It is quite true that I have no amori, although my friend does not believe it. When I came to Italy first, I looked out for romance; I sighed, like Goethe in Rome, for a window to open and a wondrous creature to appear, "welch mich versengend erquickt." Perhaps it is because Goethe was a German, accustomed to German Fraus, and I am, after all, a Pole, accustomed to something very different from Fraus; but anyhow, for all my efforts, in Rome, Florence, and Siena, I never could find a woman to go mad about, either among the ladies, chattering bad French, or among the lower classes, as 'cute and cold as money-lenders; so I steer clear of Italian womankind, its shrill voice and gaudy toilettes. I am wedded to history, to the Past, to women like Lucrezia Borgia, Vittoria Accoramboni, or that Medea da Carpi, for the present; some day I shall perhaps find a grand passion, a woman to play the Don Quixote about, like the Pole that I am; a woman out of whose slipper to drink, and for whose pleasure to die; but not here! Few things strike me so much as the degeneracy of Italian women. What has become of the race of Faustinas, Marozias, Bianca Cappellos? Where discover nowadays (I confess she haunts me) another Medea da Carpi? Were it only possible to meet a woman of that extreme distinction of beauty, of that terribleness of nature, even if only potential, I do believe I could love her, even to the Day of Judgment, like any Oliverotto da Narni, or Frangipani or Prinzivalle.
Oct. 27th.
Fine sentiments the above are for a professor, a learned man! I thought the young artists of Rome childish because they played practical jokes and yelled at night in the streets, returning from the Caffè Greco or the cellar in the Via Palombella; but am I not as childish to the full—I, melancholy wretch, whom they called Hamlet and the Knight of the Doleful Countenance?
Nov. 5th.
I can't free myself from the thought of this Medea da Carpi. In my walks, my mornings in the Archives, my solitary evenings, I catch myself thinking over the woman. Am I turning novelist instead of historian? And still it seems to me that I understand her so well; so much better than my facts warrant. First, we must put aside all pedantic modern ideas of right and wrong. Right and wrong in a century of violence and treachery does not exist, least of all for creatures like Medea. Go preach right and wrong to a tigress, my dear sir! Yet is there in the world anything nobler than the huge creature, steel when she springs, velvet when she treads, as she stretches her supple body, or smooths her beautiful skin, or fastens her strong claws into her victim?
Yes; I can understand Medea. Fancy a woman of superlative beauty, of the highest courage and calmness, a woman of many resources, of genius, brought up by a petty princelet of a father, upon Tacitus and Sallust, and the tales of the great Malatestas, of Caesar Borgia and such-like!—a woman whose one passion is conquest and empire—fancy her, on the eve of being wedded to a man of the power of the Duke of Stimigliano, claimed, carried off by a small fry of a Pico, locked up in his hereditary brigand's castle, and having to receive the young fool's red-hot love as an honor and a necessity! The mere thought of any violence to such a nature is an abominable outrage; and if Pico chooses to embrace such a woman at the risk of meeting a sharp piece of steel in her arms, why, it is a fair bargain. Young hound—or, if you prefer, young hero—to think to treat a woman like this as if she were any village wench! Medea marries her Orsini. A marriage, let it be noted, between an old soldier of fifty and a girl of sixteen. Reflect what that means: it means that this imperious woman is soon treated like a chattel, made roughly to understand that her business is to give the Duke an heir, not advice; that she must never ask "wherefore this or that?" that she must courtesy before the Duke's counselors, his captains, his mistresses; that, at the least suspicion of rebelliousness, she is subject to his foul words and blows; at the least suspicion of infidelity, to be strangled or starved to death, or thrown down an oubliette. Suppose that she knew that her husband has taken it into his head that she has looked too hard at this man or that, that one of his lieutenants or one of his women have whispered that, after all, the boy Bartolommeo might as soon be a Pico as an Orsini. Suppose she knew that she must strike or be struck? Why, she strikes, or gets some one to strike for her. At what price? A promise of love, of love to a groom, the son of a serf! Why, the dog must be mad or drunk to believe such a thing possible; his very belief in anything so monstrous makes him worthy of death. And then he dares to blab! This is much worse than Pico. Medea is bound to defend her honor a second time; if she could stab Pico, she can certainly stab this fellow, or have him stabbed.
Hounded by her husband's kinsmen, she takes refuge at Urbania. The Duke, like every other man, falls wildly in love with Medea, and neglects his wife; let us even go so far as to say, breaks his wife's heart. Is this Medea's fault? Is it her fault that every stone that comes beneath her chariot-wheels is crushed? Certainly not. Do you suppose that a woman like Medea feels the smallest ill-will against a poor, craven Duchess Maddalena? Why, she ignores her very existence. To suppose Medea a cruel woman is as grotesque as to call her an immoral woman. Her fate is, sooner or later, to triumph over her enemies, at all events to make their victory almost a defeat; her magic faculty is to enslave all the men who come across her path; all those who see her, love her, become her slaves; and it is the destiny of all her slaves to perish. Her lovers, with the exception of Duke Guidalfonso, all come to an untimely end; and in this there is nothing unjust. The possession of a woman like Medea is a happiness too great for a mortal man; it would turn his head, make him forget even what he owed her; no man must survive long who conceives himself to have a right over her; it is a kind of sacrilege. And only death, the willingness to pay for such happiness by death, can at all make a man worthy of being her lover; he must be willing to love and suffer and die. This is the meaning of her device—"Amour Dure—Dure Amour." The love of Medea da Carpi cannot fade, but the lover can die; it is a constant and a cruel love.
Nov. 11th.
I was right, quite right in my idea. I have found—Oh, joy! I treated the Vice-Prefect's son to a dinner of five courses at the Trattoria La Stella d'Italia out of sheer jubilation—I have found in the Archives, unknown, of course, to the Director, a heap of letters—letters of Duke Robert about Medea da Carpi, letters of Medea herself! Yes, Medea's own handwriting—a round, scholarly character, full of abbreviations, with a Greek look about it, as befits a learned princess who could read Plato as well as Petrarch. The letters are of little importance, mere drafts of business letters for her secretary to copy, during the time that she governed the poor weak Guidalfonso. But they are her letters, and I can imagine almost that there hangs about these moldering pieces of paper a scent as of a woman's hair.
The few letters of Duke Robert show him in a new light. A cunning, cold, but craven priest. He trembles at the bare thought of Medea—"la pessima Medea"—worse than her namesake of Colchis, as he calls her. His long clemency is a result of mere fear of laying violent hands upon her. He fears her as something almost supernatural; he would have enjoyed having had her burnt as a witch. After letter on letter, telling his crony, Cardinal Sanseverino, at Rome his various precautions during her lifetime—how he wears a jacket of mail under his coat; how he drinks only milk from a cow which he has milked in his presence; how he tries his dog with morsels of his food, lest it be poisoned; how he suspects the wax-candles because of their peculiar smell; how he fears riding out lest some one should frighten his horse and cause him to break his neck—after all this, and when Medea has been in her grave two years, he tells his correspondent of his