To discover in the demeanor, or the countenance, or the words, or the gestures of Mademoiselle Evangelista any indication that revealed the imperfections of her character, Paul must have possessed not only the knowledge of Lavater and Gall, but also a science in which there exists no formula of doctrine, – the individual and personal science of an observer, which, for its perfection, requires an almost universal knowledge. Natalie’s face, like that of most young girls, was impenetrable. The deep, serene peace given by sculptors to the virgin faces of Justice and Innocence, divinities aloof from all earthly agitations, is the greatest charm of a young girl, the sign of her purity. Nothing, as yet, has stirred her; no shattered passion, no hope betrayed has clouded the placid expression of that pure face. Is that expression assumed? If so, there is no young girl behind it.
Natalie, closely held to the heart of her mother, had received, like other Spanish women, an education that was solely religious, together with a few instructions from her mother as to the part in life she was called upon to play. Consequently, the calm, untroubled expression of her face was natural. And yet it formed a casing in which the woman was wrapped as the moth in its cocoon. Nevertheless, any man clever at handling the scalpel of analysis might have detected in Natalie certain indications of the difficulties her character would present when brought into contact with conjugal or social life. Her beauty, which was really marvellous, came from extreme regularity of feature harmonizing with the proportions of the head and the body. This species of perfection augurs ill for the mind; and there are few exceptions to the rule. All superior nature is found to have certain slight imperfections of form which become irresistible attractions, luminous points from which shine vivid sentiments, and on which the eye rests gladly. Perfect harmony expresses usually the coldness of a mixed organization.
Natalie’s waist was round, – a sign of strength, but also the infallible indication of a will which becomes obstinacy in persons whose mind is neither keen nor broad. Her hands, like those of a Greek statue, confirmed the predictions of face and figure by revealing an inclination for illogical domination, of willing for will’s sake only. Her eyebrows met, – a sign, according to some observers, which indicates jealousy. The jealousy of superior minds becomes emulation and leads to great things; that of small minds turns to hatred. The “hate and wait” of her mother was in her nature, without disguise. Her eyes were black apparently, though really brown with orange streaks, contrasting with her hair, of the ruddy tint so prized by the Romans, called auburn in England, a color which often appears in the offspring of persons of jet black hair, like that of Monsieur and Madame Evangelista. The whiteness and delicacy of Natalie’s complexion gave to the contrast of color in her eyes and hair an inexpressible charm; and yet it was a charm that was purely external; for whenever the lines of a face are lacking in a certain soft roundness, whatever may be the finish and grace of the details, the beauty therein expressed is not of the soul. These roses of deceptive youth will drop their leaves, and you will be surprised in a few years to see hardness and dryness where you once admired what seemed to be the beauty of noble qualities.
Though the outlines of Natalie’s face had something august about them, her chin was slightly “empate,” – a painter’s expression which will serve to show the existence of sentiments the violence of which would only become manifest in after life. Her mouth, a trifle drawn in, expressed a haughty pride in keeping with her hand, her chin, her brows, and her beautiful figure. And – as a last diagnostic to guide the judgment of a connoisseur – Natalie’s pure voice, a most seductive voice, had certain metallic tones. Softly as that brassy ring was managed, and in spite of the grace with which its sounds ran through the compass of the voice, that organ revealed the character of the Duke of Alba, from whom the Casa-Reales were collaterally descended. These indications were those of violent passions without tenderness, sudden devotions, irreconcilable dislikes, a mind without intelligence, and the desire to rule natural to persons who feel themselves inferior to their pretensions.
These defects, born of temperament and constitution, were buried in Natalie like ore in a mine, and would only appear under the shocks and harsh treatment to which all characters are subjected in this world. Meantime the grace and freshness of her youth, the distinction of her manners, her sacred ignorance, and the sweetness of a young girl, gave a delicate glamour to her features which could not fail to mislead an unthinking or superficial mind. Her mother had early taught her the trick of agreeable talk which appears to imply superiority, replying to arguments by clever jests, and attracting by the graceful volubility beneath which a woman hides the subsoil of her mind, as Nature disguises her barren strata beneath a wealth of ephemeral vegetation. Natalie had the charm of children who have never known what it is to suffer. She charmed by her frankness, and had none of that solemn air which mothers impose on their daughters by laying down a programme of behavior and language until the time comes when they marry and are emancipated. She was gay and natural, like any young girl who knows nothing of marriage, expects only pleasure from it, replies to all objections with a jest, foresees no troubles, and thinks she is acquiring the right to have her own way.
How could Paul, who loved as men love when desire increases love, perceive in a girl of this nature whose beauty dazzled him, the woman, such as she would probably be at thirty, when observers themselves have been misled by these appearances? Besides, if happiness might prove difficult to find in a marriage with such a girl, it was not impossible. Through these embryo defects shone several fine qualities. There is no good quality which, if properly developed by the hand of an able master, will not stifle defects, especially in a young girl who loves him. But to render ductile so intractable a woman, the iron wrist, about which de Marsay had preached to Paul, was needful. The Parisian dandy was right. Fear, inspired by love is an infallible instrument by which to manage the minds of women. Whoso loves, fears; whoso fears is nearer to affection than to hatred.
Had Paul the coolness, firmness, and judgment required for this struggle, which an able husband ought not to let the wife suspect? Did Natalie love Paul? Like most young girls, Natalie mistook for love the first emotions of instinct and the pleasure she felt in Paul’s external appearance; but she knew nothing of the things of marriage nor the demands of a home. To her, the Comte de Manerville, a rising diplomatist, to whom the courts of Europe were known, and one of the most elegant young men in Paris, could not seem, what perhaps he was, an ordinary man, without moral force, timid, though brave in some ways, energetic perhaps in adversity, but helpless against the vexations and annoyances that hinder happiness. Would she, in after years, have sufficient tact and insight to distinguish Paul’s noble qualities in the midst of his minor defects? Would she not magnify the latter and forget the former, after the manner of young wives who know nothing of life? There comes a time when wives will pardon defects in the husband who spares her annoyances, considering annoyances in the same category as misfortunes. What conciliating power, what wise experience would uphold and enlighten the home of this young pair? Paul and his wife would doubtless think