The Memoirs of Jacques Casanova de Seingalt, 1725-1798. Volume 05: Milan and Mantua — Key Ideas to Explore

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Casanova, Giacomo, 1725-1798, Machen, Arthur, 1863-1947 [Translator] Project Gutenberg 2004 Not confirmed
Casanova, Giacomo, 1725-1798; Europe -- History -- 18th century -- Biography Readers of public-domain and historical texts
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Words 31,647
Reading time 138 min
Text sections 3

The catalog record for The Memoirs of Jacques Casanova de Seingalt, 1725-1798. Volume 05: Milan and Mantua — Key Ideas to Explore provides practical reading context through 31,647 words, 2 hr 18 min estimated reading time, and 3 detected text sections.

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Casanova's fifth volume follows his departure from Venice to Milan and Mantua, blending social maneuvers with a vivid storm scene where his own superstitious dread undercuts his bravado, revealing the memoir's structural interplay of confidence and vulnerability.
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Christine was learning the Venetian dialect.

When M. Dandolo and I called at their house, Charles was not at home; Christine was alone with his two relatives. The most friendly welcome was proffered to us, and in the course of conversation the aunt praised the progress made by Christine in her writing very highly, and asked her to let me see her copy-book. I followed her to the next room, where she told me that she was very happy; that every day she discovered new virtues in her husband. He had told her, without the slightest appearance of suspicion of displeasure, that he knew that we had spent two days together in Treviso, and that he had laughed at the well-meaning fool who had given him that piece of information in the hope of raising a cloud in the heaven of their felicity.

Charles was truly endowed with all the virtues, with all the noble qualities of an honest and distinguished man. Twenty-six years afterwards I happened to require the assistance of his purse, and found him my true friend. I never was a frequent visitor at his house, and he appreciated my delicacy. He died a few months before my last departure from Venice, leaving his widow in easy circumstances, and three well-educated sons, all with good positions, who may, for what I know, be still living with their mother.

In June I went to the fair at Padua, and made the acquaintance of a young man of my own age, who was then studying mathematics under the celebrated Professor Succi. His name was Tognolo, but thinking it did not sound well, he changed it for that of Fabris. He became, in after years, Comte de Fabris, lieutenant-general under Joseph II., and died Governor of Transylvania. This man, who owed his high fortune to his talents, would, perhaps, have lived and died unknown if he had kept his name of Tognolo, a truly vulgar one. He was from Uderzo, a large village of the Venetian Friuli. He had a brother in the Church, a man of parts, and a great gamester, who, having a deep knowledge of the world, had taken the name of Fabris, and the younger brother had to assume it likewise. Soon afterwards he bought an estate with the title of count, became a Venetian nobleman, and his origin as a country bumpkin was forgotten. If he had kept his name of Tognolo it would have injured him, for he could not have pronounced it without reminding his hearers of what is called, by the most contemptible of prejudices, low extraction, and the privileged class, through an absurd error, does not admit the possibility of a peasant having talent or genius. No doubt a time will come when society, more enlightened, and therefore more reasonable, will acknowledge that noble feelings, honour, and heroism can be found in every condition of life as easily as in a class, the blood of which is not always exempt from the taint of a misalliance.

The new count, while he allowed others to forget his origin, was too wise to forget it himself, and in legal documents he always signed his family name as well as the one he had adopted. His brother had offered him two ways to win fortune in the world, leaving him perfectly free in his choice. Both required an expenditure of one thousand sequins, but the abbe had put the amount aside for that purpose. My friend had to choose between the sword of Mars and the bird of Minerva. The abbe knew that he could purchase for his brother a company in the army of his Imperial and Apostolic Majesty, or obtain for him a professorship at the University of Padua; for money can do everything. But my friend, who was gifted with noble feelings and good sense, knew that in either profession talents and knowledge were essentials, and before making a choice he was applying himself with great success to the study of mathematics. He ultimately decided upon the military profession, thus imitating Achilles, who preferred the sword to the distaff, and he paid for it with his life like the son of Peleus; though not so young, and not through a wound inflicted by an arrow, but from the plague, which he caught in the unhappy country in which the indolence of Europe allows the Turks to perpetuate that fearful disease.

This volume opens with Casanova leaving Venice after slight misfortunes, moving to Milan and Mantua. The narrative is marked by a striking shift in tone: from the controlled social calculus of his Venetian farewells to a raw, almost confessional account of a thunderstorm that exposes his own credulity. The storm sequence, in which he stands paralyzed inside a self-drawn magic ring, is the volume's structural pivot—a moment where the memoirist's usual self-assurance dissolves into trembling fear. The episode is not merely atmospheric; it reveals how Casanova's narrative voice oscillates between worldly confidence and sudden, unguarded dread.

Departure and Social Calculus

The volume begins with Casanova's departure from Venice, framed as a consequence of "slight misfortunes." The opening pages are dominated by social negotiations: visits to Charles and his wife Christine, whose happiness is described in terms of domestic harmony. Casanova notes Christine's new Venetian dialect and her writing progress, details that underscore his role as observer of others' transformations. The narrative lingers on Charles's virtues—"all the noble qualities of an honest and distinguished man"—and on Casanova's own delicacy in not visiting too often. This section establishes a pattern of measured social performance, where every interaction is weighed and catalogued.

The Storm and the Magic Ring

The volume's most intense passage describes a thunderstorm that traps Casanova inside a magic ring he had drawn to impress two companions. The prose shifts into a first-person account of escalating fear: "the cloud spreads with fearful rapidity," lightning flashes, and he trembles "like an aspen leaf." Crucially, Casanova admits that his own belief in the ring's protection—"that foolish reason"—kept him from fleeing. The scene is a rare moment of self-indictment, where the memoirist acknowledges his own cowardice and superstition. The storm's aftermath brings a sudden calm: "the moon shone in all its splendour, like silver in the pure, blue sky." This structural contrast between terror and relief is a hallmark of Casanova's narrative technique.

Aftermath and Apathy

Following the storm, Casanova experiences an uncharacteristic state of apathy. He notes that "the sight of Genevieve did not move me in any way" and that he felt "reduced to a state of apathy." This emotional flatness is linked to superstitious ideas: he imagines the innocence of a young girl, Javotte, is "under the special protection of Heaven." The episode echoes an earlier reference to "poor Lucy, of Pasean," suggesting a recurring pattern of sexual encounters with consequences. Casanova's decision to leave is described as "irrevocable," driven by a fear of the Inquisition and a desire to avoid further duplicity. The narrative here turns inward, examining the psychological residue of the storm.

Recurring Images and Structural Movement

Throughout this volume, Casanova's narrative moves between social interiors and natural exteriors, between control and vulnerability. The storm scene is the most vivid example, but the pattern appears earlier: the description of Christine's hair—"raven black" versus powdered town fashion—uses visual contrast to signal authenticity versus artifice. The memoir's structure relies on such juxtapositions: the calm of domestic scenes versus the violence of the storm; the bravado of the magician versus the trembling poltroon. These recurring images—lightning, trembling, the magic ring—create a cohesive texture. The volume's movement from Venice to Milan and Mantua is not just geographical but psychological, tracing a descent into self-doubt and a subsequent retreat.

Readers attentive to Casanova's self-presentation will find this volume revealing not for its adventures but for its moments of unguarded confession. The storm scene, in particular, offers a rare glimpse of the memoirist questioning his own systems of belief. The narrative rewards those who track its shifts in tone—from social polish to raw fear—and who notice how the same hand that draws a magic ring also trembles inside it.

I’ve often thought Casanova’s storm-tossed dread in Milan, that crack in his swagger, finds a quiet echo in Lady Fanshawe’s own fragile bravery across foreign courts. Both travelers kept such careful accounts of their uncertainties. The Memoirs of Lady Fanshawe Wife of Sir Richard Fanshawe, Bt., Ambassador from Charles II to the Courts of Portugal and Madrid. — Text and Context holds that same tender, honest tremor beneath its decorum.

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