"A woman who inspires such a passion is vanquished in advance. But you must master yourself, so as not to be compromised. Do not see her too often, nor too long at one time. Let her understand that you suffer and that the more cruel she is, the more you suffer. Keep enough presence of mind to remain an exact observer, and then, some fine day, thrust the knife into her neck, crying: 'I suffer too much, be merciful.' She yields and you are happy, unless your imagination has exceeded reality. This happens; then one misses il tempo de' dolci sospiri. Oh! you need not fear this weakness; you are robust and she is beautiful. There are other ways of reaching the same end; what I give you is the surest. It is the procedure of physical love, I confess, but no other mimicry affects a woman to a greater degree. Before all, they wish to be desired; the rest comes or does not come, it is an addition. It is the cement which joins the stones, but the Cyclopean constructions dispensed with it quite easily and were not the less solid. Like the block of granite, the strength of the body is the base of all: one must promise marvels of solidity and the idea of duration, of eternal duration, will soon rise. He who gives this impression does not find women inhuman, and he who transforms it into fine and good sensations, during the hours of maturity, has nothing to fear from infidelity. Ah! you are fortunate, Moscowitch; you are a Hercules!"
"You speak," said the Russian, "as if I should dissemble. But this passion, at once ideal and physical, I truly feel and if I say that I suffer I shall not be lying."
"All the better, for sincerity is a mighty wonder-worker, but you would be able to say nothing and, through modesty, you would conceal your sufferings. I merely offer you the means of not suffering, of not loving in vain. Ah! the futile loves, the deceitful tortures of vain desire: tears—good grain sown on the sands!"
"Yes," Moscowitch answered, "all who weep are not consoled. I thank you and understand you. You, too, have the religion of human suffering."
"I!" Hubert wanted to cry, jestingly. But why wound this humanitarian mystic? He simply answered:
"Grief is inevitable, but far from being evil, it is the very honor of humanity and the supreme reason of existence. We suffer in order to be less ugly, and that, in the vulgarity of our animal flesh, there may be an esthetic illusion. Joys are unacceptable and repulsive which have in them no promise of suffering: two lovers, in their sports, make a charming spectacle because they tread on the fragile trap-door of an oubliette, full of stakes and hooks. Intellectual desires, in the same way, are interesting in that they surely lead to the horrors of deception or doubt. Try, then, you who are a poet and a creator of souls, to induce the esthetic thrill in your audience with the picture of a perfect happiness: joy is illogical, and, since the illogical is the essential cause of laughter, joy causes laughter. This might, nevertheless, serve in the fifth act as an unexpected punishment. Could you not show a happy knave just by inflicting upon him the most degrading punishment possible to a man? Happy, while he dreams infinitely of the contempt residing in the word, 'happy'!"
"Yet," Moscowitch answered, "we do nothing else but pursue happiness."
"Oh!" Entragues rejoined, "that is a pastime. We know quite well that we shall never reach it.
"I believe," the Russian said, "that you judge humanity by your own sentiments."
"I think so too," Entragues answered, "but the contrary would be the more surprising. With whose brain would you have me think, if not with my own?"