verses is worse than prosaic poetry.”
“Is it true that the verses which, like parasites, steal into a funeral oration, must be sadly out of place?”
“Certainly. Take the example of Tacitus, who begins his history of Rome by these words: ‘Urbem Romam a principio reges habuere’. They form a very poor Latin hexameter, which the great historian certainly never made on purpose, and which he never remarked when he revised his work, for there is no doubt that, if he had observed it, he would have altered that sentence. Are not such verses considered a blemish in Italian prose?”
“Decidedly. But I must say that a great many poor writers have purposely inserted such verses into their prose, believing that they would make it more euphonious. Hence the tawdriness which is justly alleged against much Italian literature. But I suppose you are the only writer who takes so much pains.”
“The only one? Certainly not. All the authors who can compose blank verses very easily, as I can, employ them when they intend to make a fair copy of their prose. Ask Crebillon, the Abby de Voisenon, La Harpe, anyone you like, and they will all tell you the same thing. Voltaire was the first to have recourse to that art in the small pieces in which his prose is truly charming. For instance, the epistle to Madame du Chatelet, which is magnificent. Read it, and if you find a single hemistich in it I will confess myself in the wrong.”
I felt some curiosity about the matter, and I asked Crebillon about it. He told me that Fatu was right, but he added that he had never practised that art himself.
Patu wished very much to take me to the opera in order to witness the effect produced upon me by the performance, which must truly astonish an Italian. ‘Les Fetes Venitiennes’ was the title of the opera which was in vogue just then—a title full of interest for me. We went for our forty sous to the pit, in which, although the audience was standing, the company was excellent, for the opera was the favourite amusement of the Parisians.
After a symphony, very fine in its way and executed by an excellent orchestra, the curtain rises, and I see a beautiful scene representing the small St. Mark’s Square in Venice, taken from the Island of St. George, but I am shocked to see the ducal palace on my left, and the tall steeple on my right, that is to say the very reverse of reality. I laugh at this ridiculous mistake, and Patu, to whom I say why I am laughing, cannot help joining me. The music, very fine although in the ancient style, at first amused me on account of its novelty, but it soon wearied me. The melopaeia fatigued me by its constant and tedious monotony, and by the shrieks given out of season. That melopaeia, of the French replaces—at least they think so—the Greek melapaeia and our recitative which they dislike, but which they would admire if they understood Italian.
The action of the opera was limited to a day in the carnival, when the Venetians are in the habit of promenading masked in St. Mark’s Square. The stage was animated by gallants, procuresses, and women amusing themselves with all sorts of intrigues. The costumes were whimsical and erroneous, but the whole was amusing. I laughed very heartily, and it was truly a curious sight for a Venetian, when I saw the Doge followed by twelve Councillors appear on the stage, all dressed in the most ludicrous style, and dancing a ‘pas d’ensemble’. Suddenly the whole of the pit burst into loud applause at the appearance of a tall, well-made dancer, wearing a mask and an enormous black wig, the hair of which went half-way down his back, and dressed in a robe open in front and reaching to his heels. Patu said, almost reverently, “It is the inimitable Dupres.” I had heard of him before, and became attentive. I saw that fine figure coming forward with measured steps, and when the dancer had arrived in front of the stage, he raised slowly his rounded arms, stretched them gracefully backward and forward, moved his feet with precision and lightness, took a few small steps, made some battements and pirouettes, and disappeared like a butterfly. The whole had not lasted half a minute. The applause burst from every part of the house. I was astonished, and asked my friend the cause of all those bravos.
“We applaud the grace of Dupres and, the divine harmony of his movements. He is now sixty years of age, and those who saw him forty years ago say that he is always the same.”
“What! Has he never danced in a different style?”
“He could not have danced in a better one, for his style is perfect, and what can you want above perfection?”
“Nothing, unless it be a relative perfection.”
“But here it is absolute. Dupres always does the same thing, and everyday we fancy we see it for the first time. Such is the power of the good and beautiful, of the true and sublime, which speak to the soul. His dance is true harmony, the real dance, of which you have no idea in Italy.”
At the end of the second act, Dupres appeared again, still with a mask, and danced to a different tune, but in my opinion doing exactly the same as before. He advanced to the very footlights, and stopped one instant in a graceful attitude. Patu wanted to force my admiration, and I gave way. Suddenly everyone round me exclaimed,—
“Look! look! he is developing himself!”
And in reality he was like an elastic body which, in developing itself, would get larger. I made Patu very happy by telling him that Dupres was truly very graceful in all his movements. Immediately after him we had a female dancer, who jumped about like a fury, cutting to right and left, but heavily, yet she was applauded ‘con furore’.
“This is,” said Patu, “the famous Camargo. I congratulate you, my friend, upon having arrived in Paris in time to see her, for she has accomplished her twelfth lustre.”
I confessed that she was a wonderful dancer.
“She is the first artist,” continued my friend, “who has dared to spring and jump on a French stage. None ventured upon doing it before her, and, what is more extraordinary, she does not wear any drawers.”
“I beg your pardon, but I saw....”
“What? Nothing but her skin which, to speak the truth, is not made of lilies and roses.”
“The Camargo,” I said, with an air of repentance, “does not please me. I like Dupres much better.”
An elderly admirer of Camargo, seated on my left, told me that in her youth she could perform the ‘saut de basque’ and even the ‘gargouillade’, and that nobody had ever seen her thighs, although she always danced without drawers.
“But if you never saw her thighs, how do you know that she does not wear silk tights?”
“Oh! that is one of those things which can easily be ascertained. I see you are a foreigner, sir.”
“You are right.”
But I was delighted at the French opera, with the rapidity of the scenic changes which are done like lightning, at the signal of a whistle—a thing entirely unknown in Italy. I likewise admired the start given to the orchestra by the baton of the leader, but he disgusted me with the movements of his sceptre right and left, as if he thought that he could give life to all the instruments by the mere motion of his arm. I admired also the silence of the audience, a thing truly wonderful to an Italian, for it is with great reason that people complain of the noise made in Italy while the artists are singing, and ridicule the silence which prevails through the house as soon as the dancers make their appearance on the stage. One would imagine that all the intelligence of the Italians is in their eyes. At the same time I must observe that there is not one country in the world in which extravagance and whimsicalness cannot be found, because the foreigner can make comparisons with what he has seen elsewhere, whilst the natives are not conscious of their errors. Altogether the opera pleased me, but the French comedy captivated me. There the French are truly in their element; they perform splendidly,
