One argument that will never be satisfactorily resolved concerns the rival claims of nature and nurture as cause for villainy. Are villains, like poets, born and not made? Nature and nurture must both have a part to play, and there are no doubt other elements at work. However, with regard to literature, whatever we can say about villainy, it has to be conceded that it has been an unmixed blessing.But what of the gift of free will and the power of the individual to choose the path of righteousness? Casanova has always been a great entertainer of sorts, making us feel safe in our comparative decency, but nonetheless, many have been enthralled by his wicked machinations…
Casanova in London falls in love with La Charpillon. He spends a night with her, but she wraps herself tightly in her night-gown, reducing the great lover in impotent rage. The next day a friend offers him and interesting chair…
There was also a note from Goudar, saying that he wanted to speak to me, and that he would come at noon. I gave orders that he should be admitted. This curious individual began by astonishing me; he told me the whole story of what had taken place, the mother having been his informant. “The Charpillon,” he added, “has not got a fever, but is covered with bruises. What grieves the old woman most is that she has not got the hundred guineas.” “She would have had them the next morning,” I said, “if her daughter had been tractable.”
—Dir: Federico Fellini.
País: Italia-Francia
Año: 1976.
Guión: Federico Fellini y Bernardino Zapponi, inspirado libremente en las memorias de Giacomo Casanova.—
“Her mother had made her swear that she would not be tractable, and you need not hope to possess her without the mother’s consent.” “Why won’t she consent?” “Because she thinks that you will abandon the girl as soon as you have enjoyed her.” “Possibly, but she would have received many valuable presents, and now she is abandoned and has nothing.” “Have you made up your mind not to have anything more to do with her?” “Quite.”
“That’s your wisest plan, and I advise you to keep to it, nevertheless I want to shew you something which will surprise you. I will be back in a moment.” He returned, followed by a porter, who carried up an arm-chair covered with a cloth. As soon as we were alone, Goudar took off the covering and asked me if I would buy it. “What should I do with it? It is not a very attractive piece of furniture.” “Nevertheless, the price of it is a hundred guineas.” “I would not give three.”
“This arm-chair has five springs, which come into play all at once as soon as anyone sits down in it. Two springs catch the two arms and hold them tightly, two others separate the legs, and the fifth lifts up the seat.” After this description Goudar sat down quite naturally in the chair and the springs came into play and forced him into the position of a woman in labour. “Get the fair Charpillon to sit in this chair,” said he, “and your business is done.” I could not help laughing at the contrivance, which struck me as at once ingenious and diabolical, but I could not make up my mind to avail myself of it. “I won’t buy it,” said I, “but I shall be obliged if you will leave it here till to-morrow.” “I can’t leave it here an hour unless you will buy it; the owner is waiting close by to hear your answer.” “Then take it away and come back to dinner.”
He shewed me how I was to release him from his ridiculous position, and then after covering it up again he called the porter and went away. There could be no doubt as to the action of the machinery, and it was no feeling of avarice which hindered me from buying the chair. As I have said, it seemed rather a diabolical idea, and besides it might easily have sent me to the gallows. Furthermore, I should never have had the strength of mind to enjoy the Charpillon forcibly, especially by means of the wonderful chair, the mechanism of which would have frightened her out of her wits….Read More:http://ebooks.adelaide.edu.au/c/casanova/c33m/complete.html
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