to place the marchioness in such a position that she could pretend to
believe the cardinal the author of the stanzas, and, at the same time,
compel her to find out that I had written them, and that I was aware of
her knowing it. It was necessary to speak so carefully that not one
expression should breathe even the faintest hope on my part, and yet to
make my stanzas blaze with the ardent fire of my love under the thin veil
of poetry. As for the cardinal, I knew well enough that the better the
stanzas were written, the more disposed he would be to sign them. All I
wanted was clearness, so difficult to obtain in poetry, while a little
doubtful darkness would have been accounted sublime by my new Midas. But,
although I wanted to please him, the cardinal was only a secondary
consideration, and the handsome marchioness the principal object.

As the marchioness in her verses had made a pompous enumeration of every
physical and moral quality of his eminence, it was of course natural that
he should return the compliment, and here my task was easy. At last
having mastered my subject well, I began my work, and giving full career
to my imagination and to my feelings I composed the ten stanzas, and gave
the finishing stroke with these two beautiful lines from Ariosto:

Le angelicche bellezze nate al cielo
Non si ponno celar sotto alcum velo.

Rather pleased with my production, I presented it the next day to the
cardinal, modestly saying that I doubted whether he would accept the
authorship of so ordinary a composition. He read the stanzas twice over
without taste or expression, and said at last that they were indeed not
much, but exactly what he wanted. He thanked me particularly for the two
lines from Ariosto, saying that they would assist in throwing the
authorship upon himself, as they would prove to the lady for whom they