Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself. The Parisians — Complete by Baron Edward Bulwer Lytton Lytton (beautiful books to read TXT) 📖
Book online «The Parisians — Complete by Baron Edward Bulwer Lytton Lytton (beautiful books to read TXT) 📖». Author Baron Edward Bulwer Lytton Lytton
“Yes,” answered Alain, hesitatingly, and with a look of surprise.
“I wish now to retract all I said thereon. Mademoiselle Cicogna is not bent on the profession for which she was educated. She would willingly renounce all idea of entering it. The only counterweight which, viewed whether by my reason or my prejudices, could be placed in the opposite scale to that of the excellences which might make any man proud to win her, is withdrawn. I have become acquainted with her since the date of our conversation. Hers is a mind which harmonizes with the loveliness of her face. In one word, Marquis, I should deem myself honoured, as well as blest, by such a bride. It was due to her that I should say this; it was due also to you, in case you should retain the impression I sought in ignorance to efface. And I am bound, as a gentleman, to obey this twofold duty, even though in so doing I bring upon myself the affliction of a candidate for the hand to which I would fain myself aspire,—a candidate with pretensions in every way far superior to my own.”
An older or a more cynical man than Alain de Rochebriant might well have found something suspicious in a confession thus singularly volunteered; but the Marquis was himself so loyal that he had no doubt of the loyalty of Graham.
“I reply to you,” he said, “with a frankness which finds an example in your own. The first fair face which attracted my fancy since my arrival at Paris was that of the Italian demoiselle of whom you speak in terms of such respect. I do think if I had then been thrown into her society, and found her to be such as you no doubt truthfully describe, that fancy might have become a very grave emotion. I was then so poor, so friendless, so despondent! Your words of warning impressed me at the time, but less durably than you might suppose; for that very night as I sat in my solitary attic I said to myself, ‘Why should I shrink, with an obsolete old-world prejudice, from what my forefathers would have termed a mesalliance? What is the value of my birthright now? None,—worse than none. It excludes me from all careers; my name is but a load that weighs me down. Why should I make that name a curse as well as a burden? Nothing is left to me but that which is permitted to all men,—wedded and holy love. Could I win to my heart the smile of a woman who brings me that dower, the home of my fathers would lose its gloom.’ And therefore, if at that time I had become familiarly acquainted with her who had thus attracted my eye and engaged my thoughts, she might have become my destiny; but now!”
“But now?”
“Things have changed. I am no longer poor, friendless, solitary. I have entered the world of my equals as a Rochebriant; I have made myself responsible for the dignity of my name. I could not give that name to one, however peerless in herself, of whom the world would say, ‘But for her marriage she would have been a singer on the stage!’ I will own more: the fancy I conceived for the first fair face, other fair faces have dispelled. At this moment, however, I have no thought of marriage; and having known the anguish of struggle, the privations of poverty, I would ask no woman to share the hazard of my return to them. You might present me, then, safely to this beautiful Italian,—certain, indeed, that I should be her admirer; equally certain that I could not become your rival.”
There was something in this speech that jarred upon Graham’s sensitive pride; but on the whole, he felt relieved, both in honour and in heart. After a few more words, the two young men shook hands and parted. Alain remounted his horse. The day was now declining. Graham hailed a vacant fiacre, and directed the driver to Isaura’s villa.
CHAPTER IX. ISAURA.
The sun was sinking slowly as Isaura sat at her window, gazing dreamily on the rose-hued clouds that made the western borderland between earth and heaven. On the table before her lay a few sheets of manuscript hastily written, not yet reperused. That restless mind of hers had left its trace on the manuscript.
It is characteristic perhaps of the different genius of the sexes, that woman takes to written composition more impulsively, more intuitively, than man,—letter-writing, to him a task-work, is to her a recreation. Between the age of sixteen and the date of marriage, six well-educated clever girls out of ten keep a journal; not one well-educated man in ten thousand does. So, without serious and settled intention of becoming an author, how naturally a girl of ardent feeling and vivid fancy seeks in poetry or romance a confessional,—an outpouring of thought and sentiment, which are mysteries to herself till she has given them words, and which, frankly revealed on the page, she would not, perhaps could not, utter orally to a living ear.
During the last few days, the desire to create in the realm of fable beings constructed by her own breath, spiritualized by her own soul, had grown irresistibly upon this fair child of song. In fact, when Graham’s words had decided the renunciation of her destined career, her instinctive yearnings for the utterance of those sentiments or thoughts which can only find expression in some form of art, denied the one vent, irresistibly impelled her to the other. And in this impulse she was confirmed by the thought that here at least there was nothing which her English friend could disapprove,—none of the perils that beset the actress. Here it seemed as if, could she but succeed, her fame would be grateful to the pride of all who loved her. Here was a career ennobled by many a woman, and side by side in rivalry with renowned men. To her it seemed that, could she in this achieve an honoured name, that name took its place at once amid the higher ranks of the social world, and in itself brought a priceless dowry and a starry crown. It was, however, not till after the visit to Enghien that this ambition took practical life and form. One evening after her return to Paris, by an effort so involuntary that it seemed to her no effort, she had commenced a tale,—without plan, without method, without knowing in one page what would fill the next. Her slight fingers hurried on as if, like the pretended spirit manifestations, impelled by an invisible agency without the pale of the world. She was intoxicated by the mere joy of inventing ideal images. In her own special art an elaborate artist, here she had no thought of art; if art was in her work, it sprang unconsciously from the harmony between herself and her subject,—as it is, perhaps, with the early soarings of the genuine lyric poets, in contrast to the dramatic. For the true lyric poet is intensely personal, intensely subjective. It is himself that he expresses, that he represents; and he almost ceases to be
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