For the rest I do not care to write about it much, for I cannot, in the room and time I have to spend, express my thoughts as I would; but as near as I can express the sum total, it is this. S—— and others who admire her, are anxious to make a fancy picture of her, and represent her as a Helena (in the Seven Chords of the Lyre); all whose mistakes are the fault of the present state of society. But to me the truth seems to be this. She has that purity in her soul, for she knows well how to love and prize its beauty; but she herself is quite another sort of person. She needs no defence, but only to be understood, for she has bravely acted out her nature, and always with good intentions. She might have loved one man permanently, if she could have found one contemporary with her who could interest and command her throughout her range; but there was hardly a possibility of that, for such a person. Thus she has naturally changed the objects of her affection, and several times. Also, there may have been something of the Bacchante in her life, and of the love of night and storm, and the free raptures amid which roamed on the mountain-tops the followers of Cybele, the great goddess, the great mother. But she was never coarse, never gross, and I am sure her generous heart has not failed to draw some rich drops from every kind of wine-press. When she has done with an intimacy, she likes to break it off suddenly, and this has happened often, both with men and women. Many calumnies upon her are traceable to this cause.
I forgot to mention, that, while talking, she does smoke all the time her little cigarette. This is now a common practice among ladies abroad, but I believe originated with her.
For the rest, she holds her place in the literary and social world of France like a man, and seems full of energy and courage in it. I suppose she has suffered much, but she has also enjoyed and done much, and her expression is one of calmness and happiness. I was sorry to see her exploitant her talent so carelessly. She does too much, and this cannot last forever; but "Teverino" and the "Mare au Diable," which she has lately published, are as original, as masterly in truth, and as free in invention, as anything she has done.
Afterwards I saw Chopin, not with her, although he lives with her, and has for the last twelve years. I went to see him in his room with one of his friends. He is always ill, and as frail as a snow-drop, but an exquisite genius. He played to me, and I liked his talking scarcely less. Madame S. loved Liszt before him; she has thus been intimate with the two opposite sides of the musical world. Mickiewicz says, "Chopin talks with spirit, and gives us the Ariel view of the universe. Liszt is the eloquent tribune to the world of men, a little vulgar and showy certainly, but I like the tribune best." It is said here, that Madame S. has long had only a friendship for Chopin, who, perhaps, on his side prefers to be a lover, and a jealous lover; but she does not leave him, because he needs her care so much, when sick and suffering. About all this, I do not know; you cannot know much about anything in France, except what you see with your two eyes. Lying is ingrained in "la grande nation" as they so plainly show no less in literature than life.
RACHEL.
In France the theatre is living; you see something really good, and good throughout. Not one touch of that stage-strut and vulgar bombast of tone, which the English actor fancies indispensable to scenic illusion, is tolerated here. For the first time in my life, I saw something represented in a style uniformly good, and should have found sufficient proof, if I had needed any, that all men will prefer what is good to what is bad, if only a fair opportunity for choice be allowed. When I came here, my first thought was to go and see Mademoiselle Rachel. I was sure that in her I should find a true genius. I went to see her seven or eight times, always in parts that required great force of soul, and purity of taste, even to conceive them, and only once had reason to find fault with her. On one single occasion, I saw her violate the harmony of the character, to produce effect at a particular moment; but, almost invariably, I found her a true artist, worthy Greece, and worthy at many moments to have her conceptions immortalized in marble.
Her range even in high tragedy is limited. She can only express the darker passions, and grief in its most desolate aspects. Nature has not gifted her with those softer and more flowery attributes, that lend to pathos its utmost tenderness. She does not melt to tears, or calm or elevate the heart by the presence of that tragic beauty that needs all the assaults of fate to make it show its immortal sweetness. Her noblest aspect is when sometimes she expresses truth in some severe shape, and rises, simple and austere, above the mixed elements around her. On the dark side, she is very great in hatred and revenge. I admired her more in Phèdre than in any other part in which I saw her; the guilty love inspired by the hatred of a goddess was expressed, in all its symptoms, with a force and terrible naturalness, that almost suffocated the beholder. After she had taken the poison, the exhaustion and paralysis of the system,—the sad, cold, calm submission to Fate,—were still more grand.
I had heard so much about the power of her eye in one fixed look, and the expression she could concentrate in a single word, that the utmost results could only satisfy my expectations. It is, indeed, something magnificent to see the dark cloud give out such sparks, each one fit to deal a separate death; but it was not that I admired most in her. It was the grandeur, truth, and depth of her conception of each part, and the sustained purity with which she represented it.
The French language from her lips is a divine dialect; it is stripped of its national and personal peculiarities, and becomes what any language must, moulded by such a genius, the pure music of the heart and soul. I never could remember her tone in speaking any word; it was too perfect; you had received the thought quite direct. Yet, had I never heard her speak a word, my mind would be filled by her attitudes. Nothing more graceful can be conceived, nor could the genius of sculpture surpass her management of the antique drapery.
She has no beauty, except in the intellectual severity of her outline, and she bears marks of race, that will grow stronger every year, and make her ugly at last. Still it will be a grandiose, gypsy, or rather Sibylline ugliness, well adapted to the expression of some tragic parts. Only it seems as if she could not live long; she expends force enough upon a part to furnish out a dozen common lives.