The Memoirs of Jacques Casanova de Seingalt, 1725-1798. Complete. Giacomo Casanova

the end of the second act, Dupres appeared again, still with a mask, and danced to a different tune, but in my opinion doing exactly the same as before. He advanced to the very footlights, and stopped one instant in a graceful attitude. Patu wanted to force my admiration, and I gave way. Suddenly everyone round me exclaimed,—

      “Look! look! he is developing himself!”

      And in reality he was like an elastic body which, in developing itself, would get larger. I made Patu very happy by telling him that Dupres was truly very graceful in all his movements. Immediately after him we had a female dancer, who jumped about like a fury, cutting to right and left, but heavily, yet she was applauded ‘con furore’.

      “This is,” said Patu, “the famous Camargo. I congratulate you, my friend, upon having arrived in Paris in time to see her, for she has accomplished her twelfth lustre.”

      I confessed that she was a wonderful dancer.

      “She is the first artist,” continued my friend, “who has dared to spring and jump on a French stage. None ventured upon doing it before her, and, what is more extraordinary, she does not wear any drawers.”

      “I beg your pardon, but I saw....”

      “What? Nothing but her skin which, to speak the truth, is not made of lilies and roses.”

      “The Camargo,” I said, with an air of repentance, “does not please me. I like Dupres much better.”

      An elderly admirer of Camargo, seated on my left, told me that in her youth she could perform the ‘saut de basque’ and even the ‘gargouillade’, and that nobody had ever seen her thighs, although she always danced without drawers.

      “But if you never saw her thighs, how do you know that she does not wear silk tights?”

      “Oh! that is one of those things which can easily be ascertained. I see you are a foreigner, sir.”

      “You are right.”

      But I was delighted at the French opera, with the rapidity of the scenic changes which are done like lightning, at the signal of a whistle—a thing entirely unknown in Italy. I likewise admired the start given to the orchestra by the baton of the leader, but he disgusted me with the movements of his sceptre right and left, as if he thought that he could give life to all the instruments by the mere motion of his arm. I admired also the silence of the audience, a thing truly wonderful to an Italian, for it is with great reason that people complain of the noise made in Italy while the artists are singing, and ridicule the silence which prevails through the house as soon as the dancers make their appearance on the stage. One would imagine that all the intelligence of the Italians is in their eyes. At the same time I must observe that there is not one country in the world in which extravagance and whimsicalness cannot be found, because the foreigner can make comparisons with what he has seen elsewhere, whilst the natives are not conscious of their errors. Altogether the opera pleased me, but the French comedy captivated me. There the French are truly in their element; they perform splendidly, in a masterly manner, and other nations cannot refuse them the palm which good taste and justice must award to their superiority. I was in the habit of going there every day, and although sometimes the audience was not composed of two hundred persons, the actors were perfect. I have seen ‘Le Misanthrope’, ‘L’Avare’, ‘Tartufe’, ‘Le Joueur’, ‘Le Glorieux’, and many other comedies; and, no matter how often I saw them. I always fancied it was the first time. I arrived in Paris to admire Sarrazin, La Dangeville, La Dumesnil, La Gaussin, La Clairon, Preville, and several actresses who, having retired from the stage, were living upon their pension, and delighting their circle of friends. I made, amongst others, the acquaintance of the celebrated Le Vasseur. I visited them all with pleasure, and they related to me several very curious anecdotes. They were generally most kindly disposed in every way.

      One evening, being in the box of Le Vasseur, the performance was composed of a tragedy in which a very handsome actress had the part of a dumb priestess.

      “How pretty she is!” I said.

      “Yes, charming,” answered Le Vasseur, “She is the daughter of the actor who plays the confidant. She is very pleasant in company, and is an actress of good promise.”

      “I should be very happy to make her acquaintance.”

      “Oh! well; that is not difficult. Her father and mother are very worthy people, and they will be delighted if you ask them to invite you to supper. They will not disturb you; they will go to bed early, and will let you talk with their daughter as long as you please. You are in France, sir; here we know the value of life, and try to make the best of it. We love pleasure, and esteem ourselves fortunate when we can find the opportunity of enjoying life.”

      “That is truly charming, madam; but how could I be so bold as to invite myself to supper with worthy persons whom I do not know, and who have not the slightest knowledge of me?”

      “Oh, dear me! What are you saying? We know everybody. You see how I treat you myself. After the performance, I shall be happy to introduce you, and the acquaintance will be made at once.”

      “I certainly must ask you to do me that honour, but another time.”

      “Whenever you like.”

      CHAPTER VII

      My Blunders in the French Language, My Success, My Numerous Acquaintances—Louis XV.—My Brother Arrives in Paris.

      All the Italian actors in Paris insisted upon entertaining me, in order to shew me their magnificence, and they all did it in a sumptuous style. Carlin Bertinazzi who played Harlequin, and was a great favourite of the Parisians, reminded me that he had already seen me thirteen years before in Padua, at the time of his return from St. Petersburg with my mother. He offered me an excellent dinner at the house of Madame de la Caillerie, where he lodged. That lady was in love with him. I complimented her upon four charming children whom I saw in the house. Her husband, who was present, said to me;

      “They are M. Carlin’s children.”

      “That may be, sir, but you take care of them, and as they go by your name, of course they will acknowledge you as their father.”

      “Yes, I should be so legally; but M. Carlin is too honest a man not to assume the care of his children whenever I may wish to get rid of them. He is well aware that they belong to him, and my wife would be the first to complain if he ever denied it.”

      The man was not what is called a good, easy fellow, far from it; but he took the matter in a philosophical way, and spoke of it with calm, and even with a sort of dignity. He was attached to Carlin by a warm friendship, and such things were then very common in Paris amongst people of a certain class. Two noblemen, Boufflers and Luxembourg, had made a friendly exchange of each other’s wives, and each had children by the other’s wife. The young Boufflers were called Luxembourg, and the young Luxembourg were called Boufflers. The descendants of those tiercelets are even now known in France under those names. Well, those who were in the secret of that domestic comedy laughed, as a matter of course, and it did not prevent the earth from moving according to the laws of gravitation.

      The most wealthy of the Italian comedians in Paris was Pantaloon, the father of Coraline and Camille, and a well-known usurer. He also invited me to dine with his family, and I was delighted with his two daughters. The eldest, Coraline, was kept by the Prince of Monaco, son of the Duke of Valentinois, who was still alive; and Camille was enamoured of the Count of Melfort, the favourite of the Duchess of Chartres, who had just become Duchess of Orleans by the death of her father-in-law.

      Coraline was not so sprightly as Camille, but she was prettier. I began to make love to her as a young man of no consequence, and at hours which I thought would not attract attention: but all hours belong by right to the established lover, and I therefore found myself sometimes with her when the Prince of Monaco called to see her. At first I would bow to the prince and withdraw, but afterwards I was asked to remain, for as a general thing princes find a tete-a-tete with their mistresses rather wearisome. Therefore we used to sup together, and they both listened, while it was my province to eat, and to relate stories.

      I bethought myself of paying my court to the prince,