Thursday, 28 January 1875

(Grey dress and hat — well.) The musketeer hat in grey felt, with two equally grey plumes and one brim turned up, is truly very pretty; and what is more, it is a hat that has style and character, and together with my grey cloth dress, plain with small grey buttons, close-waisted and with very narrow sleeves, it makes one of the most charming, one of the most comme il faut and distinguished ensembles in existence. At a quarter to eleven we set off. From the moment I entered the station, while we walked along the platform in front of the buffet, all eyes fixed on me with visible approval — only that wretch Lambertye exhibited his eternal smirk. I go to the pigeon shooting because I think I may see the devil there; otherwise I should not go. Not many people come by our train; we have a very bad luncheon at the Hôtel de Paris, go into the gaming rooms, remain there half an hour, and go down to the shooting. We — my aunt, Paul, and I. Maman stays to play. Below, apart from Galve, Lambertye, Furstenberg, Arnim, Leo, Chillingworth, and Frehern, everyone is unknown to me; and although Sir F. Johnstone is listed first on the programme, he is not there — which makes me perpetually scan the staircase and peer into the groups of shooters and bettors — but there, no more than elsewhere, do I see him. It is perfectly simple: today it is a small shoot, a small prize — a silver plate, worth a thousand francs. The grand prize of twenty thousand francs was contested on Monday, Tuesday, and the days before. At last Lambertye wins — he kills ten pigeons without missing a single one. We go back up and on the terrace steps we meet Dina with the Sapogenikoffs, arriving by the two o'clock train. I go into the salon once more; M. de Neujean (whom we knew at Spa) comes to tell me that the Empress is in the gardens. We rush there; Neujean presents two gentlemen to me — the baron of I know not what, an ugly old man; and the baron de La Race, a mediocre young one. And so, I with these three Belgians, and Dina with the Sapogenikoffs, wander the alleys and terraces — but no sign of Her Majesty. M. de La Race brings us chairs on the hotel balcony and we settle in, hoping to see the Empress come out — she is said to be at luncheon. La Race goes to inquire and returns to say she has gone; so I go down to the shooting once more with Marie and Paul; there are to be several sweepstakes. I stay only a few minutes; the weather is fine, the sun lights up the splendid terraces, the sea, the shooters — but I am untranquilla, I am searching. In the hall I see il facchino italiano which gives me a fierce longing to speak this barbaric tongue; but as no one understands me I mix it with English, French, and Russian words, and it is in this dialect that I continue the whole time. [Written across: To be frightened at having spoken Italian in front of this Italian — what childishness.] I send Dina and Olga to take their places near the table where il facchino was playing, and I myself with Marie take a place near another table; then, as had been arranged beforehand, I approach Dina and say: Venite qua, [je inpettano] and walk away while she cries aspetta, aspetta! — but on reaching my own table I was so frightened by the stupid thing I had just done that I trembled and could barely answer what M. de La Race was saying to me. At a quarter past five, Dina, Marie, Olga, Paul, and I — the children, in a word — rush out of the casino laughing and doing and saying foolish things, and so descend the grand staircase.
— We are leaving, says Paul — but if we are bored we can come back, as last year. At nine o'clock, to admire written in letters of fire on the shooting ground the name of — what is his name again? — the winner... what is his name?...
— Lambertye, you mean — what a muso that Lambertye is (muso is a word we say about everything today; it comes from L'Italiano in Algeri, where the comic actor says it very drolly, and we now apply it to la Chestakoff, to the Italian, and to everything that is a muso or is not) — I had scarcely finished when I saw Galve, who was walking in front of us and whom I had heard but not noticed, smile and slightly turn his head, so that I saw only the corner of his eye — which was laughing. Oh, how pleased I am — if only he would tell Lambertye what I call him! For that miserable toad perhaps imagines I admire him because I was blushing! (Written across: I was blushing over any number of men.) And cheered once more by this incident we burst noisily into the waiting room and thence onto the platform. What with our laughing and speaking in that strange language I have described, everyone stared at us. But then a lady and two gentlemen standing two steps away begin speaking in French about my feet, about my heels — saying there are hidden heels again, that one may be small but with those double heels one becomes tall, and so on. Thereupon, addressing Marie in Russian, I say:
— Can you hear them — these people saying very disagreeable things, and in French of all things! And right next to us! I have a mind to remove my boot and show them they are lying.
— Yes, she answers, and put it under her nose.
— Pardon, Mademoiselle, says the lady then, in Russian — I was not speaking of your feet; I said you had pretty ones, and that is what led to the conversation.
— In that case I thank you for the compliment, I said — not at all reassured, and drily. At last we leave Monaco for Nice. Olga mesmerizes us and we yawn and laugh, all talking at once, laughing so much that one might think us mad — while grandfather stays silent and sighs. I laughed because the others laughed, but I was not in good spirits; there was in truth nothing to laugh at, and everything today has been stupid — but since everyone was laughing, I did not want to lag behind; on the contrary, it was I who gave the signal. For a moment there was a pause, and I used it to say to Dina:
— Ah, my dear, there it is — it is what the poets call a thunderbolt! — then it all starts again; fortunately everyone was busy neighing, and no one noticed that I was neighing only from the lips, by necessity. What an infernal concert! At eight o'clock, far from calm and still laughing, we go to see La Fille de Mme Angot and take Mme de Daillens with us. After the fishwife, I go home — I had come only to see if the devil was there. At one in the morning the others return, and Maman asks what gentlemen I had been surrounded by; then she tells me that the croupiers said all manner of fine things about me to her — that I was pretty, distinguished, that I had the air of a duchess, and so on and so forth. I fall asleep thinking of Johnstone. Say what one will — it is charming to be in love.

Notes

Untranquilla: Italian for "restless/uneasy"; Marie uses the Italian word.
Il facchino italiano: the Italian porter — Marie's contemptuous nickname for an Italian admirer. In Italian in the original.
Venite qua, [je inpettano]: "Come here, [they're waiting for you]" — Marie's imperfect Italian (she garbles "vi aspettano"). In Italian in the original.
Muso: Italian for "muzzle/snout," used colloquially for a face or person; a word the group had picked up from the opera.
L'Italiano in Algeri (The Italian in Algiers): comic opera by Gioachino Rossini (1813).
La Fille de Mme Angot: popular comic opera by Charles Lecocq, premiered 1872.