Saturday, 8 July 1876

These dreams are stupefying me! I detest Paris, for here I am never anything but shopping — and it is murderous from one o'clock until evening!
It seems that the little hat I am wearing is very pretty. The other day Caroline told me that one of the most elegant women in Paris had followed me along the Champs-Élysées and then come to her, Caroline, to ask where I had purchased that hat. The hat is in the form of a small pointed overturned basket, with a ruching of muslin around it and a large cluster of large roses, with their leaves and branches to the side.
The elegant women of Paris! Ah! That does not flatter me — I have attained such a degree of elegance that I cannot be equalled. I wear neither velvet nor lace, but my style is incomparable.
Miss Rice is entirely amiable towards me — besides, we have known each other since December 1871.
I have returned from the Théâtre-Français. They were giving four little pieces of no great importance, but played delightfully.
I wish I were already in Russia, to rid myself of these dreams that envelop my mind like an iron net.
Idleness! But I am not idle — I go out, I shop, I read, for I have books with me. If at least it were love — but it is nothing but a depraved mind!
I called on Jouvin to tell him to send to Altamura half a dozen gloves in a blue satin box lined with white satin, with these words in gold: Naples Races, 1876.
It is a wager I lost to him in Naples... Naples — what a charming name, pleasant to write, what a charming memory. I do not live in the present but in the past and the future. Well, there I go repeating a foolishness — for it only seems so, because one does not feel the present, so to speak, whereas one is fully aware of the past and hopeful of the future.
Besides, what is the present? I cry: there it is! — but no, it is already the past, for as someone said — I no longer remember who — the instant in which I speak is already far from me.
Meanwhile Antonelli forgets me. How I complain, how I lament myself. This poor woman who is humiliated and abandoned without love — who wishes to be the one who abandons, yet appears to be the one abandoned. Who does not love, and makes others believe she does, in order to give all sorts of people the occasion to triumph. Ah! her method is excellent, I grant it — but she has little patience and is exasperated by what she herself has contrived. The outcome will be excellent, but it is so long in coming. There lies the tedium of this Jesuitical method — but one must have patience, my dear.
It would be more calming to refuse outright — but would that be prudent? Would it be wise? No, for... who knows?... In my situation I must not rush anything. Besides, I do not know whether I ought to refuse or accept this agreeable nephew of the Cardinal.
Nothing has been official — this winter we shall see. If he still loves me, Maman will make enquiries with Visconti, as she has every right to do, and we shall see. If he no longer loves me, things will remain as they are — at least I will have no reproach to make myself, and that is already a great deal. Whereas if I find a better match... well, so much the better. But our situation... Ah! Above all it must be improved! My father must be brought round, at any cost!
Provided Miloradovitch does not propose to me — I could not refuse, I would accept while thinking I might have found better.
That is risky. At that rate, if I were offered a king I would say that since I found a king, I might well find an emperor. Ah — so that is how you reason, my girl. One must take care.
The fact is that Miloradovitch is admirable — excellent nobility, millions, and he is alone: no brothers, no sisters. Old parents — that is all.
Let us not torment ourselves in advance — let us not anticipate.
It is this Antonelli who troubles me. I cannot come to terms with that character, that manner of loving!
I do not understand him!

Notes

Ruche — ruching; gathered or pleated fabric trim used in millinery.
Genre — style, personal manner of elegance; here meaning her distinctive aesthetic.
Théâtre-Français — the Comédie-Française, France's national theatre.
Jouvin — famous Parisian glove-maker, celebrated for high-quality kid gloves.
Méthode de jésuite — Jesuitical method; cunning, patient manipulation; a 19th-century anti-clerical stereotype.