In twenty-four hours the friends had exchanged many confidences; and the Parisian, seeing herself so far superior to the phoenix of Mademoiselle Chamarolles’ school, showed her provincial friend such kindness, such attentions, while giving her certain explanations, as were so many stabs to Dinah, though she perfectly understood that Anna’s advantages all lay on the surface, while her own were for ever buried.
When Anna had left, Madame de la Baudraye, by this time two-and-twenty, fell into the depths of despair.
“What is it that ails you?” asked Monsieur de Clagny, seeing her so dejected.
“Anna,” said she, “has learned to live, while I have been learning to endure.”
A tragi-comedy was, in fact, being enacted in Madame de la Baudraye’s house, in harmony with her struggles over money matters and her successive transformations – a drama to which no one but Monsieur de Clagny and the Abbe Duret ever knew the clue, when Dinah in sheer idleness, or perhaps sheer vanity, revealed the secret of her anonymous fame.
Though a mixture of verse and prose is a monstrous anomaly in French literature, there must be exceptions to the rule. This tale will be one of the two instances in these Studies of violation of the laws of narrative; for to give a just idea of the unconfessed struggle which may excuse, though it cannot absolve Dinah, it is necessary to give an analysis of a poem which was the outcome of her deep despair.
Her patience and her resignation alike broken by the departure of the Vicomte de Chargeboeuf, Dinah took the worthy Abbe’s advice to exhale her evil thoughts in verse – a proceeding which perhaps accounts for some poets.
“You will find such relief as those who write epitaphs or elegies over those whom they have lost. Pain is soothed in the heart as lines surge up in the brain.”
This strange production caused a great ferment in the departments of the Allier, the Nievre, and the Cher, proud to possess a poet capable of rivalry with the glories of Paris. Paquita la Sevillane, by Jan Diaz, was published in the Echo du Morvan, a review which for eighteen months maintained its existence in spite of provincial indifference. Some knowing persons at Nevers declared that Jan Diaz was making fun of the new school, just then bringing out its eccentric verse, full of vitality and imagery, and of brilliant effects produced by defying the Muse under pretext of adapting German, English, and Romanesque mannerisms.
The poem began with this ballad:
Ah! if you knew the fragrant plain,
The air, the sky, of golden Spain,
Its fervid noons, its balmy spring,
Sad daughters of the northern gloom,
Of love, of heav’n, of native home,
You never would presume to sing!
For men are there of other mould
Than those who live in this dull cold.
And there to music low and sweet
Sevillian maids, from eve till dawn,
Dance lightly on the moonlit lawn
In satin shoes, on dainty feet.
Ah, you would be the first to blush
Over your dancers’ romp and rush,
And your too hideous carnival,
That turns your cheeks all chill and blue,
And skips the mud in hob-nail’d shoe —
A truly dismal festival.
To pale-faced girls, and in a squalid room,
Paquita sang; the murky town beneath
Was Rouen whence the slender spires rise
To chew the storm with teeth.
Rouen so hideous, noisy, full of rage —
And here followed a magnificent description of Rouen – where Dinah had never been – written with the affected brutality which, a little later, inspired so many imitations of Juvenal; a contrast drawn between the life of a manufacturing town and the careless life of Spain, between the love of Heaven and of human beauty, and the worship of machinery, in short, between poetry and sordid money-making.
Then Jan Diaz accounted for Paquita’s horror of Normandy by saying:
Seville, you see, had been her native home,
Seville, where skies are blue and evening sweet.
She, at thirteen, the sovereign of the town,
Had lovers at her feet.
For her three Toreadors had gone to death
Or victory, the prize to be a kiss —
One kiss from those red lips of sweetest breath —
A longed-for touch of bliss!
The features of the Spanish girl’s portrait have served so often as those of the courtesan in so many self-styled poems, that it would be tiresome to quote here the hundred lines of description. To judge of the lengths to which audacity had carried Dinah, it will be enough to give the conclusion. According to Madame de la Baudraye’s ardent pen, Paquita was so entirely created for love that she can hardly have met with a knight worthy of her; for
… In her passionate fire
Every man would have swooned from the heat,
When she at love’s feast, in her fervid desire,
As yet had but taken her seat.
“And yet she could quit the joys of Seville, its woods and fields of orange-trees, for a Norman soldier who won her love and carried her away to his hearth and home. She did not weep for her Andalusia, the Soldier was her whole joy… But the day came when he was compelled to start for Russia in the footsteps of the great Emperor.”
Nothing could be more dainty than the description of the parting between the Spanish girl and the Normandy Captain of Artillery, who, in the delirium of passion expressed with feeling worthy of Byron, exacted from Paquita a vow of absolute fidelity, in the Cathedral at Rouen in front of the alter of the Blessed Virgin, who
Though a Maid is a woman, and never forgives
When lovers are false to their vows.
A large part of the poem was devoted to describing Paquita’s sufferings when alone in Rouen waiting till the campaign was over; she stood writhing at the window bars as she watched happy couples go by; she suppressed her passion in her heart with a determination that consumed her; she lived on narcotics, and exhausted herself in dreams.
Almost she died, but still her heart was true;
And when at last her soldier came again,
He found her beauty ever fresh and new —
He had not loved in vain!
“But he, pale and frozen by the cold of Russia, chilled to the very marrow, met his yearning fair one with a melancholy smile.”
The whole poem was written up to this situation, which was worked out with such vigor and boldness as too entirely justified the Abbe Duret.
Paquita,