For four years she taught the daughters of a doctor, two lawyers, three chemists, and a prosperous shopkeeper. All of them begged her to move into the little town, 'where you will be more comfortable.' Meaning that they were uncomfortable because this girl, no matter how well-bred and clever, was living by herself a good three miles from Belles Rivieres. She refused, delightfully but firmly, telling them about the great forests of Martinique, the flowers and the butterflies and the brilliant birds, where she had wandered, absolutely by herself. She could not be happy living in streets, she said, though the truth was she dreamed of the streets of Paris and how she could reach them without worsening her already bad position. If she was going to try her chances in the big city it should be now, while she was still young and pretty, but she still dreamed of Paul. That she had been bound to lose him she had very soon learned, and knew that if he came back from the army she could not have him. Living, as she insisted on doing, free but alone told everyone she was waiting for him, and everyone — father, mother, sisters, would be writing to tell him so. Far from enticing him to her, this would put him off, as all her instincts, and the worldly wisdom imparted by her mother, told her. But she could not leave the place. Freedom! Liberty! she often cried to herself, roaming about her forests.
What did she look like at this time? How did she see her prospects? How did she strike the good people whose daughters she taught? How did they strike her? We know. We know it all. She drew self-portraits all her life, not because she had no other model, but because she was engaged in discovering her real, her hidden nature: we have a phrase for this search. She kept journals from the time she reached France. And there was her music, that would have told us everything even without her journals. The picture that emerges is not merely of an intelligent and attractive woman, but one who disturbed and challenged even when she did not intend to, who all her life fed malicious tongues, who always had men in love with her though she did not expect them to be or try to attract them. When she was accepted as tutor into these good houses, she behaved like a paragon of propriety, but she knew it would take only a small mistake to have the doors shut on her. She walked on a knife-edge, for above all, she had charm, that double-edged gift, arousing more expectations than it can ever fulfil. She certainly disappointed the young ladies she taught, who called her best friend and championed her to doubtful mothers and fathers, yet secretly hoped for more than her prudent advice: 'Do you really want to be like me?' she might sweetly enquire, when some over-protected daughter asked her aid in some minor rebellion. 'Do what your parents say, and when you are married you can do as you like.' She had learned this from Stendhal's letters to his sister.
In her journals she wrote she would rather be herself, 'an outcast', than any one of these privileged girls.
When she was twenty-five she took a big step up the social ladder. She taught the two daughters of a Comte Rostand. The Rostands were the leading family in the area. They lived in a large and ancient chateau and sent a carriage for her twice a week. That was when she gave lessons in the dark hours as well as in the light, for before the carriage she had insisted that since she had to walk miles back and forth from her little house, she would teach in the town only in the day. This caused sarcastic comments. Everyone knew she wandered about all by herself at night in her forests. Yet she was too delicate to walk back in the dark from the town? And how about dancing by herself among the rocks, banging a tambourine, or something that looked like one — a primitive looking thing, probably from that primitive country she came from. Dancing naked — some claimed to have seen her.
Did she? There is no mention of it in her journals — though when she began to keep a record, there were only notes and jottings, and only later did it develop into a running commentary on her life. There is, however, a drawing of a woman dancing in a setting of trees and rocks. A full moon. Naked. This drawing is so unlike anything else she did of herself it shocks. Interesting to watch when some fan of Julie's was handed a pile of her drawings. The face froze, there was an indrawn breath and — then — a laugh. The laugh was from shock. But how often is shock no more than a moment of half-expected revelation? A door opens (perhaps literally) onto a scene that is beautiful, or ugly, something ferocious or shocking — at any rate, the other side of the well-lit and ordered world we know: there it is, the truth. But why was there never mention of dancing in her journals? Perhaps it only happened once, and she got some kind of a scare. A pretty risky thing, to dance like that. She knew people spied on her. The gendarmes certainly did, but if one of them took a look through her uncurtained and unshuttered window — she hated feeling shut in, she said — he would see the proper young woman of the drawing rooms standing before her easel or playing her harp or writing at a small table under an oil lamp that showed the open book, her neatly ringed hand with the pen, her face, her bands of black hair, her bust smooth in a dress that went high to her throat, where there was a small white collar.
The gendarmes would also report that there were many books. If they took a good look when she was out, down in the town, they would not now be able to report anything consistently seditious or troubling. For while she still loved Revolutions as a matter of principle — she would not have been able to think of herself as a serious person if she did not — her shelves now provided a more balanced diet. Montaigne sat by Madame Roland, Madame de Sévigné with Émile. Clarissa — that novel whose influence on European literature had been and still was so strong — was in a pile with Rousseau's Confessions, while Victor Hugo and Maupassant, Balzac and Zola, saw no reason why they should not share space with Voltaire. Beside her bed — small and narrow, with a single pillow — was evidence that she was taking possession of the part of France she found herself in, because she was reading whatever she could find of regional literature, had fallen in love with the old Provençal poets, and they and the newest Provençal poet, Mistral, were by the little blue enamel candlestick with its modest white candle on her night table.
A learned young woman, even a bluestocking, so the talk went, side by side with the other, more appetizing rumours, and when the chateau sent the carriage for Julie — it had to wait a good mile from her house, and even then there was only a cart road — this meant that the Rostands did not know about her nocturnal activities, or perhaps they did not care, were at the very least respecting her insistence on being considered, at least for form's sake, as one of them.