During the reading, Roquairol's whole face became hateful, even in his friend's eye. He darted then such a flaming look of indignation at Albano, that the latter involuntarily and unconsciously returned it. "O, verily, I understand it all," said Charles; "so was the thing to be solved. Only wait till to-morrow!" All muscles in him were alive, all features distorted, everything in commotion, just as, in a violent tempest, little cloudlets whirl around each other. Albano would fain question and detain him. "To-morrow, to-morrow!" he cried, and went off like a storm.
87. CYCLE.
On the morrow, Albano received a singular letter from Roquairol, for the understanding of which some notices of his connection with Rabette must be prefixed.
Nothing is harder, when one really loves one's friend, than scarcely to look at that friend's sister. Nothing is easier (except only the converse) than, after being disenchanted by city hearts, to be enchanted by country hearts. Nothing is more natural for a general lover, who loves all, than to love one among them. It needs not be proved that the Captain had been in all three cases at once, when he, for the first time, told Rabette she had his heart, as he was pleased to call it. She, of course, should not have worshipped, at such a nearness, the Hamadryad in such a Upas-tree, with whose sap so many of Cupid's arrows are poisoned; but she and most of her sisters are so dazzled by men's advantages as not to see men's misuse of them.
In the beginning many things went well; the pure innocence of his sister and his friend threw a strange magic light upon the unnatural union. The prominent advantage was, that he, as concert-master of his love, needed little more of Rabette than her ears; loving was with him talking, and he looked upon actions merely as the drawing of our soul; words being the colors. There is a twofold love,—love of the feeling and love of the object. The former is more man's love; it wishes the enjoyment of its own being, the foreign object is to it only the microscopic object-bearer, or much rather subject-bearer, whereupon it beholds its "I" magnified; it can therefore easily let its objects change, if only the flame into which they are thrown as fuel continues to blaze up high; and it enjoys itself less through actions, which are always long, tedious, and troublesome, than by words, which picture and promote it at the same time. The love of the object, on the contrary, enjoys and desires nothing but its welfare (such is for the most part female and parental love), and only deeds and sacrifices give it peace and satisfaction; it loves for the sake of blessing, whereas the other only blesses for the sake of loving.
Roquairol had long since devoted himself to the love of the feeling. Hence it was that he must make so many words; at the Rhine-fall of Schaffhausen he would not have been in the best, that is, the most excited mood, merely because he could not—since the flood out-thunders everything—have delivered anything himself in praise thereof, on account of the sublime uproar.
His Romance with Rabette after the declaration of love was divided into distinct chapters.
The first chapter he sweetened for himself in her society, by the consideration that she was new and belonged to him and yielded him an admiring obedience. He painted for her therein great pieces of beautiful nature, mixed therewith some nearer emotions, and thereupon kissed her; so that she really enjoyed his lips in two forms, that of action and that of speech; from her, as has been said, he wanted only a pair of open ears. In this chapter he assumed also some possibility of their marriage; men so easily confound the charm of a new love with the worth and duration of it.
He set himself about his second chapter, and swam therein blissfully in the tears with which he sought to write it out. In fact, this ocular pleasure afforded him more true joy than almost the best chapters. When, in such mood, he sat and drank by her side,—for, like a dead prince's heart, he loved to bury his living one in cups,—and then began to describe his life, particularly his death, and his sorrows and errors in the interval, and his suicide and infanticide at the masquerade, and his rejected and spurned love for Linda: who was then more moved to tears than himself? No one but Rabette, whose eyes,—having been, through her father and brother, as little acquainted with men's tears as with elephants', stags', or crocodiles' tears,—so much the more richly, but not so sweetly as bitterly, streamed over into his sorrow and love. This poured fresh oil again into his flame and lamp, until he at last, like that pupil of Goethe's master wizard, with the brooms that carried water, could no longer govern his spirits. Poetic natures have a sympathetic one; like justice, they keep a surgeon in their pay near the rack, who immediately sets again the broken limbs, yes, even regulates beforehand the places for the crushing fractures.[[26]]
A man should never weep on his own account, except for ecstasy. But poets and all people of much fancy are magicians who—exact counterparts of the burnt enchantresses—weep more easily, although more at images, than at the rough, sore calamity itself, in order to put the poor enchantresses to the worst water-ordeal. Trust them not! On the machinelle-poison-tree the rain-drops are poisonous which roll from its leaves.