This conviction, I believe was not without its influence on her conduct. She took an intellectual part in the new doctrines, which swarmed, during the three years succeeding July, 1830, like gnats in the sunshine, and turned some female heads. But, like all nobles, Beatrix, while thinking these novel ideals superb, wanted always to protect the nobility. Finding before long that there was no place in this new regime for individual superiority, seeing that the higher nobility were beginning once more the mute opposition it had formerly made to Napoleon,--which was, in truth, its wisest course under an empire of deeds and facts, but which in an epoch of moral causes was equivalent to abdication,--she chose personal happiness rather than such eclipse. About the time we were all beginning to breathe again, Beatrix met at my house a man with whom I had expected to end my days, --Gennaro Conti, the great composer, a man of Neapolitan origin, though born in Marseilles. Conti has a brilliant mind; as a composer he has talent, though he will never attain to the first rank. Without Rossini, without Meyerbeer, he might perhaps have been taken for a man of genius. He has one advantage over those men,--he is in vocal music what Paganini is on the violin, Liszt on the piano, Taglioni in the ballet, and what the famous Garat was; at any rate he recalls that great singer to those who knew him. His is not a voice, my friend, it is a soul. When its song replies to certain ideas, certain states of feeling difficult to describe in which a woman sometimes finds herself, that woman is lost. The marquise conceived the maddest passion for him, and took him from me. The act was provincial, Iallow, but it was all fair play. She won my esteem and friendship by the way she behaved to me. She thought me a woman who was likely to defend her own; she did not know that to me the most ridiculous thing in the world is such a struggle. She came to see me. That woman, proud as she is, was so in love that she told me her secret and made me the arbiter of her destiny. She was really adorable, and she kept her place as woman and as marquise in my eyes. I must tell you, dear friend, that while women are sometimes bad, they have hidden grandeurs in their souls that men can never appreciate. Well, as I seem to be making my last will and testament like a woman on the verge of old age, I shall tell you that I was ever faithful to Conti, and should have been till death, and yet I /know him/. His nature is charming, apparently, and detestable beneath its surface. He is a charlatan in matters of the heart. There are some men, like Nathan, of whom I have already spoken to you, who are charlatans externally, and yet honest.
Such men lie to themselves. Mounted on their stilts, they think they are on their feet, and perform their jugglery with a sort of innocence; their humbuggery is in their blood; they are born comedians, braggarts; extravagant in form as a Chinese vase; perhaps they even laugh at themselves. Their personality is generous; like Murat's kingly garments, it attracts danger. But Conti's duplicity will be known only to the women who love him. In his art he has that deep Italian jealousy which led the Carlone to murder Piola, and stuck a stiletto into Paesiello. That terrible envy lurks beneath the warmest comradeship. Conti has not the courage of his vice; he smiles at Meyerbeer and flatters him, when he fain would tear him to bits. He knows his weakness, and cultivates an appearance of sincerity; his vanity still further leads him to play at sentiments which are far indeed from his real heart. He represents himself as an artist who receives his inspirations from heaven; Art is something saintly and sacred to him; he is fanatic; he is sublime in his contempt for worldliness; his eloquence seems to come from the deepest convictions.
He is a seer, a demon, a god, an angel. Calyste, although I warn you about him, you will be his dupe. That Southern nature, that impassioned artist is cold as a well-rope. Listen to him: the artist is a missionary. Art is a religion, which has its priests and ought to have its martyrs. Once started on that theme, Gennaro reaches the most dishevelled pathos that any German professor of philosophy ever spluttered to his audience. You admire his convictions, but he hasn't any. Bearing his hearers to heaven on a song which seems a mysterious fluid shedding love, he casts an ecstatic glance upon them; he is examining their enthusiasm; he is asking himself: 'Am I really a god to them?' and he is also thinking: 'I ate too much macaroni to-day.'
He is insatiable of applause, and he wins it. He delights, he is beloved; he is admired whensoever he will. He owes his success more to his voice than to his talent as a composer, though he would rather be a man of genius like Rossini than a performer like Rubini. I had committed the folly of attaching myself to him, and I was determined and resigned to deck this idol to the end. Conti, like a great many artists, is dainty in all his ways; he likes his ease, his enjoyments;he is always carefully, even elegantly dressed. I do respect his courage; he is brave; bravery, they say, is the only virtue into which hypocrisy cannot enter. While we were travelling I saw his courage tested; he risked the life he loved; and yet, strange contradiction! Ihave seen him, in Paris, commit what I call the cowardice of thought.
