Thursday, 22 June 1876

Is it forbidden to wish to be respected and to hate being spat upon!!!
How mad I am — I am killing myself to prove what no one denies. No one contests this, and I throw myself outside myself, outside my own skin to defend my opinion...
Is it my opinion? No — it is the opinion of the whole world; it is so natural a thing one does not even speak of it.
Say what I will, I cannot accustom myself to the idea that this scandal is happening to me. My skin crawls at the thought that I am being flayed by all the tongues of Nice! For I know, unhappily, that people concern themselves with me — that they have always concerned themselves with me!
Is it possible? The scandals and carelessness of others do nothing to them — but all of it falls on me, on me precisely! I who had mentally isolated myself from all that, and who thought, fool that I was, that I was actually isolated.
But I do not want to suffer this! Where to go? What to do? Is it possible that all roads are closed to me because of this?
Oh! Why this curse! O my God, O Jesus, O Holy Virgin, have pity on me — or let me die.
I wonder whether my aunt has spoken to Maman about my outburst yesterday.
Each time I believe it is over and I shall no longer think of it — and I always think of it, this cursed scandal!
I am keenly absorbed by an English novel: Mademoiselle Mari. It is set in 1846; there is talk of Pius IX, who was not yet Pope, and of politics. As for the love story, it begins exactly like mine. The theatre, and the persistent staring of a young count — nephew of a monsignor — whom one never sees by day, so that he is taken for a mirage. The heroine is different, however: a poor orphan of sixteen, starving with her invalid brother, when she is taken in by a rich English widow. She resembles me only in her voice and her desire to become a singer. In this book they speak of Rome, of its villas, of the campagna... and my heart beats, and I rise agitated and exclaim that there is nothing greater, nothing more strangely poetic, more splendid than Rome.
I used to mock when people praised Italy to me, and I wondered why so much fuss was made of this country and why people spoke of it as something apart. It is because it is the truth. One breathes differently there. Life is other — free, fantastical, broad, mad and languid, burning and sweet like its sun, its sky, its countryside. So I rise on my poet's wings (I am sometimes entirely a poet, and almost always so in some respect) and am ready to exclaim with Mignon: "Italia! Reggio del ciel! sol beato..."
You will tell me Italy pleases me because I am in love in Italy. No — for going to Florence and arriving in Genoa I was struck by a thunderbolt. I love Nice — but Nice is Italy... in disguise.
You know, Girofla* approached Maman at Monaco yesterday with great civility, apologising for not yet having paid a visit. My aunt went to Monaco in the evening, and my two mothers enjoyed the company of this charming impertinent, together with Laurenti and Monsieur Lacroix the banker, who was lately introduced. They tell me Girofla has grown paler, that his nose is no longer so sharp, that he has generally improved — "a handsome young man, pretty, pretty as a picture, and pale." They hope to distract me with this man. I know very well that he is handsome — but that is not what occupies me.
I went out — I had a whim to satisfy, a desire to see Gautier. I got down from the carriage and walked with Collignon; passing the Bains Georges I stopped to chat with the old woman there and see who was on the beach. Gautier turned round, greeted me, and sat back down, thinking I was about to descend and take my place among those people as I did last year — but I contented myself with looking from the promenade, and got back in the carriage, satisfied at having seen Gautier.
I am in an atrocious humour; I say nothing to my mothers — far from restraining myself I let myself go so that they may know I can bear no more. After dinner, rather brutally, I said I was going out again, and they drove me about for an hour without my opening my mouth once.
The General comes, and I speak to him, and even laugh — to my mothers' satisfaction. Do you recall that he told my fortune before Rome, and predicted that I would have dealings with priests — even with cardinals — and that I would almost marry... a cardinal, he added laughing.
This evening he read the cards for me again, and in truth he described my entire state of mind exactly. I think a great deal about a gentleman who thinks about me even more — but he is pursued by the most atrocious ill luck on earth. Moreover this gentleman has a little girl he does not know what to do with. That is strange... and who knows? I shall absolutely receive a letter and a kind of gift that will wound me, astonish me, and cause me both anger and emotion. It will come from the gentleman in question. The decisive change is still far from me; I shall have no happiness either of mind or heart — but I shall be exceedingly rich.
Now, I said, who is this gentleman? General, do the cards for this king — then I shall see. — Think of whoever you wish, he said. I thought with all my might. Well! It appears a blonde woman who occupies all his thoughts is causing him grief, anxiety, and trouble. He is ill-treated by her, said the General — he fears she will play tricks on him — future duchess, it is you. He says this because he knows nothing — but the true explanation of these bad black cards is that on my account he has troubles. Ah! So much the better!
— There are two old men, said Bibi, who are persecuting him — and then two gentlemen, one fair-haired in particular who will give him a great deal of trouble. And it is this same fair man who will be most dangerous for you in the future — for he will behave like a stranger, tease you with his indifference, and do you harm. As for the other — the one for whom the cards are laid — he is destined for ill luck and grief; it is you who ill-treat him. Look — here is the gift and the letter that will cause you this agitation; they come from him; he is undecided, does not know whether to write. But these thoughts — if not he himself — are on their way, with the letter and the gift you will absolutely receive — see, three times now this has been confirmed. Perhaps he is coming himself. He travels a great deal; he will set off in pursuit of you — and you will not be unkind.
Indeed, I thought — if only he would come! Let him come and I shall not find a single unkind word; he will find me his — truly his. — Besides, the General went on, for him it will end in a happy marriage, and the little girl has disappeared — see. — Let us sum up, General. — Well, for you there is this letter you will receive soon and certainly. I should be curious to know whether it will prove true; the cards say so with such insistence — and then a great deal, a great deal of money. — That is very fine.
— As for the gentleman, he is destined for misfortunes — but it will not end too badly; there will be great sadness, however. Besides, the one for whom I have just read the cards is the same who is always mixed up in your affairs, for the cards are the same for both. For you there is more good than otherwise — you will be very happy; but there is no perfect happiness in this world, and yours will have a lining somewhat sad, somewhat grey.
One must have an anxious mind to believe in cards! Bibi leaves tomorrow for Vichy. This letter, this kind of gift that will wound me — the General said "wound"? It is on its way; it is coming. Oh — when?!
[Four lines cancelled]
Well! The hero of the novel is a Papist scoundrel! More and more to the point. And he sends bouquets — via the chambermaid — and all those intrigues, all those manners that astonished me so much: so that is the custom in Rome! I knew nothing of all this; it is the book that teaches me Roman customs. Evening outings at the theatre, the persistent staring, loves and marriages conducted in this way. Then one follows in a carriage, one comes beneath the window... that is the way of the country.
And I remember Rome — I adore Rome. The life of Rome is made for a vivid and romantic imagination like mine, for an artistic — that is to say, fantastical — character like mine. And I am not in Rome, and I shall not be in Rome! And this man does not love me! That is the greatest of my fears!
This book reminds me of what I had forgotten: the immense authority, the wholly Oriental despotism of Roman parents. Even the strong yield — all the more will a weak man like Antonelli, like Pietro. That fear — that he does not love me — is set aside; and I come back to what I said yesterday: it is our way of life that is the cause of everything!
Oh — understand my rage then! I can grow angry without shame! It is not Pietro who is abandoning me — it is our reputation, the reputation of my family... of those who are my family, that separates us.
More and more romantic — but atrocious! Oh! I prefer that to deception, to treachery.
I prefer to regard him as a weak being, dominated and tyrannised. In this way I do not despise him; I feel doubly strong in the face of his weakness — and I love him... better, more tenderly, with a sort of sweet indulgence, of sad compassion, with a little of that tender feeling a mother has for her sick child.
But — for God's sake — let him not try to appear otherwise; let him not put on airs of a conqueror; and yet he cannot parade his misery either — he is proud. And the least proof of independence on his part would hurl me back into an abyss of fury.
Meanwhile he goes out into society, he amuses himself... Oh! Everything, everything, everything you like — let him be and do whatever he wishes, provided he loves me, provided he has no other thought than me. But he has not even the energy to love — he is passionate like an Italian: he loves when he sees, and then!...
No — you see, I am not happy in love. When I am ready to love fully, to give my whole soul, I find only phantoms or people who have no character; I should like to be disinterested — I seek a support, a prop, something to give my love courage and strength — that is, a love equal or greater than mine — and I find nothing! And the prop bends under my hand...
Then I draw myself up to my full height, I despise everyone, I deny love as it is described — I see nothing but self-interest or bestiality. Then I feel alone — great and strong and alone, alone like God; but God is God and I am a vile material creature, and at moments I understand the full desolation of this moral solitude, the full sadness of this hidden and useless superiority.
It seems to me then that I have nothing to do in this world, except to leave a name for posterity. I find nothing in common between myself and my fellow creatures. Neither in ideas, nor in principles, nor in friendship, nor in love. And yet there must be good people, noble ambitions, upright hearts. Unfortunately they are rare — and I see so little of the world that it is quite natural I should encounter none.
Noble ambitions, upright hearts? That does not accord with vanity. My vanity wants greatness in whatever form — besides, true greatness in any form is always respectable, and in great things small scruples and small honest weaknesses are merely ridiculous, contemptible.
Every man must seek power — whether it is given you by your merit, by cunning, by... even by gallantry, it matters not. One must desire to be powerful — if only to be able to stop equivocating and to act honestly without fearing anything; and look — to respect one's small scruples and one's small honest weaknesses. One sacrifices them at the beginning — but only in order eventually to sacrifice them no longer.
I respect great scoundrels — for most of them are so only in order to reach a point where they no longer commit cowardly acts, being free, powerful, great. That is sophistry, utopia, paradox, you will say. None of that, my dear readers — it is my opinion, and nothing more.
And what if they were to marry him off to keep him entirely from me? Ah! Ha! I make no comment. This thought has come to me, and I shall pray God to spare me this pain.

Notes

Mademoiselle Mari — an English novel set in Rome in the 1840s, unidentified. The plot parallelism with Marie's own story struck her forcibly.
From Ambroise Thomas's opera Mignon (1866), Act I, the aria "Connais-tu le pays" — in the libretto Mignon sings of Italy: "Connais-tu le pays où fleurit l'oranger?" The Italian words here are likely from the 1870 Italian-language version.
Girofla: a nickname (from the French girofle — clove) for one of the young men of the Nice-Monaco social circle; identity uncertain.