LIMITATIONS OF BEAUTY--(_continued_)
A woman of quick fancy and tender heart, but timid and cautious in her
sensibility, who the day after she appears in society, passes in review
a thousand times nervously and painfully all that she may have said or
given hint of--such a woman, I say, grows easily used to want of beauty
in a man: it is hardly an obstacle in rousing her affection.
It is really on the same principle that you care next to nothing for
the degree of beauty in a mistress, whom you adore and who repays you
with harshness. You have very nearly stopped crystallising her beauty,
and when your _friend in need_ tells you that she isn't pretty, you are
almost ready to agree. Then he thinks he has made great way.
My friend, brave Captain Trab, described to me this evening his
feelings on seeing Mirabeau once upon a time. No one looking upon that
great man felt a disagreeable sensation in the eyes--that is to say,
found him ugly. People were carried away by his thundering words; they
fixed their attention, they delighted in fixing their attention, only
on what was beautiful in his face. As he had practically no beautiful
features (in the sense of sculpturesque or picturesque beauty)
they minded only what beauty he had of another kind, the beauty of
expression.[1]
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While attention was blind to all traces of ugliness, picturesquely
speaking, it fastened on the smallest passable details with
fervour--for example, the beauty of his vast head of hair. If he had
had horns, people would have thought them lovely.[2]
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The appearance every evening of a pretty dancer forces a little
interest from those poor souls, blasé or bereft of imagination, who
adorn the balcony of the opera. By her graceful movements, daring and
strange, she awakens their physical love and procures them perhaps
the only crystallisation of which they are still capable. This is the
way by which a young scarecrow, who in the street would not have been
honoured with a glance, least of all from people the worse for wear,
has only to appear frequently on the stage, and she manages to get
herself handsomely supported. Geoffroy used to say that the theatre is
the pedestal of woman. The more notorious and the more dilapidated a
dancer, the more she is worth; hence the green-room proverb: "Some get
sold at a price who wouldn't be taken as a gift." These women steal
part of their passions from their lovers, and are very susceptible of
love from pique.
How manage not to connect generous or lovable sentiments with the face
of an actress, in whose features there is nothing repugnant, whom for
two hours every evening we see expressing the most noble feelings,
and whom otherwise we do not know? When at last you succeed in being
received by her, her features recall such pleasing feelings, that the
entire reality which surrounds her, however little nobility it may
sometimes possess, is instantly invested with romantic and touching
colours.
"Devotee, in the days of my youth, of that boring French tragedy,[3]
whenever I had the luck of supping with Mlle. Olivier, I found myself
every other moment overbrimming with respect, in the belief that I was
speaking to a queen; and really I have never been quite sure whether,
in her case, I had fallen in love with a queen or a pretty tart."
[1] That is the advantage of being _à la mode_. Putting aside the
defects of a face which are already familiar, and no longer have any
effect upon the imagination, the public take hold of one of the three
following ideas of beauty:--
(1) The people--of the idea of wealth.
(2) The upper classes--of the idea of elegance, material or moral.
(3) The Court--of the idea: "My object is to please the women."
Almost all take hold of a mixture of all three. The happiness attached
to the idea of riches is linked to a refinement in the pleasure which
the idea of elegance suggests, and the whole comes into touch with
love. In one way or another the imagination is led on by novelty. It
is possible in this way to be interested in a very ugly man without
thinking of his ugliness,[*] and in good time his ugliness becomes
beauty. At Vienna, in 1788, Madame Viganò, a dancer and _the_ woman
of the moment, was with child--very soon the ladies took to wearing
little _Ventres à la Viganò_. For the same reason reversed, nothing
more fearful than a fashion out of date! Bad taste is a confusion of
fashion, which lives only by change, with the lasting beauty produced
by such and such a government, guided by such and such a climate. A
building in fashion to-day, in ten years will be out of fashion. It
will be less displeasing in two hundred years, when its fashionable day
will be forgotten. Lovers are quite mad to think about their dress; a
woman has other things to do, when seeing the object of her love, than
to bother about his get-up; we look at our lover, we do not examine
him, says Rousseau. If this examination takes place, we are dealing
with gallant-love and not passion-love. The brilliance of beauty is
almost offensive in the object of our love; it is none of our business
to see her beautiful, we want her tender and languishing. Adornment has
effect in love only upon girls, who are so rigidly guarded in their
parents' house, that they often lose their hearts through their eyes.
(L.'s words. September 15, 1820.)
* Le petit Germain, _Mémoires de Grammont_.
[2] For their polish or their size or their form! In this way, or by
the combination of sentiments (see above, the small-pox scars) a woman
in love grows used to the faults of her lover. The Russian Princess
C. has actually become used to a man who literally has no nose. The
picture of his courage, of his pistol loaded to kill himself in despair
at his misfortune, and pity for the bitter calamity, enhanced by the
idea that he will recover and is beginning to recover, are the forces
which have worked this miracle. The poor fellow with his wound must
appear not to think of his misfortune. (Berlin, 1807.)
[3] Improper expression copied from the Memoirs of my friend, the
late Baron de Bottmer. It is by the same trick that Feramorz pleases
Lalla-Rookh. See that charming poem.
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