
“This explanation, dear Count Adam,” said Blondet, turning to the Pole, “will have proved to you that the ‘perfect lady’ represents the intellectual no less than the political muddle, just as she is surrounded by the showy and not very lasting products of an industry which is always aiming at destroying its work in order to replace it by something else. When you leave her you say to yourself: She certainly has superior ideas! And you believe it all the more because she will have sounded your heart with a delicate touch, and have asked you your secrets; she affects ignorance, to learn everything; there are some things she never knows, not even when she knows them. You alone will be uneasy, you will know nothing of the state of her heart. The great ladies of old flaunted their love-affairs, with newspapers and advertisements; in these days the lady has her little passion neatly ruled like a sheet of music with its crotchets and quavers and minims, its rests, its pauses, its sharps to sign the key. A mere weak women, she is anxious not to compromise her love, or her husband, or the future of her children. Name, position, and fortune are no longer flags so respected as to protect all kinds of merchandise on board. The whole aristocracy no longer advances in a body to screen the lady. She has not, like the great lady of the past, the demeanor of lofty antagonism; she can crush nothing under foot, it is she who would be crushed. Thus she is apt at Jesuitical mezzo termine, she is a creature of equivocal compromises, of guarded proprieties, of anonymous passions steered between two reef-bound shores. She is as much afraid of her servants as an Englishwoman who lives in dread of a trial in the divorce-court. This woman – so free at a ball, so attractive out walking – is a slave at home; she is never independent but in perfect privacy, or theoretically. She must preserve herself in her position as a lady. This is her task.
“For in our day a woman repudiated by her husband, reduced to a meagre allowance, with no carriage, no luxury, no opera-box, none of the divine accessories of the toilet, is no longer a wife, a maid, or a townswoman; she is adrift, and becomes a chattel. The Carmelites will not receive a married woman; it would be bigamy. Would her lover still have anything to say to her? That is the question. Thus your perfect lady may perhaps give occasion to calumny, never to slander.”
“It is all so horribly true,” said the Princesse de Cadignan.
“And so,” said Blondet, “our ‘perfect lady’ lives between English hypocrisy and the delightful frankness of the eighteenth century – a bastard system, symptomatic of an age in which nothing that grows up is at all like the thing that has vanished, in which transition leads nowhere, everything is a matter of degree; all the great figures shrink into the background, and distinction is purely personal. I am fully convinced that it is impossible for a woman, even if she were born close to a throne, to acquire before the age of five-and-twenty the encyclopaedic knowledge of trifles, the practice of manoeuvring, the important small things, the musical tones and harmony of coloring, the angelic bedevilments and innocent cunning, the speech and the silence, the seriousness and the banter, the wit and the obtuseness, the diplomacy and the ignorance which make up the perfect lady.”
“And where, in accordance with the sketch you have drawn,” said Mademoiselle des Touches to Émile Blondet, “would you class the female author? Is she a perfect lady, a woman comme il faut?”
“When she has no genius, she is a woman comme il n’en faut pas,” Blondet replied, emphasizing the words with a stolen glance, which might make them seem praise frankly addressed to Camille Maupin. “This epigram is not mine, but Napoleon’s,” he added.
“You need not owe Napoleon any grudge on that score,” said Canalis, with an emphatic tone and gesture. “It was one of his weaknesses to be jealous of literary genius – for he had his mean points. Who will ever explain, depict, or understand Napoleon? A man represented with his arms folded, and who did everything, who was the greatest force ever known, the most concentrated, the most mordant, the most acid of all forces; a singular genius who carried armed civilization in every direction without fixing it anywhere; a man who could do everything because he willed everything; a prodigious phenomenon of will, conquering an illness by a battle, and yet doomed to die of disease in bed after living in the midst of ball and bullets; a man with a code and a sword in his brain, word and deed; a clear-sighted spirit that foresaw everything but his own fall; a capricious politician who risked men by handfuls out of economy, and who spared three heads – those of Talleyrand, of Pozzo de Borgo, and of Metternich, diplomatists whose death would have saved the French Empire, and who seemed to him of greater weight than thousands of soldiers; a man to whom nature, as a rare privilege, had given a heart in a frame of bronze; mirthful and kind at midnight amid women, and next morning manipulating Europe as a young girl might amuse herself by splashing water in her bath! Hypocritical and generous; loving tawdriness and simplicity; devoid of taste, but protecting the arts; and in spite of these antitheses, really great in everything by instinct or by temperament; Caesar at five-and-twenty, Cromwell at thirty; and then, like my grocer buried in Père Lachaise, a good husband and a good father. In short, he improvised public works, empires, kings, codes, verses, a romance – and all with more range than precision. Did he not aim at making all Europe France? And after making us weigh on the earth in such a way as to change the laws of gravitation, he left us poorer than on the day when he first laid hands on us; while he, who had taken an empire by his name, lost his name on the frontier of his empire in a sea of blood and soldiers. A man all thought and all action, who comprehended Desaix and Fouché.”
“All despotism and all justice at the right moments. The true king!” said de Marsay.
“Ah! vat a pleashre it is to dichest vile you talk,” said Baron de Nucingen.
“But do you suppose that the treat we are giving you is a common one?” asked Joseph Bridau. “If you had to pay for the charms of conversation as you do for those of dancing or of music, your fortune would be inadequate! There is no second performance of the same flash of wit.”