BOOK I
ON LOVE
CHAPTER I
OF LOVE
My aim is to comprehend that passion, of which every sincere development has a character of beauty.
There are four kinds of love.
1. Passion-love—that of the Portuguese nun[(1)], of Héloïse for Abelard, of Captain de Vésel, of Sergeant de Cento.
2. Gallant love—that which ruled in Paris towards 1760, to be found in the memoirs and novels of the period, in Crébillon, Lauzun, Duclos, Marmontel, Chamfort, Mme. d'Épinay, etc. etc.
'Tis a picture in which everything, to the very shadows, should be rose-colour, in which may enter nothing disagreeable under any pretext whatsoever, at the cost of a lapse of etiquette, of good taste, of refinement, etc. A man of breeding foresees all the ways of acting, that he is likely to adopt or meet with in the different phases of this love. True love is often less refined; for that in which there is no passion and nothing unforeseen, has always a store of ready wit: the latter is a cold and pretty miniature, the former a picture by the Carracci. Passion-love carries us away in defiance of all our interests, gallant love manages always to respect them. True, if we take from this poor love its vanity, there is very little left: once stripped, it is like a tottering convalescent, scarcely able to drag himself along.
3. Physical love. Out hunting—a fresh, pretty country girl crosses your path and escapes into the wood. Everyone knows the love founded on this kind of pleasure: and all begin that way at sixteen, however parched and unhappy the character.
4. Vanity-love. The vast majority of men, especially in France, desire and have a fashionable woman, in the same way as a man gets a fine horse, as something which the luxury of a young man demands. Their vanity more or less flattered, more or less piqued, gives birth to transports of feelings. Sometimes there is also physical love, but by no means always: often there is not so much as physical pleasure. A duchess is never more than thirty for a bourgeois, said the Duchesse de Chaulnes, and those admitted to the Court of that just man, king Lewis of Holland, recall with amusement a pretty woman from the Hague, who could not help finding any man charming who was Duke or Prince. But true to the principle of monarchy, as soon as a Prince arrived at Court, the Duke was dismissed: she was, as it were, the decoration of the diplomatic body.
The happiest case of this uninspiring relationship is that in which to physical pleasure is added habit. In that case store of memories makes it resemble love a little; there is the pique of self-esteem and sadness on being left; then, romance forces upon us its ideas and we believe that we are in love and melancholy, for vanity aspires to credit itself with a great passion. This, at least, is certain that, whatever kind of love be the source of pleasure, as soon as the soul is stirred, the pleasure is keen and its memory alluring, and in this passion, contrary to most of the others, the memory of our losses seems always to exceed the bounds of what we can hope for in the future.
Sometimes, in vanity-love habit or despair of finding better produces a kind of friendship, of all kinds the least pleasant: it prides itself on its security, etc.[1]
Physical pleasure, being of our nature, is known to everybody, but it takes no more than a subordinate position in the eyes of tender and passionate souls. If they raise a laugh in the salons, if often they are made unhappy in the intrigues of society, in return the pleasure which they feel must remain always inaccessible to those hearts, whose beat only vanity and gold can quicken.
A few virtuous and sensitive women have scarcely a conception of physical pleasures: they have so rarely risked them, if one may use the expression, and even then the transports of passion-love caused bodily pleasure almost to be forgotten.
There are men victims and instruments of diabolical pride, of a pride in the style of Alfieri. Those people who, perhaps, are cruel because, like Nero, judging all men after the pattern of their own heart, they are always a-tremble—such people, I say, can attain physical pleasure only in so far as it is accompanied by the greatest possible exercise of pride, in so far, that is to say, as they practise cruelties on the companion of their pleasures. Hence the horrors of Justine[(2)]. At any rate such men have no sense of security.
To conclude, instead of distinguishing four different forms of love, we can easily admit eight or ten shades of difference. Perhaps mankind has as many ways of feeling as of seeing; but these differences of nomenclature alter in no degree the judgments which follow. Subject to the same laws, all forms of love, which can be seen here below, have their birth, life and death or ascend to immortality.[2]
[1] Well-known dialogue of Pont de Veyle with Madame du Deffant, at the fireside.
[2] This book is a free translation of an Italian MS. of M. Lisio Visconti, a young man of the highest distinction, who died recently at Volterra, the place of his birth. The day of his sudden death he gave the translator permission to publish his Essay on Love, if means were found to shape it to a decorous form. Castel Fiorentino, June 10th, 1819.
CHAPTER II
OF THE BIRTH OF LOVE
This is what takes place in the soul:—
1. Admiration.
2. A voice within says: "What pleasure to kiss, to be kissed."
3. Hope[(3)].
We study her perfections: this is the moment at which a woman should yield to realise the greatest possible physical pleasure. In the case even of the most reserved women, their eyes redden at the moment when hope is conceived: the passion is so strong, the pleasure so keen, that it betrays itself by striking signs.
4. Love is born.
To love—that is to have pleasure in seeing, touching, feeling, through all the senses and as near as possible, an object to be loved and that loves us.
5. The first crystallisation begins.
The lover delights in decking with a thousand perfections the woman of whose love he is sure: he dwells on all the details of his happiness with a satisfaction that is boundless. He is simply magnifying a superb bounty just fallen to him from heaven,—he has no knowledge of it but the assurance of its possession.
Leave the mind of a lover to its natural movements for twenty-four hours, and this is what you will find.
At the salt mines of Salzburg a branch stripped of its leaves by winter is thrown into the abandoned depths of the mine; taken out two or three months later it is covered with brilliant crystals; the smallest twigs, those no stouter than the leg of a sparrow, are arrayed with an infinity of sparkling, dazzling diamonds; it is impossible to recognise the original branch.
I call crystallisation the operation of the mind which, from everything which is presented to it, draws the conclusion that there are new perfections in the object of its love.
A traveller speaks of the freshness of the orange groves at Genoa, on the sea coast, during the scorching days of summer.—What pleasure to enjoy that freshness with her!
One of your friends breaks his arm in the hunting-field.—How sweet to be nursed by a woman you love! To be always with her, to see every moment her love for you, would make pain almost a blessing: and starting from the broken arm of your friend, you conclude with the absolute conviction of the angelic goodness of your mistress. In a word, it is enough to think of a perfection in order to see it in that which you love.
This phenomenon, which I venture to call crystallisation, is the product of human nature, which commands us to enjoy and sends warm blood rushing to our brain; it springs from the conviction that the pleasures of love increase with the perfections of its object, and from the idea: "She is mine." The savage has no time to go beyond the first step. He is delighted, but his mental activity is employed in following the flying deer in the forest, and with the flesh with which he must as soon as possible repair his forces, or fall beneath the axe of his enemy.
At the other pole of civilisation, I have no doubt that a sensitive woman may come to the point of feeling no physical pleasure but with the man she loves.[1] It is the opposite with the savage. But among civilised peoples, woman has leisure at her disposal, while the savage is so pressed with necessary occupations that he is forced to treat his female as a beast of burden. If the females of many animals are more fortunate, it is because the subsistence of the males is more assured.
But let us leave the backwoods again for Paris. A man of passion sees all perfections in that which he loves. And yet his attention may still be distracted; for the soul has its surfeit of all that is uniform, even of perfect bliss.[2]
This is what happens to distract his attention:—
6. Birth of Doubt.
After ten or twelve glances, or some other series of actions, which can last as well several days as one moment, hopes are first given and later confirmed. The lover, recovered from his first surprise and, accustomed to his happiness or guided by theory, which, always based on the most frequent cases, must only take light women into account—the lover, I say, demands more positive proofs and wishes to press his good fortune.
He is parried with indifference,[3] coldness, even anger, if he show too much assurance—in France a shade of irony, which seems to say: "You are not quite as far as you think."
A woman behaves in this way, either because she wakes up from a moment of intoxication, and obeys the word of modesty, which she trembles to have infringed, or simply through prudence or coquetry.
The lover comes to doubt of the happiness, to which he looked forward: he scans more narrowly the reasons that he fancied he had for hope.
He would like to fall back upon the other pleasures of life, and finds them annihilated. He is seized with the fear of a terrible disaster, and at the same time with a profound preoccupation.
7. Second crystallisation.
Here begins the second crystallisation, which forms diamonds out of the proofs of the idea—"She loves me."
The night which follows the birth of doubts, every quarter of an hour, after a moment of fearful unhappiness, the lover says to himself—"Yes, she loves me"—and crystallisation has its turn, discovering new charms. Then doubt with haggard eye grapples him and brings him to a standstill, blank. His heart forgets to beat—"But does she love me?" he says to himself. Between these alternatives, agonising and rapturous, the poor lover feels in his very soul: "She would give me pleasures, which she alone can give me and no one else."
It is the palpability of this truth, this path on the extreme edge of a terrible abyss and within touch, on the other hand, of perfect happiness, which gives so great a superiority to the second crystallisation over the first.
The lover wanders from moment to moment between these three ideas:—
- She has every perfection.
- She loves me.
- What means of obtaining the greatest proof of her love?
The most agonising moment of love, still young, is when it sees the false reasoning it has made, and must destroy a whole span of crystallisation.
Doubt is the natural outcome of crystallisation.
[1] If this peculiarity is not observed in the case of man, the reason is that on his side there is no modesty to be for a moment sacrificed.
[2] That is to say, that the same tone of existence can give but one instant of perfect happiness; but with a man of passion, his mood changes ten times a day.
[3] The coup de foudre (thunderbolt from the blue), as it was called in the novels of the seventeenth century, which disposes of the fate of the hero and his mistress, is a movement of the soul, which for having been abused by a host of scribblers, is experienced none the less in real life. It comes from the impossibility of this defensive manoeuvre. The woman who loves finds too much happiness in the sentiment, which she feels, to carry through successful deception: tired of prudence, she neglects all precaution and yields blindly to the passion of loving. Diffidence makes the coup de foudre impossible.
CHAPTER III
OF HOPE
A very small degree of hope is enough to cause the birth of love.
In the course of events hope may fail—love is none the less born. With a firm, daring and impetuous character, and in an imagination developed by the troubles of life, the degree of hope may be smaller: it can come sooner to an end, without killing love.
If a lover has had troubles, if he is of a tender, thoughtful character, if he despairs of other women, and if his admiration is intense for her whom he loves, no ordinary pleasure will succeed in distracting him from the second crystallisation. He will prefer to dream of the most doubtful chance of pleasing her one day, than to accept from an ordinary woman all she could lavish.
The woman whom he loves would have to kill his hope at that period, and (note carefully, not later) in some inhuman manner, and overwhelm him with those marks of patent contempt, which make it impossible to appear again in public.
Far longer delays between all these periods are compatible with the birth of love.
It demands much more hope and much more substantial hope, in the case of the cold, the phlegmatic and the prudent. The same is true of people no longer young.
It is the second crystallisation which ensures love's duration, for then every moment makes it clear that the question is—be loved or die. Long months of love have turned into habit this conviction of our every moment—how find means to support the thought of loving no more? The stronger the character the less is it subject to inconstancy.
This second crystallisation is almost entirely absent from the passions inspired by women who yield too soon.
After the crystallisations have worked—especially the second, which is far the stronger—the branch is no longer to be recognised by indifferent eyes, for:—
(1) It is adorned with perfections which they do not see.
(2) It is adorned with perfections which for them are not perfections at all.
The perfection of certain charms, mentioned to him by an old friend of his love, and a certain hint of liveliness noticed in her eye, are a diamond in the crystallisation[1] of Del Rosso. These ideas, conceived during the evening, keep him dreaming all the night.
An unexpected answer, which makes me see more clearly a tender, generous, ardent, or, as it is popularly called, romantic[2] soul, preferring to the happiness of kings the simple pleasures of a walk with the loved one at midnight in a lonely wood, gives me food for dreams[3] for a whole night.
Let him call my mistress a prude: I shall call his a whore.
[1] I have called this essay a book of Ideology. My object was to indicate that, though it is called "Love," it is not a novel and still less diverting like a novel. I apologise to philosophers for having taken the word Ideology: I certainly did not intend to usurp a title which is the right of another. If Ideology is a detailed description of ideas and all the parts which can compose ideas, the present book is a detailed description of all the feelings which can compose the passion called Love. Proceeding, I draw certain consequences from this description: for example, the manner of love's cure. I know no word to say in Greek "discourse on ideas." I might have had a word invented by one of my learned friends, but I am already vexed enough at having to adopt the new word crystallisation, and, if this essay finds readers, it is quite possible that they will not allow my new word to pass. To avoid it, I own, would have been the work of literary talent: I tried, but without success. Without this word, which expresses, according to me, the principal phenomenon of that madness called Love—madness, however, which procures for man the greatest pleasures which it is given to the beings of his species to taste on earth—without the use of this word, which it were necessary to replace at every step by a paraphrase of considerable length, the description, which I give of what passes in the head and the heart of a man in love, would have become obscure, heavy and tedious, even for me who am the author: what would it have been for the reader?
I invite, therefore, the reader, whose feelings the word crystallisation shocks too much, to close the book. To be read by many forms no part of my prayers—happily, no doubt, for me. I should love dearly to give great pleasure to thirty or forty people of Paris, whom I shall never see, but for whom, without knowing, I have a blind affection. Some young Madame Roland, for example, reading her book in secret and precious quickly hiding it, at the least noise, in the drawers of her father's bench—her father the engraver of watches. A soul like that of Madame Roland will forgive me, I hope, not only the word crystallisation, used to express that act of madness which makes us perceive every beauty, every kind of perfection, in the woman whom we begin to love, but also several too daring ellipses besides. The reader has only to take a pencil and write between the lines the five or six words which are missing.
[2] All his actions had at first in my eyes that heavenly air, which makes of a man a being apart, and differentiates him from all others. I thought that I could read in his eyes that thirst for a happiness more sublime, that unavowed melancholy, which yearns for something better than we find here below, and which in all the trials that fortune and revolution can bring upon a romantic soul,
... still prompts the celestial sight
For which we wish to live or dare to die.
(Last letter of Bianca to her mother. Forlì, 1817.)
[3] It is in order to abridge and to be able to paint the interior of the soul, that the author, using the formula of the first person, alleges several feelings to which he is a stranger: personally, he never had any which would be worth quoting.