Friday, 30 July 1875

I drew a caricature of Smirnoff — that good-natured creature, naïve and rather stupid.
I take Machenka to see the Girofla château, then everyone goes to Monaco. I stay behind with Machenka; we walk, and as we pass no. 77:
Would you like us to go and look? I said to her.
Very well.
I quicken, my heart pounds — I have something like a fever. We go down and, by the rue de France, enter the garden of Gioia! Here I pause before writing the rest; I am so agitated, I feel so strange that I must stay a few moments with my head in my hands. I resume: Is it not strange enough! Why am I so moved? We cross the little garden filled with wonderful plants. On the ground-floor balcony are two blackamoor statues in bronze, I believe, supporting cushions on their heads. First an anteroom, elegant and graceful; then a furnished salon, rather amusingly hung with Oriental-style cretonne, with a multitude of different pieces of furniture, bronzes, statues, and a thousand small objects that give it elegance. Two immense divans that invite one to sit — or rather, to do something else. Then another salon in grey and blue wool rep. A dining room in old oak with beautiful antique porcelains. A fine marble staircase leads to the first floor.
At every corner, on every side, one finds objects of art and a thousand things that seem unremarkable but cost a great deal. The bedroom is ugly: hung with Pompadour-style cretonne, a black-wood bed with twisted columns surmounted by a canopy that matches the hangings. A dreadful bed. Beside it, her portrait in oils. She has around her neck six rows of magnificent pearls, and on her breast an enormous emerald.
She has thoughtful eyes and a ravishing mouth, a graceful nose, and her entire face expresses such gentleness, calm, and candour that it is a wonder. The shoulders and bust are poor. There is also a painting of a naked woman, and another depicting two naked figures as well.
This bedroom forms the left end of the house; on the right a door opens into her dressing room: wardrobes with mirrored doors all around, a washstand for two, on which I find a sponge and several flacons that I sniff and examine one by one. Beyond that, her boudoir — a tiny room also in Oriental cashmere — then, at the back, another bedroom.
I am slightly disappointed. The house is certainly beautiful, large, elegant — but for a respectable matron. Not for Gioia. It lacks fantasy, grace, luxury.
My own apartment will be a hundred times more beautiful!
Her name is Amélie.
I do not walk — I run; I have a fever in my legs. I lean against a window and think that perhaps at this very spot He once leaned; I touch a piece of furniture and tell myself that perhaps He touched it. I find a pair of pink satin mules, quickly remove my shoes and try them on. Her foot is two and a half fingers longer than mine!
I look; I try to engrave every detail in my memory. I say little, answering only Machenka, for my voice trembles.
I am in her house! I am where He has so often been! I touch what he has touched; I sit where he has sat! God! God! God! I can no longer feel myself — I am as if drunk! I have myself led to the little garden that lies between the house and the Promenade; I pick a rose which is before me as I write, and which I shall keep forever.
I have been in this house that I have seen ten times in dreams, and it is exactly as I dreamed it — except that I had dreamed of a salon in red satin and Russian leather; that is the only difference. I can barely write — my heart is still racing and my hand trembles. I am so moved that it is ridiculous! I tremble at contact with, or at any account of, anything that touches this woman. What could there be between us? But it seems to me there was enough. She had the man I love. Poor little fool that I was — I thought he would leave her to come to me! Every evening I prayed to God to make him abandon her. And God heard my prayer: he abandoned her — but he married!
My God! Each of my thoughts is a memory, and each memory an emotion — I cannot say whether pleasant or unpleasant. My head grows confused; I want to cry. I am not at peace.
Leaving is hard!
I would remain forever near this house where He has been! I shall go again tomorrow morning early. Yes — but this house has been profaned, soiled by so many others, from Audiffret down to the lowest canaille — all have passed through here!
No — I like to think she distinguishes between people. I like to think she is respectable in her own way; I want to think well of her because she belonged to Him! I should like to say everything! But now I grow dreamy, calm in appearance and boiling within.
I could not live in peace if such emotions were to come upon me often! I go to the stables — elegant as a salon — and visit the dogs; there are three, and their names are Loulou, Calèche, and Jacques.
I go to see her carriages — she has three, and they are very fine. I should like to remember everything, to be able to draw it all.
My God, my God, my God! Why did you make me see this house in a dream before I had seen it in reality, and just as it is? I am broken, but satisfied.
I forgot her bath — a very prosaic white marble bath, worthy of a respectable matron. If I were she, I should not have such a house. Not being her, in two months I shall have rooms that one sees only in dreams. I am regenerated — if one may put it so — I feel more alive.
I was up to my neck in banalities; now I am up to my neck in clouds. I feel myself revive at the memory of Him — I feel entirely new, entirely different, entirely pure!
I remember — no, I am mistaken: to "remember" one must first have forgotten, and I have never forgotten, not for an instant, nowhere. But this house does not merely make me think of him — it makes my blood boil and my heart leap and my mind reel.
My God — will there not come a day when I shall see him, when I shall speak to him!
Why do I never see him in a dream?
Last night I dreamed of Blackprince; he was looking through albums with me, courting me.
Why never such a dream about the Other One? My God, my God — you see well what passes within me. You see well that He alone is capable of moving me deeply.
Away with all these small emotions, small follies, childish things, jests — I occupy myself with them, certainly, for I am alive, I am not dead. I cannot live entirely on memories. For every day they serve well enough — but the dominant idea, the great idea, the idea that has so wholly taken my soul — everything, everything, everything is in Him!
Besides, why say it? God sees and reads in my heart. He will have pity on me — one day, perhaps!
[Written across the page: Good God — is it possible to exalt oneself so over nothing!]

Notes

In English in the original.
In English in the original.
Period decorative term for ornamental blackamoor statuary, fashionable in 19th-century European interiors.
Cretonne — a printed cotton fabric, often floral or Oriental in pattern, widely used in 1870s interiors.
Rep (or reps) — a ribbed woven fabric used for upholstery.
Cretonne Pompadour — a fabric with 18th-century revival floral designs named after Madame de Pompadour.
Colonnes torses — twisted or spiral columns, a Baroque decorative motif.
Cabinet de toilette — 1870s: a dressing room or vanity room, not a bathroom.
Lavabo — 1870s: a wash-stand with a basin, not a modern sink.
Boudoir — a small private sitting room reserved for a lady's personal use.
Mère de famille — idiomatic: a respectable bourgeois woman, here contrasted with a kept woman or demi-mondaine.
"Lui" — He — written with a capital letter by Marie, like a quasi-divine being; her characteristic reverence for the Duke of Hamilton.
Mules — backless slippers or house shoes.
Foin de — archaic exclamation: "away with!" or "a plague on!" now rare in modern French.