The Memoirs of Jacques Casanova de Seingalt, 1725-1798. Volume 10: under the Leads — Inside the Classic

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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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Edition facts

Words 57,970
Reading time 253 min
Text sections 5

This digital edition of The Memoirs of Jacques Casanova de Seingalt, 1725-1798. Volume 10: under the Leads — Inside the Classic is described by source-level measurements including 57,970 words, 4 hr 13 min estimated reading time, and 5 detected text sections.

The text analysis averages about 24.6 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Casanova, Giacomo, 1725-1798,” connecting these edition facts with the source record’s subject description.

Casanova's account of his imprisonment in Venice's Leads prison, detailing his arrest, psychological manipulation of a fellow inmate, and use of Ariosto's Orlando Furioso as an oracle to predict his escape.
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Never had I been so alarmed, nor should I have previously thought myself capable of experiencing such terror. I passed three or four minutes in a kind of swoon, not only motionless but incapable of thinking. As I got back my senses by degrees, I tried to make myself believe that the hand I fancied I had touched was a mere creature of my disordered imagination; and with this idea I stretched out my hand again, and again with the same result. Benumbed with fright, I uttered a piercing cry, and, dropping the hand I held, I drew back my arm, trembling all over:

Soon, as I got a little calmer and more capable of reasoning, I concluded that a corpse had been placed beside me whilst I slept, for I was certain it was not there when I lay down.

"This," said I, "is the body of some strangled wretch, and they would thus warn me of the fate which is in store for me."

The thought maddened me; and my fear giving place to rage, for the third time I stretched my arm towards the icy hand, seizing it to make certain of the fact in all its atrocity, and wishing to get up, I rose upon my left elbow, and found that I had got hold of my other hand. Deadened by the weight of my body and the hardness of the boards, it had lost warmth, motion, and all sensation.

In spite of the humorous features in this incident, it did not cheer me up, but, on the contrary, inspired me with the darkest fancies. I saw that I was in a place where, if the false appeared true, the truth might appear false, where understanding was bereaved of half its prerogatives, where the imagination becoming affected would either make the reason a victim to empty hopes or to dark despair. I resolved to be on my guard; and for the first time in my life, at the age of thirty, I called philosophy to my assistance. I had within me all the seeds of philosophy, but so far I had had no need for it.

I am convinced that most men die without ever having thought, in the proper sense of the word, not so much for want of wit or of good sense, but rather because the shock necessary to the reasoning faculty in its inception has never occurred to them to lift them out of their daily habits.

After what I had experienced, I could think of sleep no more, and to get up would have been useless as I could not stand upright, so I took the only sensible course and remained seated. I sat thus till four o'clock in the morning, the sun would rise at five, and I longed to see the day, for a presentiment which I held infallible told me that it would set me again at liberty. I was consumed with a desire for revenge, nor did I conceal it from myself. I saw myself at the head of the people, about to exterminate the Government which had oppressed me; I massacred all the aristocrats without pity; all must be shattered and brought to the dust. I was delirious; I knew the authors of my misfortune, and in my fancy I destroyed them. I restored the natural right common to all men of being obedient only to the law, and of being tried only by their peers and by laws to which they have agreed-in short, I built castles in Spain. Such is man when he has become the prey of a devouring passion. He does not suspect that the principle which moves him is not reason but wrath, its greatest enemy.

I waited for a less time than I had expected, and thus I became a little more quiet. At half-past four the deadly silence of the place--this hell of the living--was broken by the shriek of bolts being shot back in the passages leading to my cell.

"Have you had time yet to think about what you will take to eat?" said the harsh voice of my gaoler from the wicket.

One is lucky when the insolence of a wretch like this only shews itself in the guise of jesting. I answered that I should like some rice soup, a piece of boiled beef, a roast, bread, wine, and water. I saw that the lout was astonished not to hear the lamentations he expected. He went away and came back again in a quarter of an hour to say that he was astonished I did not require a bed and the necessary pieces of furniture, "for," said he, "if you flatter yourself that you are only here for a night, you are very much mistaken."

Volume 10 of Casanova's memoirs opens with his arrest by the Tribunal's agent, Messer-Grande, who seizes his books and manuscripts. Among the confiscated items are occult works like The Key of Solomon the King and a Picatrix, alongside Petrarch and Ariosto. Casanova notes that the spy Manuzzi, who betrayed him, had “all the appearance of an honest man.” The arrest itself is theatrical: Casanova dresses in his holiday suit while forty men-at-arms wait in the anteroom, a force he wryly considers excessive given the axiom Ne Hercules quidem contra duos.

The Oracle of Ariosto

Under the Leads, Casanova devises a method to predict his release using Ariosto's Orlando Furioso. He writes a question to a supposed Intelligence, converts the words into numbers, and through a reversed pyramid and subtraction of nine arrives at canto nine, stanza seven, verse one. Opening the poem, he reads: “Fra il fin d'ottobre, a il capo di novembre.” The line’s precision—pointing to the instant between the end of October and beginning of November—strikes him as “so wonderful” that he admits placing faith in it. He later escapes at midnight on October 31st, aligning with the oracle. This episode reveals Casanova’s blend of skepticism and superstition, treating a literary work as a divinatory tool while acknowledging his own willingness to “make the prediction a correct one.”

Psychological Warfare in the Cell

Casanova’s handling of the traitor Soradaci demonstrates calculated manipulation. After Soradaci confesses his betrayal and claims to suffer divine punishment—ulcers in his mouth and pains in his bowels—Casanova feigns forgiveness. He tells Soradaci that the Virgin of the Rosary appeared to him at daybreak, commanding pardon. Casanova’s narrative emphasizes his own performance: “My cue was to pretend to believe him, and to make him hope for mercy.” He plans an attack “against which it was improbable that he could defend himself.” This passage showcases Casanova’s psychological acuity and his willingness to deceive even a desperate man, framing his actions as both strategic and theatrical.

The Material Culture of Imprisonment

The excerpts detail the physical objects that define Casanova’s captivity. His cell contains a desk, papers, and a bed; his possessions include not only occult manuscripts but also Petrarch, Ariosto, Horace, and a manuscript titled The Military Philosopher. The confiscation of The Aretin by name indicates that Manuzzi’s denunciation was precise. Casanova’s dressing in a laced shirt and holiday suit for his arrest suggests a deliberate assertion of identity. Later, he uses the Orlando Furioso as both a physical book and a tool for divination. These details ground the narrative in tangible items—books, clothing, writing implements—that carry symbolic weight, linking intellectual life to the material conditions of confinement.

Readers should attend to how Casanova constructs his own agency within a system designed to strip it away. His use of Ariosto as an oracle, his manipulation of Soradaci, and his careful self-presentation all reflect a mind that treats imprisonment as a stage. The catalog subjects—European history and biography—frame this volume as a historical document, but the excerpts reveal a narrative driven by psychological games and literary play rather than political events.

Reading Casanova’s frantic hope, casting Ariosto’s lines for a sign, I recalled my own anxious hours with a tattered encyclopedia. I wasn’t fleeing the Leads, but the feeling—clinging to printed words for a promise of escape—was the same. That old companion sits here now, its quiet certainty a comfort. Memoirs of the Distinguished Men of Science of Great Britain Living in the Years 1807-8 — A Reader’s Guide holds that same steadying weight.

Evelyn Perez
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