Paquita, on reaching the limits set to real love, did not, like Julie and Heloise, throw herself into the ideal; no, she rushed into the paths of vice, which is, no doubt, shockingly natural; but she did it without any touch of magnificence, for lack of means, as it would be difficult to find in Rouen men impassioned enough to place Paquita in a suitable setting of luxury and splendor. This horrible realism, emphasized by gloomy poetic feeling, had inspired some passages such as modern poetry is too free with, rather too like the flayed anatomical figures known to artists as /ecorches/. Then, by a highly philosophical revulsion, after describing the house of ill-fame where the Andalusian ended her days, the writer came back to the ballad at the opening:
Paquita now is faded, shrunk, and old, But she it was who sang:
"If you but knew the fragrant plain, The air, the sky, of golden Spain," etc.
The gloomy vigor of this poem, running to about six hundred lines, and serving as a powerful foil, to use a painter's word, to the two /seguidillas/ at the beginning and end, the masculine utterance of inexpressible grief, alarmed the woman who found herself admired by three departments, under the black cloak of the anonymous. While she fully enjoyed the intoxicating delights of success, Dinah dreaded the malignity of provincial society, where more than one woman, if the secret should slip out, would certainly find points of resemblance between the writer and Paquita. Reflection came too late; Dinah shuddered with shame at having made "copy" of some of her woes.
"Write no more," said the Abbe Duret. "You will cease to be a woman;you will be a poet."
Moulins, Nevers, Bourges were searched to find Jan Diaz; but Dinah was impenetrable. To remove any evil impression, in case any unforeseen chance should betray her name, she wrote a charming poem in two cantos on /The Mass-Oak/, a legend of the Nivernais:
"Once upon a time the folks of Nevers and the folks of Saint-Saulge, at war with each other, came at daybreak to fight a battle, in which one or other should perish, and met in the forest of Faye. And then there stood between them, under an oak, a priest whose aspect in the morning sun was so commanding that the foes at his bidding heard Mass as he performed it under the oak, and at the words of the Gospel they made friends."--The oak is still shown in the forest of Faye.
This poem, immeasurably superior to /Paquita la Sevillane/, was far less admired.
After these two attempts Madame de la Baudraye, feeling herself a poet, had a light on her brow and a flash in her eyes that made her handsomer than ever. She cast longing looks at Paris, aspiring to fame --and fell back into her den of La Baudraye, her daily squabbles with her husband, and her little circle, where everybody's character, intentions, and remarks were too well known not to have become a bore.
Though she found relief from her dreary life in literary work, and poetry echoed loudly in her empty life, though she thus found an outlet for her energies, literature increased her hatred of the gray and ponderous provincial atmosphere.
When, after the Revolution of 1830, the glory of George Sand was reflected on Le Berry, many a town envied La Chatre the privilege of having given birth to this rival of Madame de Stael and Camille Maupin, and were ready to do homage to minor feminine talent. Thus there arose in France a vast number of tenth Muses, young girls or young wives tempted from a silent life by the bait of glory. Very strange doctrines were proclaimed as to the part women should play in society. Though the sound common sense which lies at the root of the French nature was not perverted, women were suffered to express ideas and profess opinions which they would not have owned to a few years previously.
Monsieur de Clagny took advantage of this outbreak of freedom to collect the works of Jan Diaz in a small volume printed by Desroziers at Moulins. He wrote a little notice of the author, too early snatched from the world of letters, which was amusing to those who were in the secret, but which even then had not the merit of novelty. Such practical jokes, capital so long as the author remains unknown, fall rather flat if subsequently the poet stands confessed.
From this point of view, however, the memoir of Jan Diaz, born at Bourges in 1807, the son of a Spanish prisoner, may very likely some day deceive the compiler of some /Universal Biography/. Nothing is overlooked; neither the names of the professors at the Bourges College, nor those of his deceased schoolfellows, such as Lousteau, Bianchon, and other famous natives of the province, who, it is said, knew the dreamy, melancholy boy, and his precocious bent towards poetry. An elegy called /Tristesse/ (Melancholy), written at school;the two poems /Paquita la Sevillane/ and /Le Chene de la Messe/; three sonnets, a description of the Cathedral and the House of Jacques Coeur at Bourges, with a tale called /Carola/, published as the work he was engaged on at the time of his death, constituted the whole of these literary remains; and the poet's last hours, full of misery and despair, could not fail to wring the hearts of the feeling public of the Nievre, the Bourbonnais, the Cher, and the Morvan, where he died near Chateau-Chinon, unknown to all, even to the woman he had loved!
Of this little yellow paper volume two hundred copies were printed;one hundred and fifty were sold--about fifty in each department. This average of tender and poetic souls in three departments of France is enough to revive the enthusiasm of writers as to the /Furia Francese/, which nowadays is more apt to expend itself in business than in books.
