Towards the close of 1815, Flore, who was then twenty-seven, had
reached the perfect development of her beauty. Plump and fresh, and
white as a Norman countrywoman, she was the ideal of what our
ancestors used to call "a buxom housewife." Her beauty, always that of
a handsome barmaid, though higher in type and better kept, gave her a
likeness to Mademoiselle George in her palmy days, setting aside the
latter's imperial dignity. Flore had the dazzling white round arms,
the ample modelling, the satiny textures of the skin, the alluring
though less rigidly correct outlines of the great actress. Her
expression was one of sweetness and tenderness; but her glance
commanded less respect than that of the noblest Agrippina that ever
trod the French stage since the days of Racine: on the contrary, it
evoked a vulgar joy. In 1816 the Rabouilleuse saw Maxence Gilet, and
fell in love with him at first sight. Her heart was cleft by the
mythological arrow,--admirable description of an effect of nature
which the Greeks, unable to conceive the chivalric, ideal, and
melancholy love begotten of Christianity, could represent in no other
way. Flore was too handsome to be disdained, and Max accepted his
conquest.
Thus, at twenty-eight years of age, the Rabouilleuse felt for the
first time a true love, an idolatrous love, the love which includes
all ways of loving,--that of Gulnare and that of Medora. As soon as
the penniless officer found out the respective situations of Flore and
Jean-Jacques Rouget, he saw something more desirable than an
"amourette" in an intimacy with the Rabouilleuse.
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