“You have been in the East—I envy you. And Greece, and Egypt,—all the associations! You have travelled back into the Past; you have escaped, as Madame D’Epinay wished, out of civilisation and into romance.”
“Yet Madame D’Epinay passed her own life in making pretty romances out of a very agreeable civilisation,” said Maltravers, smiling.
“You know her Memoirs, then,” said Madame de Ventadour, slightly colouring. “In the current of a more exciting literature few have had time for the second-rate writings of a past century.”
“Are not those second-rate performances often the most charming,” said Maltravers, “when the mediocrity of the intellect seems almost as if it were the effect of a touching, though too feeble, delicacy of sentiment? Madame D’Epinay’s Memoirs are of this character. She was not a virtuous woman—but she felt virtue and loved it; she was not a woman of genius—but she was tremblingly alive to all the influences of genius. Some people seem born with the temperament and the tastes of genius without its creative power; they have its nervous system, but something is wanting in the intellectual. They feel acutely, yet express tamely. These persons always have in their character an unspeakable kind of pathos—a court civilisation produces many of them—and the French memoirs of the last century are particularly fraught with such examples. This is interesting—the struggle of sensitive minds against the lethargy of a society, dull, yet brilliant, that glares them, as it were, to sleep. It comes home to us; for,” added Maltravers, with a slight change of voice, “how many of us fancy we see our own image in the mirror!”
And where was the German baron?—flirting at the other end of the room. And the English lord?—dropping monosyllables to dandies by the doorway. And the minor satellites?—dancing, whispering, making love, or sipping lemonade. And Madame de Ventadour was alone with the young stranger in a crowd of eight hundred persons; and their lips spoke of sentiment, and their eyes involuntarily applied it!
While they were thus conversing, Maltravers was suddenly startled by hearing close behind him, a sharp, significant voice, saying in French, “Hein, hein! I’ve my suspicions—I’ve my suspicions.”
Madame de Ventadour looked round with a smile. “It is only my husband,” said she, quietly; “let me introduce him to you.”
Maltravers rose and bowed to a little thin man, most elaborately dressed, and with an immense pair of spectacles upon a long sharp nose.
“Charmed to make your acquaintance, sir!” said Monsieur de Ventadour. “Have you been long in Naples?... Beautiful weather—won’t last long—hein, hein, I’ve my suspicions! No news as to your parliament—be dissolved soon! Bad opera in London this year!—hein, hein—I’ve my suspicions.”
This rapid monologue was delivered with appropriate gesture. Each new sentence Mons. de Ventadour began with a sort of bow, and when it dropped in the almost invariable conclusion affirmative of his shrewdness and incredulity, he made a mystical sign with his forefinger by passing it upward in a parallel line with his nose, which at the same time performed its own part in the ceremony by three convulsive twitches, that seemed to shake the bridge to its base.