Ги де Мопассан
Strong as Death
Suddenly a sort of roaring noise glided over the roofs, the animal-like sound of a passing tempest, and at the same time a furious gust of wind that seemed to come from the Madeleine swept through the Boulevard.
All the fallen leaves, which appeared to have been waiting for it, rose at its approach. They ran before it, massing themselves, whirling, and rising in spirals up to the tops of the buildings. The wind chased them like a flock, a mad flock that fled before it, flying toward the gates of Paris and the free sky of the suburbs. And when the great cloud of leaves and dust had disappeared on the heights of the Quartier Malesherbes, the sidewalks and roads remained bare, strangely clean and swept.
Bertin was thinking: “What will become of me? What shall I do? Where shall I go?” And he returned home, unable to think of anything.
A news-stand attracted his eye. He bought seven or eight newspapers, hoping that he might find in them something to read for an hour or two.
“I will breakfast here,” said he, as he entered, and went up to his studio.
But as he sat down he felt that he could not stay there, for throughout his body surged the excitement of an angry beast.
The newspapers, which he glanced through, could not distract his mind for a minute, and the news he read met his eye without reaching his brain. In the midst of an article which he was not trying to comprehend, the name of Guilleroy made him start. It was about the session of the Chamber, where the Count had spoken a few words.
His attention, aroused by that call, was now arrested by the name of the celebrated tenor Montrose, who was to give, about the end of December, a single performance at the Opera. This would be, the newspaper stated, a magnificent musical solemnity, for the tenor Montrose, who had been absent six years from Paris, had just won, throughout Europe and America, a success without precedent; moreover, he would be supported by the illustrious Swedish singer, Helsson, who had not been heard in Paris for five years.
Suddenly Olivier had an idea, which seemed to spring from the depths of his heart – he would give Annette the pleasure of seeing this performance. Then he remembered that the Countess’s mourning might be an obstacle to this scheme, and he sought some way to realize it in spite of the difficulty. Only one method presented itself. He must take a stage-box where one may be almost invisible, and if the Countess should still not wish to go, he would have Annette accompanied by her father and the Duchess. In that case, he would have to offer his box to the Duchess. But then he would be obliged to invite the Marquis!
He hesitated and reflected a long time.
Certainly, the marriage was decided upon; no doubt the date was settled. He guessed the reason for his friend’s haste in having it finished soon; he understood that in the shortest time possible she would give her daughter to Farandal. He could not help it. He could neither prevent, nor modify, nor delay this frightful thing. Since he must bear it, would it not be better for him to try to master his soul, to hide his suffering, to appear content, and no longer allow himself to be carried away by his rage, as he had done?
Yes, he would invite the Marquis, and so allay the Countess’s suspicions, and keep for himself a friendly door in the new establishment.
As soon as he had breakfasted, he went down to the Opera to engage one of the boxes hidden by the curtain. It was promised to him. Then he hastened to the Guilleroys’.
The Countess appeared almost immediately, apparently still a little moved by their tender interview of the day before.
“How kind of you to come again to-day!” said she.
“I am bringing you something,” he faltered.
“What is it?”
“A stage-box at the Opera for the single performance of Helsson and Montrose.”
“Oh, my friend, what a pity! And my mourning?”
“Your mourning has lasted for almost four months.”
“I assure you that I cannot.”
“And Annette? Remember that she may never have such an opportunity again.”
“With whom could she go?”
“With her father and the Duchess, whom I am about to invite. I intend also to offer a seat to the Marquis.”
She gazed deep into his eyes, and a wild desire to kiss him rose to her lips. Hardly believing her ears, she repeated: “To the Marquis?”
“Why, yes.”
She consented at once to this arrangement.
He continued, in an indifferent tone: “Have you fixed the date of their marriage?”
“Oh, yes, almost. We have reasons for hastening it very much, especially as it was decided upon before my mother’s death. You remember that?”
“Yes, perfectly. And when will it take place?”
“About the beginning of January. I ask your pardon for not having told you of it sooner.”
Annette entered. He felt his heart leap within him as if on springs, and all the tenderness that drew him toward her suddenly became bitter, arousing in his heart that strange, passionate animosity into which love changes when lashed by jealousy.
“I have brought you something,” he said.
“So we have decided to say ‘you’?” she replied.
He assumed a paternal tone.
“Listen, my child, I know all about the event that is soon to occur. I assure you that then it will be indispensable. Better say ‘you’ now than later.”
She shrugged her shoulders with an air of discontent, while the Countess remained silent, looking afar off, her thoughts preoccupied.
“Well, what have you brought me?” inquired Annette.
He told her about the performance, and the invitations he intended to give. She was delighted, and, throwing her arms around his neck with the manner of a little girl, she kissed him on both cheeks.
He felt ready to sink, and understood, when he felt the light caresses of that little mouth with its sweet breath, that he never should be cured of his passion.
The Countess, annoyed, said to her daughter: “You know that your father is waiting for you.”
“Yes, mamma, I am going.”
She ran away, still throwing kisses from the tips of her fingers.
As soon as she had gone, Olivier asked: “Will they travel?”
“Yes, for three months.”
“So much the better,” he murmured in spite of himself.
“We will resume our former life,” said the Countess.
“Yes, I hope so,” said he, hesitatingly.
“But do not neglect me meanwhile.”
“No, my friend.”
The impulse he had shown the evening before, when seeing her weep, and the intention which he had just expressed of inviting the Marquis to the performance at the Opera, had given new hope to the Countess.
But it was short. A week had not passed ere she was again following the expression of this man’s face with tortured and jealous attention, watching every stage of his suffering. She could ignore nothing, herself enduring all the pain that she guessed at in him; and Annette’s constant presence reminded her at every moment of the day of the hopelessness of her efforts.
Everything oppressed her at the same time – her age and her mourning. Her active, intelligent, and ingenious coquetry, which all her life had given her triumph, found itself paralyzed by that black uniform which marked her pallor and the change in her features, while it rendered the adolescence of her daughter absolutely dazzling. The time seemed far away, though it was quite recent, when, on Annette’s return to Paris, she had proudly sought similar toilets which at that time were favorable to her. Now she had a furious longing to tear from her body those vestments of death which made her ugly and tortured her.
If she had felt that all the resources of elegance were at her service, if she had been able to choose and use delicately shaded stuffs, in harmony with her coloring, which would have lent a studied power to her fading charms, as captivating as the inert grace of her daughter, she would no doubt have known how to remain still the more charming.
She knew so well the influences of the fever-giving costume of evening, and the soft sensuousness of morning attire, of the disturbing deshabille worn at breakfast with intimate friends, which lend to a woman until noontime a sort of reminiscence of her rising, the material and warm impression of the bed and of her perfumed room!
But what could she attempt under that sepulchral robe, that convict’s dress, which must cover her for a whole year? A year! She must remain a year imprisoned in that black attire, inactive and vanquished. For a whole year she would feel herself growing old, day by day, hour by hour, minute by minute, under that sheath of crape! What would she be in a year if her poor ailing body continued to alter thus under the anguish of her soul?
These thoughts never left her, and spoiled for her everything she might have enjoyed, turned into sadness things that would have given her joy, leaving her not a pleasure, a contentment, or a gaiety intact. She was agitated incessantly by an exasperating need to shake off this weight of misery that crushed her, for without this tormenting obsession she would still have been so happy, alert, and healthy! She felt that her soul was still fresh and bright, her heart still young, the ardor of a being that is beginning to live, an insatiable appetite for happiness, more voracious even than before, and a devouring desire to love.
And now, all good things, all things sweet, delicious and poetic, which embellish life and make it enjoyable, were withdrawing from her, because she was growing old! It was all finished! Yet she still found within her the tenderness of the young girl and the passionate impulses of the young woman. Nothing had grown old but her body, that miserable skin, that stuff over the bones, fading little by little like the covering of a piece of furniture. The curse of this decay had attached itself to her, and had become almost a physical suffering. This fixed idea had created a sensation of the epidermis, the sensation of growing old, continuous and imperceptible, like that of cold or of heat. She really believed that she felt an indescribable sort of itching, the slow march of wrinkles upon her forehead, the weakening of the tissues of the cheeks and throat, and the multiplication of those innumerable little marks that wear out the tired skin. Like some one afflicted with a consuming disease, whom a continual prurience induces to scratch himself, the perception and terror of that abominable, swift and secret work of time filled her soul with an irresistible need of verifying it in her mirrors. They called her, drew her, forced her to come, with fixed eyes, to see, to look again, to recognize incessantly, to touch with her finger, as if to assure herself, the indelible mark of the years. At first this was an intermittent thought, returning whenever she saw the polished surface of the dreaded crystal, at home or abroad. She paused in the street to gaze at herself in the shop-windows, hanging as if by one hand to all the glass plates with which merchants ornament their facades. It became a disease, an obsession. She carried in her pocket a dainty little ivory powder-box, as large as a nut, the interior of which contained a tiny mirror; and often, while walking, she held it open in her hand and raised it to her eyes.
When she sat down to read or write in the tapestried drawing-room, her mind, distracted for the time by a new occupation, would soon return to its obsession. She struggled, tried to amuse herself, to have other ideas, to continue her work. It was in vain; the prick of desire tormented her, and soon dropping her book or her pen, her hand would steal out, by an irresistible impulse, toward the little hand-glass mounted in antique silver that lay upon her desk. In this oval, chiseled frame her whole face was inclosed, like a face of days gone by, a portrait of the last century, or a once fresh pastel now tarnished by the sun. Then after gazing at herself a long time, she laid, with a weary movement, the little glass upon the desk and tried to resume her work; but ere she had read two pages or written twenty lines, she was again seized with the invincible and torturing need of looking at herself, and once more would extend her hand to take up the mirror.
She now handled it like an irritating and familiar toy that the hand cannot let alone, used it continually even when receiving her friends, and made herself nervous enough to cry out, hating it as if it were a sentient thing while turning it in her fingers.
One day, exasperated by this struggle between herself and this bit of glass, she threw it against the wall, where it was broken to pieces.
But after a time her husband, who had it repaired, brought it back to her, clearer than ever; and she was compelled to take it, to thank him, and resign herself to keep it.
Every evening, too, and every morning, shut up in her own room, she resumed, in spite of herself, that minute and patient examination of the quiet, odious havoc.
When she was in bed she could not sleep; she would light a candle again and lie, wide-eyed, thinking how insomnia and grief hasten irremediably the horrible work of fleeting time. She listened in the silence of the night to the ticking of the clock, which seemed to murmur, in its monotonous and regular tic-tac: “It goes, it goes, it goes!” and her heart shrank with such suffering that, with the sheet gripped between her teeth, she groaned in despair.
Once, like everyone else, she had some notion of the passing years and of the changes they bring. Like everyone else, she had said to herself every winter, every spring, and every summer, “I have changed very much since last year.” But, always beautiful, with a changing beauty, she was never uneasy about it. Now, however, suddenly, instead of admitting peacefully the slow march of the seasons, she had just discovered and understood the formidable flight of the minutes. She had had a sudden revelation of the gliding of the hour, of that imperceptible race, maddening when we think of it – of that infinite defile of little hurrying seconds, which nibble at the body and the life of men.
After these miserable nights, she had long periods of somnolence that made her more tranquil, in the warmth of her bed, when her maid had opened the curtains and lighted the morning fire. She lay there tired, drowsy, neither awake nor asleep, in the torpor of thought which brings about the revival of that instinctive and providential hope which gives light and life to the hearts of men up to their last days.
Every morning now, as soon as she had risen from her bed, she felt moved by a powerful desire to pray to God, to obtain from Him a little relief and consolation.
She would kneel, then, before a large figure of Christ carved in oak, a gift from Olivier, a rare work he had discovered; and, with lips closed, but imploring with that voice of the soul with which we speak to ourselves, she lifted toward the Divine martyr a sorrowful supplication. Distracted by the need of being heard and succored, naïve in her distress, as are all faithful ones on their knees, she could not doubt that He heard her, that He was attentive to her request, and was perhaps touched at her grief. She did not ask Him to do for her that which He never had done for anyone – to leave her until death all her charm, her freshness and grace; she begged only a little repose, a little respite. She must grow old, of course, just as she must die. But why so soon? Some women remain beautiful so long! Could He not grant that she should be one of these? How good He would be, He who had also suffered so much, if only He would let her keep for two or three years still the little charm she needed in order to be pleasing.
She did not say these things to Him, of course, but she sighed them forth, in the confused plaint of her being.
Then, having risen, she would sit before her toilet-table, and with a tension of thought as ardent as in her prayer, she would handle the powders, the pastes, the pencils, the puffs and brushes, which gave her once more a plaster-like beauty, fragile, lasting only for a day.
CHAPTER VI
THE ASHES OF LOVE
On the Boulevard two names were heard from all lips: “Emma Helsson” and “Montrose.” The nearer one approached the Opera, the oftener he heard those names repeated. Immense posters, too, affixed to the Morris columns, announced them in the eyes of passers, and in the evening air could be felt the excitement of an approaching event.
That heavy monument called the National Academy of Music, squatted under the black sky, exhibited to the crowd before its doors the pompous, whitish facade and marble colonnade of its balcony, illuminated like a stage setting by invisible electric lights.
In the square the mounted Republican guards directed the movement of the crowds, and the innumerable carriages coming from all parts of Paris allowed glimpses of creamy light stuff and fair faces behind their lowered windows.
The coupes and landaus formed in line under the reserved arcades, and stopped for a moment, and from them alighted fashionable and other women, in their opera-cloaks, trimmed with fur, feathers, and rare laces – precious bodies, divinely set forth!
All the way along the celebrated stairway was a sort of fairy flight, an uninterrupted mounting of ladies dressed like queens, whose throats and ears scattered flashing rays from their diamonds, and whose long trains swept the stairs.
The theater was filling early, for no one wished to lose a note of the two illustrious artists; and throughout the vast amphitheater, under the dazzling electric light from the great chandelier, a throng of people were seating themselves amid an uproar of voices.
From the stage-box, already occupied by the Duchess, Annette, the Count, the Marquis, Bertin and Musadieu, one could see nothing but the wings, where men were talking, running about, and shouting, machinists in blouses, gentlemen in evening dress, actors in costume. But behind the great curtain one heard the deep sound of the crowd, one felt the presence of a mass of moving, over-excited beings, whose agitation seemed to penetrate the curtain, and to extend even to the decorations.
They were about to present Faust.
Musadieu was relating anecdotes about the first representatives of this work at the Theatre Lyrique, of its half success in the beginning followed by brilliant triumph, of the original cast, and their manner of singing each aria. Annette, half turned toward him, listened with that eager, youthful curiosity with which she regarded the whole world; and at times she cast a tender glance at her fiance, who in a few days would be her husband. She loved him, now, as innocent hearts love; that is to say she loved in him all the hopes she had for the future. The intoxication of the first feasts of life, and the ardent longing to be happy, made her tremble with joy and expectation.
And Olivier, who saw all, and knew all, who had sounded all the depths of secret, helpless, and jealous love, down in the furnace of human suffering, where the heart seems to crackle like flesh over hot coals, stood in the back of the box looking at them with eyes that betrayed his torture.
The three blows were struck, and suddenly the sharp little tap of a bow on the leader’s desk stopped short all movement, all coughing and whispering; then, after a brief and profound silence, the first measure of the introduction arose, filling the house with the invisible and irresistible mystery of the music that penetrates our bodies, thrills our nerves and souls with a poetic and sensuous fever, mingling with the limpid air we breathe a wave of sound to which we listen.
Olivier took a seat at the back of the box, painfully affected, as if his heart’s wounds had been touched by those accents. But when the curtain rose he stood up again, and saw Doctor Faust, lost in sorrowful meditation, seated in his alchemist’s laboratory.
He had already heard the opera twenty times, and almost knew it by heart, and his attention soon wandered from the stage to the audience. He could see only a small part of it behind the frame of the stage which concealed their box, but the angle that was visible, extending from the orchestra to the top gallery, showed him a portion of the audience in which he recognized many faces. In the orchestra rows, the men in white cravats, sitting side by side, seemed a museum of familiar countenances, society men, artists, journalists, the whole category of those that never fail to go where everyone else goes. In the balcony and in the boxes he noted and named to himself the women he recognized. The Comtesse de Lochrist, in a proscenium box, was absolutely ravishing, while a little farther on a bride, the Marquise d’Ebelin, was already looking through her lorgnette. “That is a pretty debut,” said Bertin to himself.
The audience listened with deep attention and evident sympathy to the tenor Montrose, who was lamenting over his waning life.
Olivier thought: “What a farce! There is Faust, the mysterious and sublime Faust who sings the horrible disgust and nothingness of everything; and this crowd are asking themselves anxiously whether Montrose’s voice has not changed!” Then he listened, like the others, and behind the trivial words of the libretto, through that music which awakens profound perception in the soul, he had a sort of revelation as to how Goethe had been able to conceive the heart of Faust.
He had read the poem some time before, and thought it very beautiful without being moved by it, but now he suddenly realized its unfathomable depth, for it seemed to him that on that evening he himself had become a Faust.
Leaning lightly upon the railing of the box, Annette was listening with all her ears; and murmurs of satisfaction were beginning to be heard from the audience, for Montrose’s voice was better and richer than ever!
Bertin had closed his eyes. For a whole month, all that he had seen, all that he had felt, everything that he had encountered in life he had immediately transformed into a sort of accessory to his passion. He threw the world and himself as nourishment to this fixed idea. All that he saw that was beautiful or rare, all that he imagined that was charming, he mentally offered to his little friend; and he had no longer an idea that he did not in some way connect with his love.
Now he listened from the depths of his soul to the echo of Faust’s lamentations, and the desire to die surged up within him, the desire to have done with all his grief, with all the misery of his hopeless love. He looked at Annette’s delicate profile, and saw the Marquis de Farandal, seated behind her, also looking at it. He felt old, lost, despairing. Ah, never to await anything more, never to hope for anything more, no longer to have even the right to desire, to feel himself outside of everything, in the evening of life, like a superannuated functionary whose career is ended – what intolerable torture!
Applause burst forth; Montrose had triumphed already. And Labarriere as Mephistopheles sprang up from the earth.
Olivier, who never had heard him in this role, listened with renewed attention. The remembrance of Aubin, so dramatic with his bass voice, then of Faure, so seductive with his baritone, distracted him a short time.
But suddenly a phrase sung by Montrose with irresistible power stirred him to the heart. Faust was saying to Satan:
“Je veux un tresor qui les contient tous —
Je veux la jeunesse.”
And the tenor appeared in silken doublet, a sword by his side, a plumed cap on his head, elegant, young, and handsome, with the affectations of a handsome singer.
A murmur arose. He was very attractive and the women were pleased with him. But Olivier felt some disappointment, for the poignant evocation of Goethe’s dramatic poem disappeared in this metamorphosis. Thenceforth he saw before him only a fairy spectacle, filled with pretty little songs, and actors of talent whose voices were all he listened to. That man in a doublet, that pretty youth with his roulades, who showed his thighs and displayed his voice, displeased him. This was not the real, irresistible, and sinister Chevalier Faust, who was about to seduce the fair Marguerite.
He sat down again, and the phrase he had just heard returned to his mind:
“I would have a treasure that embraces all – Youth!”
He murmured it between his teeth, sang it sadly in the depths of his soul, and, with eyes fixed always upon Annette’s blonde head, which rose in the square opening of the box, he felt all the bitterness of that desire that never could be realized.
But Montrose had just finished the first act with such perfection that enthusiasm broke forth. For several minutes, the noise of clapping, stamping, and bravos swept like a storm through the theater. In all the boxes the women clapped their gloved hands, while the men standing behind them shouted as they applauded.
The curtain fell, but it was raised twice before the applause subsided. Then, when the curtain had fallen for the third time, separating the stage and the interior boxes from the audience, the Duchess and Annette continued their applause a few moments, and were specially thanked by a discreet bow from the tenor.
“Oh, he looked at us!” said Annette.
“What an admirable artist!” said the Duchess.
And Bertin, who had been leaning over, looked with a mingled feeling of irritation and disdain at the admired actor as he disappeared between two wings, waddling a little, his legs stiff, one hand on his hip, in the affected pose of a theatrical hero.
They began to talk of him. His social successes had made him as famous as his talent. He had visited every capital, in the midst of feminine ecstasies of those who, hearing before he appeared that he was irresistible, had felt their hearts throb as he appeared upon the stage. But it was said that he appeared to care very little for all this sentimental delirium, and contented himself with his musical triumphs. Musadieu related, in veiled language because of Annette’s presence, details of the life of this handsome singer, and the Duchess, quite carried away, understood and approved all the follies that he was able to create, so seductive, elegant, and distinguished did she consider this exceptional musician! She concluded, laughing: “And how can anyone resist that voice!”
Olivier felt angry and bitter. He did not understand how anyone could really care for a mere actor, for that perpetual representation of human types which never resembled himself in the least; that illusory personification of imaginary men, that nocturnal and painted manikin who plays all his characters at so much a night.
“You are jealous of them!” said the Duchess. “You men of the world and artists all have a grudge against actors because they are more successful than you.” Turning to Annette, she added: “Come, little one, you who are entering life and look at it with healthy eyes, what do you think of this tenor?”
“I think he is very good indeed,” Annette replied, with an air of conviction.
The three strokes sounded for the second act, and the curtain rose on the Kermesse.
Helsson’s passage was superb. She seemed to have more voice than formerly, and to have acquired more certainty of method. She had, indeed, become the great, excellent, exquisite singer, whose worldly fame equaled that of Bismarck or De Lesseps.
When Faust rushed toward her, when he sang in his bewitching voice phrases so full of charm and when the pretty blonde Marguerite replied so touchingly the whole house was moved with a thrill of pleasure.
When the curtain fell, the applause was tremendous, and Annette applauded so long that Bertin wished to seize her hands to make her stop. His heart was stung by a new torment. He did not speak between the acts, for he was pursuing into the wings, his fixed thought now become absolute hatred, following to his box, where he saw, putting more white powder on his cheeks, the odious singer who was thus over-exciting this child!
Then the curtain rose on the garden scene. Immediately a sort of fever of love seemed to spread through the house, for never had that music, which seems like the breath of kisses, been rendered by two such interpreters. It was no longer two illustrious actors, Montrose and Helsson; they became two beings from the ideal world, hardly two beings, indeed, but two voices: the eternal voice of the man that loves, the eternal voice of the woman that yields; and together they sighed forth all the poetry of human tenderness.
When Faust sang:
“Laisse-moi, laisse-moi contempler ton visage,”
in the notes that soared from his mouth there was such an accent of adoration, of transport and supplication that for a moment a desire to love filled every heart.
Olivier remembered that he had murmured that phrase himself in the park at Roncieres, under the castle windows.
Until then he had thought it rather ordinary; but now it rose to his lips like a last cry of passion, a last prayer, the last hope and the last favor he might expect in this life.
Then he listened no more, heard nothing more. A sharp pang of jealousy tore his heart, for he had just seen Annette carry her handkerchief to her eyes.
She wept! Then her heart was awakening, becoming animated and moved, her little woman’s heart which as yet knew nothing! There, very near him, without giving a thought to him, she had a revelation of the way in which love may overwhelm a human being; and this revelation, this initiation had come to her from that miserable strolling singer!
Ah, he felt very little anger now toward the Marquis de Farandal, that stupid creature who saw nothing, who did not know, did not understand! But how he execrated that man in tights, who was illuminating the soul of that young girl!
He longed to throw himself upon her, as one throws himself upon a person in danger of being run over by a fractious horse, to seize her by the arm and drag her away, and say to her: “Let us go! let us go! I entreat you!”
How she listened, how she palpitated! And how he suffered. He had suffered thus before, but less cruelly. He remembered it, for the stings of jealousy smart afresh like reopened wounds. He had first felt it at Roncieres, in returning from the cemetery, when he felt for the first time that she was escaping from him, that he could not control her, that young girl as independent as a young animal. But down there, when she had irritated him by leaving him to pluck flowers, he had experienced chiefly a brutal desire to check her playful flights, to compel her person to remain beside him; to-day it was her fleeting, intangible soul that was escaping. Ah, that gnawing irritation which he had just recognized, how often he had experienced it by the indescribable little wounds which seem to be always bruising a loving heart. He recalled all the painful impressions of petty jealousy that he had endured, in little stings, day after day. Every time that she had remarked, admired, liked, desired something, he had been jealous of it; jealous in an imperceptible but continuous fashion, jealous of all that absorbed the time, the looks, the attention, the gaiety, the astonishment or affection of Annette, for all that took a little of her away from him. He had been jealous of all that she did without him, of all that he did not know, of her going about, her reading, of everything that seemed to please her, jealous even of a heroic officer wounded in Africa, of whom Paris talked for a week, of the author of a much praised romance, of a young unknown poet she never had seen, but whose verses Musadieu had recited; in short, of all men that anyone praised before her, even carelessly, for when one loves a woman one cannot tolerate without anguish that she should even think of another with an appearance of interest. In one’s heart is felt the imperious need of being for her the only being in the world. One wishes her to see, to know, to appreciate no one else. So soon as she shows an indication of turning to look at or recognize some person, one throws himself before her, and if one cannot turn aside or absorb her interest he suffers to the bottom of his heart.
