Monday, 26 September 1881

[Note: The entry itself is headed "Mardi 2.7 septembre 1881" — a date discrepancy in the original manuscript.]

Tuesday, 27 September 1881 One goes to bed late, one sleeps until ten o'clock. Miserable evenings — half at the hotel drawing room, half at the Casino, for I have decided to go there all the same. All of this in the company of the Karaouleffs and an Englishman, and then a very young, very young little Russian. [Words blacked out: A gentleman and his wife recently arrived from] Marseille — very proper, with three ravishing children; but she has left yesterday, taking with her the caricature of an old fairy who lives here, which I made in duplicate for her. Yesterday in Bayonne, as a family; today at Fontarabía, and the family again — I never go out without the Karaouleffs. I wanted to go on horseback, but the bodice of my riding habit fits so badly — and besides it would be annoying to travel with this Karaouleff whom I do not know and who is tiresome. His wife is very beautiful but not of the best sort, and one does not seem to pay enough attention to the child, and these people sometimes get on my nerves… Fontarabía is charming; Biarritz is so common, so clumsy in its very banal beauty that one is glad to escape it. And immediately, there at the little port, begging children — one could easily make a painting of them. Only I want to see Spain first, and if I don't find anything better there I shall return by way of Fontarabía… I played — there is a roulette table — but having lost forty francs I made sketches instead. It is a little lost corner; I hope no one saw me gambling, besides… Oh! Those three hours in a carriage listening to that lady recount her nonsense — which didn't even have the charm of society gossip!… Ah! What have I done to heaven to be like this. Why can I not eat the poor hotel cooking that blood princesses eat; why can I not bear the intellectual poverty that surrounds me! Certainly I no doubt get only what I deserve — if I deserved better, God… and besides, if I were truly so superior I would know how to… Ah! Funereal banality.
Imbeciles who are not people of the world. Oh! Oh then! O dreams of my childhood, O divine hopes!… Ah! If there is a God he abandons me [illegible] — it is a suffering almost [illegible, an imagination…] — these people wound me, irritate me, bore me when they don't make me cry. And so I am only a little at peace in my sepulcher in Paris; when traveling one sees each other constantly and it is insupportable. It is not that my mothers are common or carry themselves badly — when there are no strangers they are my mothers; they are even proper enough. [Words blacked out: But as soon as there are] strangers, Maman — who is composed — becomes affected in her pronunciation, in a way that has the gift of exasperating me. She speaks to me knowing that Russians are listening, and then it is so different from her natural manner that it causes me some indescribable suffering of ridiculousness, of affectation… of horrible pettiness. It is partly my fault — I always reproach them for not knowing anyone, and I say humiliating things to push them to do something… But it only gives them that pitiful attitude… And when the occasion arises they get on their high horses and speak loudly to be heard by the other Russians, always to boast and press some imaginary greatness — if it were done with skill I would say nothing… But it is childish… I always complain about my family… but I love them, and I am fair. And do I even love them? If they were strangers to me, such as they are, would I love them? No, no doubt not. Besides the gray, the white dress must be mentioned, which had equal success: a Louis XV dress in muslin embroidered with little flowers, white on white — pointed bodice like the gray, open in a square; a high chemisette with a frill around which a narrow black velvet. Hat lined with black velvet, with white feathers. The skirt entirely in lace flounces at the front, since the overskirt — which is evident — gathered and sewn to the bodice opens to be raised into panniers, held by two points very far back. Everyone elegant asks Rosalie for the dressmaker's address — so glory to Doucet. I had made this coquettish expense for Soria; we have talked twice on the beach and I shall paint his portrait. Soria is the celebrated amateur singer and wine merchant (in Bordeaux in France; paid professionally abroad). He sings like an angel… who would have a biblical head of great beauty — black beard, splendid eyes — in short, the ideal of biblical beauty. An olive complexion and no hair, nothing but a crown. He is tall; in short one could make a striking character portrait
of him… We shall probably meet again in Madrid… Imagine — I have taken a horror of M. Karaouleff, like Bruschetti. These morbid antipathies are strange; I thought that with Bruschetti and the other it was because they were in love with me — well, no: it is without cause, as you see. To the point that I do not come down so as not to encounter him. The only person we know who is genuinely proper is the old fairy: she is Russian and was married to the Marquis de Montezemolo, the last Italian prefect of Nice. An old caricature — I have hardly exaggerated on the sheet that Mme Theolog took with her.

Notes

Fontarabía: Fuenterrabía (now Hondarribia), a Spanish town on the border with France at the mouth of the Bidasoa river.
Doucet: the House of Doucet, one of the great Paris couturiers of the late 19th century.