France -- Social life and customs -- 19th century -- Fiction
The most striking feature of the first comer, M. de Marsay, famous for
the passions which he had inspired, was his girlish beauty; but its
softness and effeminacy were counteracted by the expression of his
eyes, unflinching, steady, untamed, and hard as a tiger's. He was
loved and he was feared. Lucien was no less handsome; but Lucien's
expression was so gentle, his blue eyes so limpid, that he scarcely
seemed to possess the strength and the power which attract women so
strongly. Nothing, moreover, so far had brought out the poet's merits;
while de Marsay, with his flow of spirits, his confidence in his power
to please, and appropriate style of dress, eclipsed every rival by his
presence. Judge, therefore, the kind of figure that Lucien, stiff,
starched, unbending in clothes as new and unfamiliar as his
surroundings, was likely to cut in de Marsay's vicinity. De Marsay
with his wit and charm of manner was privileged to be insolent. From
Mme. d'Espard's reception of this personage his importance was at once
evident to Mme. de Bargeton.
The second comer was a Vandenesse, the cause of the scandal in which
Lady Dudley was concerned. Felix de Vandenesse, amiable, intellectual,
and modest, had none of the characteristics on which de Marsay prided
himself, and owed his success to diametrically opposed qualities. He
had been warmly recommended to Mme. d'Espard by her cousin Mme. de
Mortsauf.
The third was General de Montriveau, the author of the Duchesse de
Langeais' ruin.
The fourth, M. de Canalis, one of the most famous poets of the day,
and as yet a newly risen celebrity, was prouder of his birth than of
his genius, and dangled in Mme. d'Espard's train by way of concealing
his love for the Duchesse de Chaulieu. In spite of his graces and the
affectation that spoiled them, it was easy to discern the vast,
lurking ambitions that plunged him at a later day into the storms of
political life. A face that might be called insignificantly pretty and
caressing manners thinly disguised the man's deeply-rooted egoism and
habit of continually calculating the chances of a career which at that
time looked problematical enough; though his choice of Mme. de
Chaulieu (a woman past forty) made interest for him at Court, and
brought him the applause of the Faubourg Saint-Germain and the gibes
of the Liberal party, who dubbed him "the poet of the sacristy."
Public-domain text, read in full here on John Shaqi.
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