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Updated: May 24, 2025
In real truth, it was not only Zustiniani who had driven Consuelo away. A youth named Anzoleto, who had grown up in Venice with Consuelo so that the two were as brother and sister, and who lacked both heart and constancy, made life too hard for Consuelo.
I belong to the art to which I have devoted myself since my childhood. I could only renounce all this if if I loved Albert. That is what I must find out. Give me at least a few days, that I may learn whether I have this love for him within my heart." The arrival of the worthless Anzoleto at the Castle of the Giants drove Consuelo once more to flight.
Therefore, too, though she seems always right, she is free from all self-discipline. In meeting her one should not feel especially that she was a good person. She is not virtuous, for she has no moral struggle; nor pious, for she is too impersonal; and even her love, at least to the end of "Consuelo," is not a life. Her regard for Anzoleto you feel will pass.
Anzoleto had enjoyed some success at Venice, but having incurred the wrath of Zustiniani, he was escaping to Prague. Passing through Bohemia, the fame of a beautiful singer at the castle of the Rudolstadts came to his ears, and Anzoleto resolved to recover the old place he had once held in Consuelo's heart.
Sometimes she portrays a perfected type, such as Consuelo, or Impéria in Pierre qui roule, but always side by side with more earthly and faulty representatives such as Corilla and Anzoleto, or Julia and Albany, in Narcisse, incarnations of the vanity and instability that are the chief dangers of the profession, drawn with unsparing realism.
The graceful Venetian life wrought of song and fragrance fades so suddenly into the sombre Bohemian forest where the careless girl who dabbles in the water with Anzoleto becomes the mistress of the destiny of the morbid Albert, and all shifts again into the clear, vigorous friendship with Hadyn and the sunny journey where the woman of the castle becomes a girl again, as cheerful but so much wiser than the Venetian girl, singing and saddening and sleeping in barns and leaping abbey walls, that it was like lying on a hillside under the shades and sunlight of the April sky.
It is a personal relation, necessary among the flowers and music and moonlight of Venice. It is not the sentiment which love is to such a nature, nor could Anzoleto ever awaken that. With Albert it is much the same in another way. The waters do not at once flow to a level. She is consolation to him, but he is not life and hope to her. Music is, but she is too human to be satisfied so.
But "Consuelo," "La Comtesse de Rudolstadt," "Lettres d'un voyageur," Lelia, Spiridion, Valvédre, Valentine, "History of her Life and letters," and many other books reveal her agonies and agitations, her hope and power, her love of beauty both outward and inward as represented in Consuelo herself, who is contrasted with the mere beautiful "animal" Anzoleto, the artist in his lowest form.
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