The Human Comedy - La Comédie humaine (Complete Edition). Honore de Balzac
who had such a living and secret experience of love.
Next to the pleasure of admiring the woman we love, comes that of seeing her admired by every one else. Rodolphe was enjoying both at once. Love is a treasury of memories, and though Rodolphe’s was already full, he added to it pearls of great price; smiles shed aside for him alone, stolen glances, tones in her singing which Francesca addressed to him alone, but which made Tinti pale with jealousy, they were so much applauded. All his strength of desire, the special expression of his soul, was thrown over the beautiful Roman, who became unchangeably the beginning and the end of all his thoughts and actions. Rodolphe loved as every woman may dream of being loved, with a force, a constancy, a tenacity, which made Francesca the very substance of his heart; he felt her mingling with his blood as purer blood, with his soul as a more perfect soul; she would henceforth underlie the least efforts of his life as the golden sand of the Mediterranean lies beneath the waves. In short, Rodolphe’s lightest aspiration was now a living hope.
At the end of a few days, Francesca understood this boundless love; but it was so natural, and so perfectly shared by her, that it did not surprise her. She was worthy of it.
“What is there that is strange?” said she to Rodolphe, as they walked on the garden terrace, when he had been betrayed into one of those outbursts of conceit which come so naturally to Frenchmen in the expression of their feelings—“what is extraordinary in the fact of your loving a young and beautiful woman, artist enough to be able to earn her living like Tinti, and of giving you some of the pleasures of vanity? What lout but would then become an Amadis? This is not in question between you and me. What is needed is that we both love faithfully, persistently; at a distance from each other for years, with no satisfaction but that of knowing that we are loved.”
“Alas!” said Rodolphe, “will you not consider my fidelity as devoid of all merit when you see me absorbed in the efforts of devouring ambition? Do you imagine that I can wish to see you one day exchange the fine name of Gandolphini for that of a man who is a nobody? I want to become one of the most remarkable men of my country, to be rich, great—that you may be as proud of my name as of your own name of Colonna.”
“I should be grieved to see you without such sentiments in your heart,” she replied, with a bewitching smile. “But do not wear yourself out too soon in your ambitious labors. Remain young. They say that politics soon make a man old.”
One of the rarest gifts in women is a certain gaiety which does not detract from tenderness. This combination of deep feeling with the lightness of youth added an enchanting grace at this moment to Francesca’s charms. This is the key to her character; she laughs and she is touched; she becomes enthusiastic, and returns to arch raillery with a readiness, a facility, which makes her the charming and exquisite creature she is, and for which her reputation is known outside Italy. Under the graces of a woman she conceals vast learning, thanks to the excessively monotonous and almost monastic life she led in the castle of the old Colonnas.
This rich heiress was at first intended for the cloister, being the fourth child of Prince and Princess Colonna; but the death of her two brothers, and of her elder sister, suddenly brought her out of her retirement, and made her one of the most brilliant matches in the Papal States. Her elder sister had been betrothed to Prince Gandolphini, one of the richest landowners in Sicily; and Francesca was married to him instead, so that nothing might be changed in the position of the family. The Colonnas and Gandolphinis had always intermarried.
From the age of nine till she was sixteen, Francesca, under the direction of a Cardinal of the family, had read all through the library of the Colonnas, to make weight against her ardent imagination by studying science, art, and letters. But in these studies she acquired the taste for independence and liberal ideas, which threw her, with her husband, into the ranks of the revolution. Rodolphe had not yet learned that, besides five living languages, Francesca knew Greek, Latin, and Hebrew. The charming creature perfectly understood that, for a woman, the first condition of being learned is to keep it deeply hidden.
Rodolphe spent the whole winter at Geneva. This winter passed like a day. When spring returned, notwithstanding the infinite delights of the society of a clever woman, wonderfully well informed, young and lovely, the lover went through cruel sufferings, endured indeed with courage, but which were sometimes legible in his countenance, and betrayed themselves in his manners or speech, perhaps because he believed that Francesca shared them. Now and again it annoyed him to admire her calmness. Like an Englishwoman, she seemed to pride herself on expressing nothing in her face; its serenity defied love; he longed to see her agitated; he accused her of having no feeling, for he believed in the tradition which ascribes to Italian women a feverish excitability.
“I am a Roman!” Francesca gravely replied one day when she took quite seriously some banter on this subject from Rodolphe.
There was a depth of tone in her reply which gave it the appearance of scathing irony, and which set Rodolphe’s pulses throbbing. The month of May spread before them the treasures of her fresh verdure; the sun was sometimes as powerful as at midsummer. The two lovers happened to be at a part of the terrace where the rock arises abruptly from the lake, and were leaning over the stone parapet that crowns the wall above a flight of steps leading down to a landing-stage. From the neighboring villa, where there is a similar stairway, a boat presently shot out like a swan, its flag flaming, its crimson awning spread over a lovely woman comfortably reclining on red cushions, her hair wreathed with real flowers; the boatman was a young man dressed like a sailor, and rowing with all the more grace because he was under the lady’s eye.
“They are happy!” exclaimed Rodolphe, with bitter emphasis. “Claire de Bourgogne, the last survivor of the only house which can ever vie with the royal family of France—”
“Oh! of a bastard branch, and that a female line.”
“At any rate, she is Vicomtesse de Beauseant; and she did not—”
“Did not hesitate, you would say, to bury herself here with Monsieur Gaston de Nueil, you would say,” replied the daughter of the Colonnas. “She is only a Frenchwoman; I am an Italian, my dear sir!”
Francesca turned away from the parapet, leaving Rodolphe, and went to the further end of the terrace, whence there is a wide prospect of the lake. Watching her as she slowly walked away, Rodolphe suspected that he had wounded her soul, at once so simple and so wise, so proud and so humble. It turned him cold; he followed Francesca, who signed to him to leave her to herself. But he did not heed the warning, and detected her wiping away her tears. Tears! in so strong a nature.
“Francesca,” said he, taking her hand, “is there a single regret in your heart?”
She was silent, disengaged her hand which held her embroidered handkerchief, and again dried her eyes.
“Forgive me!” he said. And with a rush, he kissed her eyes to wipe away the tears.
Francesca did not seem aware of his passionate impulse, she was so violently agitated. Rodolphe, thinking she consented, grew bolder; he put his arm round her, clasped her to his heart, and snatched a kiss. But she freed herself by a dignified movement of offended modesty, and, standing a yard off, she looked at him without anger, but with firm determination.
“Go this evening,” she said. “We meet no more till we meet at Naples.”
This order was stern, but it was obeyed, for it was Francesca’s will.
On his return to Paris Rodolphe found in his rooms a portrait of Princess Gandolphini painted by Schinner, as Schinner can paint. The artist had passed through Geneva on his way to Italy. As he had positively refused to paint the portraits of several women, Rodolphe did not believe that the Prince, anxious as he was for a portrait of his wife, would be able to conquer the great painter’s objections; but Francesca, no doubt, had bewitched him, and obtained from him—which was almost a miracle—an original portrait for Rodolphe, and a duplicate for Emilio. She told him this in a charming and delightful letter, in which the mind indemnified itself for the reserve required by the worship of the proprieties. The lover replied. Thus began, never to cease, a regular correspondence between Rodolphe and Francesca, the only indulgence they allowed themselves.