"The çoisRenéPrince entered the drawing-room, with Madame de Staël showing him the way. Suddenly the door half opened, and Athenais advanced. By the elegance of her figure, by the dazzling brilliancy of her features, the Prince could not fail to recognise her, but he had formed a quite different idea of her: he had represented this woman to himself as famous for her beauty, as proud of her successes, with an assumed bearing and the kind of confidence which that sort of celebrity only too often gives; and he saw a timid young person step forward with embarrassment and blush as she appeared. The sweetest sentiment mingled with his surprise.
"After dinner, they did not go out, because of the excessive heat; they went down into the gallery to make music until the time came to take the air. After a few brilliant chords and harmonious sounds of entrancing sweetness, Athenais sang to her own accompaniment on the harp. The Prince listened to her with rapture and, when she had finished, looked at her with inexpressible commotion, exclaiming:
Madame de Staël, in her maturity, loved Madame Récamier: Madame de Genlis, in her decrepitude, found back for her the accents of her youth; the author of _Mademoiselle de Clermont_[382] lays the scene of her novel[383] at Coppet, with the author of _Corinne_, a rival whom she detested: that was one wonder. Another wonder is to see me writing these details. I am turning over letters which remind me of times in which I lived solitary and unknown. There was happiness without me on the shores of Coppet, which I have not seen since without a certain movement of envy. The things which have escaped me on earth, which have fled from me, which I regret, would kill me, were I not so near my tomb; but, at this short distance from eternal oblivion, truths and dreams are equally vain: at the end of one's life, all is time lost.
Madame de Staël set out a second time for Germany[384]. Here begins again a series of letters to Madame Récamier, perhaps even more charming than the first.
There is nothing in Madame de Staël's printed works which approaches this naturalness, this eloquence, in which imagination lends its expression to the feelings. The virtue of Madame Récamier's friendship must have been great, since it was able to make a woman of genius produce what was hidden and, as yet, unrevealed in her talent. We divine, moreover, in the sad accent of Madame de Staël a secret displeasure, of which the beauty would naturally be the confidant, she who could never receive like wounds.