Thursday, 27 April 1876

It is again two in the morning when I sit down to write — but what does it matter.
I do not feel in the least ashamed of what I did yesterday — besides, it was done with such calmness and indifference that I am astonished at myself here. Yet it is wrong, very wrong... bah! And why? It shocks me because it is new. Well, what would you have — I am not given to being swept away; I am deplorably matter-of-fact; I went as far as I wished, not a line further. I have permitted him to write to me. To make myself truly feel whether I love him, one would have to hide him away for two days — then I should rage.
No — listen — I do not understand him. I reproach him with everything you know here, and he responds with reproaches at me which, I must confess, are very just. A true priest's character: he will and he won't, he loves and he doesn't love; one can grasp nothing, understand nothing — and I am in an exceedingly false position. He asks nothing of me; I am leaving; he lets me go; he hopes to forget me; he cannot come to Nice.
I have never heard the like; it is not originality — it is simply weakness, or a way of avoiding any sort of resolution. There he stands, telling me he loves me, asking me if I love him, and quibbling about love! And beside these muddled discourses my own words have the air of a cross-examiner's questions. It is I who am obliged to push him. You will agree with me that the position is delicate. I cannot very well propose marriage to him!
Again the same thing this evening... but first let us finish with the day. Yesterday morning Voldemar Potechine, a very old acquaintance from Russia, came to see us. And today we go with him to visit the studios of Russian artists, to Spillmann's, and finally to the Trevi Fountain. This time the crowd that had assembled enjoyed a magnificent spectacle, for Walitsky, in drawing water, slipped and fell his full length.
At the Pincio we chat with Simonetti, who will come to the station this evening to see us off. The races have been postponed to the 14th of May, and we are leaving this evening, which means we stop Pietro to warn him to come at an earlier hour, since we must leave at ten. He gets into the carriage with us and we drive about everywhere. As if on purpose, for this last day in Rome I encounter all the faces of Rome — even... Zucchini — at which I am very glad, for I love them all.
I am very gay and I inform Pietro of my love for Larderei — and I speak of nothing else and say nothing but Larderei, Larderei, Larderei, urgently begging him to get me his photograph and to ask him to pay a little attention to the lady in white who is in love with him.
Pietro is astonished — and who would not be?
He dines with us and then we set about packing together, which means we are often alone — I kneeling before my trunk and he very close by. We always talk in the same way, quibbling over words, taking each other's hand, and going through a thousand other antics which are beginning to bore me.
Potechine arrives, but does not trouble us; then Visconti. Pietro will not go into the drawing-room and I remain with him. When the old man rises to leave I enter and we make very tender farewells. We all kissed him.
- I want to contribute, he said, to making you entirely Roman.
But it is suddenly discovered that there is no train in the evening and instead of going to Nice we go to the Colosseum at ten o'clock at night.
We stop at the Café Grec, where we collect Walitsky, telling him it is time to leave — and the poor man climbs up quite out of breath on the box. But then we burst out laughing and order Luigi to drive to the Colosseum. Maman and Dina on the seats of honour; Potechine, Pietro, and I on the front seat. We were a little cramped, but Pietro did not complain — nor did I. We are constantly touching shoulders and knees, by accident.
[Annotation: 1881. I would never have believed myself capable of such disgraceful behaviour — I]
It is dark as an oven; Maman does not get out of the carriage; Dina takes the Russian's arm, I the Italian's, and we try to penetrate into the ruin. But all the keepers are in bed and everything is closed — one cannot go up, therefore; I prolonged the attempts to remain longer leaning on that arm which supported me so well. We are obliged to climb back into the carriage and I have us driven to the Pauline Fountain, which is half an hour from the city. But we had to return at last — which we did, almost to my regret, for I was comfortable enough, all while deafening everyone with Larderei and Larderei and Larderei.
Pietro says he is a lost young man and that la Righi (the Traviata) is keeping him somewhat from squandering what little he has left.
We have tea and scrawl on paper with ink. Then there are still things to be packed in my room, which stands open to everyone.
- How pleasant it would be, said Pietro, going down on his knees before me and putting his hands on my waist — for I let him do it with the greatest indifference — how pleasant it would be to be always like this, alone...
I answered nothing and had nothing to answer. It is always the same muddled love-play: it is your fault — no, yours — it is you who behave strangely — no, it is you! It is absurd.
[Written across the page: I thought I was conceding nothing because inwardly I attached no importance to it and he was nothing to me. But a man does not understand such things. I pretended not to notice these liberties — but in a word I was disgraceful.]
I am being very foolish in this affair — but Pietro is also very strange.
- I see that you do not love me — I see it by your expression!
He is revolted by my indifferent, icy manner — but I cannot be otherwise.
He asks me if I love him; I nod or murmur it from the tips of my lips, for I swear my voice refuses to let itself be heard saying: I love you. I cannot do it — my tongue refuses — and I do not know whether I love him... Naturally this constrained air freezes him and makes him pour out all these reasonings, all these suppositions, all these doubts that I had about him and which he now has about me.
Speaking of reasonings — this dear boy has proved clearly to me that my tirade about the soul is the crudest sophism in the world.
To set the machine in motion there must be a force — that force is the soul; when the machine is out of order or out of service the soul has nothing left to animate, and so departs — but it remains always the same... He is right.
Well, there it is. Potechine leaves, and I remain a long while longer with Pietro near my door.
Weary of this floating state of things, I went so far as to tell him that my position was false, that I must know whether he truly loved me — for otherwise I must go to Russia and marry there.
- Ah! he said — in half an hour you will feel that you have just said something clumsy and so strange that I rack my brain to understand how one could say such things! It is a bargain — you are saying to a shopkeeper: Will you give me such-and-such a thing for this price? Otherwise I shall go elsewhere.
But I see that you cannot love me! You do all of this just like that... I do not know how. And I — I love you — no — you know, I have become another man; I love you and I need to be loved, and you do not love me.
- That is not true!
- I can see it — how is one to believe you love, with such a manner, with so mad a character, with so light a heart!
- It is for me to tell you! You do not love me yourself and you want to be done with it by saying that I do not love you! I am leaving; you are letting me go; you cannot come to Nice — none of it matters to you! Let us leave it, let us leave it! It is time wasted — goodbye. I wonder only how I could have let you say and do everything you have.
- Do you know that we have a very strange way of behaving, the pair of us! he said.
- You, that is to say, Monsieur!
- No — you!
- But I simply cannot propose to you myself — come now!
And we burst out laughing — then I fly into a temper.
You speak of marriage, he said, as if it were a trifle of four-and-twenty hours — you do not love; you are so indifferent!
- No, on the contrary — it is you!
- Well I never!
And so on for a full hour! It is enough to kill one, upon my word. I do not know what to think!
This state of affairs is impossible!
It is hard for me, I assure you, to think that he is merely playing and that I am insulted as much as a young girl can be insulted (I am not speaking of physical indecencies) — and yet his behaviour is inexplicable.
Tomorrow I leave! And everything will be over!
I assure you this muddle, this wavering, this floating is unbearable to me and I can do nothing about it! I simply cannot propose marriage to him!
He tells me he loves me for ever.
- I need to be loved, he said gently — do you love me?
- Yes, I replied coldly — which sent him into a fury. But I cannot be otherwise. I do not know what is the matter with me; I do not know what is the matter with him.
He wants to write to me and wants me to write to him!
- I cannot, Monsieur — what would my mother say!

Notes

La Traviata — "the woman led astray," Verdi's opera heroine; used here as a nickname for a courtesan.