It is very certain that for a woman to make a man love her it is not always necessary that she should love him, but simply that she should pretend to. True love makes one timid, awkward, bungling, imprudent; how, with all these failings, can one be attractive? When one truly loves, one loses all one's attractions. When a girl--observe that I mean an innocent girl--sees the man she loves enter the salon where she is surrounded by people, she instantly becomes embarrassed, pensive, distraught; the blood rises to her cheeks; speak to her and she answers incoherently; she dares not raise her eyes for fear of attracting attention; she trembles lest someone may guess what she wants; it seems to her that all eyes are fastened on her, and that everyone knows her secret. If two persons speak in low tones, she fancies that they are talking about her. The slightest thing adds to her confusion. If she is musical and is escorted to the piano, her fingers get in one another's way and cannot touch the keys correctly. Does she sing? her voice trembles, she is afraid of putting too much meaning into the words which refer to love. Does she dance? she is afraid to dance with the man she adores; she despairs in secret if he dances with another.--Poor child! if you were not in love, or if he were not there you would recover your charm, your good spirits; you would flirt perhaps, but you would be much more attractive; and your kind girl friends would not laugh among themselves at your awkwardness and your stupidity.
In the case of a young man it is even worse, for the timidity and embarrassment which take possession of a young woman always give her a certain air of innocence and candor, which induces one to excuse her awkwardness. But a lovelorn man who sits and sulks in a corner of the salon if the woman he loves does not look at him fondly enough, who sighs without speaking when he is seated beside his charmer; who does not know what to say when an opportunity presents itself to declare his flame: such a man, it must be confessed, is far from attractive; he is laughed at in society, and she who is the cause of his blunders is often the first to make fun of him. Whereas a giddy youngster, who is not in love, who has no feeling; who takes pleasure in tormenting women, who turns sentiment into ridicule and constancy into a subject of derision--a ne'er-do-well, in a word--easily makes himself master of a heart and triumphs in a day over her for whom the shrinking and sensitive lover has sighed in vain for many years! To be sure, the ne'er-do-well is very lively, very pushing, very enterprising in a tête-à-tête! while the poor lover--The old song is quite right: