Before leaving London he pays one call on Mme de Staël, who with her entourage is enjoying great success in the city. He finds her in good spirits but indifferent health: the last pregnancy, her fifth, took its toll on her, and its issue proved unfortunate. “Petit Nous” is imbecilic; they have named him Giles, invented an American parentage for him, and left him at Coppet with wet nurses. Germaine is tired and no longer attractive; her young guardsman-husband, though devoted, is crude and given to jealousy; she is using far too much laudanum, can’t manage without it. She is not displeased to see that Andrew too has aged considerably. She introduces him to young Lord Byron, whose company she enjoys despite his unflattering compliment that she should have been born male. At her request, for Byron’s amusement and by way of homage to the memory of Joel Barlow, Andrew for the last time recounts the tale of “Consuelo del Consulado.” The poet attends, applauds politely, suggests that “with some reworking” it might appeal to Walter Scott, but believes that Gioacchino Rossini may have already made use of it in his new opéra bouffe L’Italiana in Algeri. Germaine herself, this time around, declares the tale palpable rubbish. The truth is (she announces pointedly to Byron) she is surfeited with Romanticism, almost with literature. She prefers Jane Austen to Walter Scott, Alexander Pope to Wordsworth and Shelley, and would rather read Malthus and Ricardo and Laplace than the lot of them. Her own novels have begun to bore her: so much so that she is writing a quite 18th-Century essay against suicide to counter the “Wertherism” so morbidly in fashion, from which her own Delphine, for example, suffers. Oh that she were Byron’s age! She would devise an art that saw through such improbable flamboyances as Napoleon and “Consuelo” to those complex realities which (as her financier father knew) truly affect the lives of men and nations: the commodity market, currency speculation, the mysteries of patent law and debenture bonding.
Byron is bored. Andrew has heard the argument before; he coins the terms “post-Romantic” and “neo-Realist” and, begging their pardons, wonders casually whether Germaine’s new passion for economic and political history as against belles-lettres is not as romantical in its way as Byron’s fascination with “action” as against “contemplation.” He also wonders whether (this fancy much pleases both Byron and de Staël) “romantic” unlikelihoods such as his interlude with Consuelo not more likely to occur in reality, even to abound, in the present Age of Romanticism than in other ages, just as visions and miracles no doubt occurred more regularly in the Age of Faith than in the Enlightenment. The most practical strategists in the Admiralty, for example, have been unable to deal with the American Argus nuisance in the Channel, whereas any romantical novelist deserving of the adjective would recall at once how Mercury slew the original “hundred-eyed Argus” by first charming the monster to sleep (some say with fiction). Suppose, instead of wool and timber and wheat, the Argus were to capture a ship loaded to the gunwales with good Oporto wine, whilst over the horizon a British man-o’-war stood ready to close when the Yankees were in their cups…
Germaine is impatient: the effect of Lloyd’s marine insurance rates on British foreign policy intrigues her, but not the application of classical mythology to modern naval warfare. Byron, on the other hand, is enchanted with the idea. He has a naval cousin, Sir Peter Parker, in H.M.S. Menelaus in the Mediterranean, and other Admiralty connections to whom he must rush off at once and propose the scheme. Mr. Cook is quite right: it is an age in which the Real and the Romantic are, so to speak, fraternal twins. He himself, now Cook has put the bee in his bonnet, would not be surprised to learn that Lady Caroline Lamb, who has been forging letters over his signature, is Consuelo del Consulado, up to her old tricks!
