This same year, attending the coronation of Leopold at Prague, Casanova met his grandson (and, probably, as he himself believed, his own son), the son of Leonilda, who was the daughter of Casanova and Donna Lucrezia, and who was married to the Marquis C . . . . In 1792, Leonilda wrote, inviting Casanova to "spend the remainder of my days with her."

In February 1791, Casanova wrote to Countess Lamberg: "I have in my capitularies more than four hundred sentences which pass for aphorisms and which include all the tricks which place one word for another. One can read in Livy that Hannibal overcame the Alps by means of vinegar. No elephant ever uttered such a stupidity. Livy? Not at all. Livy was not a beast; it is you who are, foolish instructor of credulous youth! Livy did not say aceto which means vinegar, but aceta which means axe"

In April 1791, Casanova wrote to Carlo Grimani at Venice, stating that he felt he had committed a great fault in publishing his libel, 'Ne amori ne donne', and very humbly begging his pardon. Also that his Memoirs would be composed of six volumes in octavo with a seventh supplementary volume containing codicils.

In June, Casanova composed for the theater of Princess Clari, at Teplitz, a piece entitled: 'Le Polemoscope ou la Calomnie demasquee par la presence d'esprit, tragicomedie en trois actes'. The manuscript was preserved at Dux, together with another form of the same, having the sub- title of 'La Lorgnette Menteuse ou la Calomnie demasquee'. It may be assumed that the staging of this piece was an occasion of pleasant activity for Casanova.

In January 1792, during Count Waldstein's absence in London or Paris, Casanova was embroiled with M. Faulkircher, maitre d'hotel, over the unpleasant matter indicated in two of Casanova's letters to this functionary:

"Your rascally Vidierol . . . tore my portrait out of one of my books, scrawled my name on it, with the epithet which you taught him and then stuck it on the door of the privy ....

"Determined to make sure of the punishment of your infamous valet, and wishing at the same time to give proof of my respect for Count Waldstein, not forgetting that, as a last resort, I have the right to invade his jurisdiction, I took an advocate, wrote my complaint and had it translated into German . . . . Having heard of this at Teplitz, and having known that I would not save your name, you came to my chamber to beg me to write whatever I wished but not to name you because it would place you wrong before the War Council and expose you to the loss of your pension . . . . I have torn up my first complaint and have written a second in Latin, which an advocate of Bilin has translated for me and which I have deposited at the office of the judiciary at Dux...."

Following this matter, Casanova attended the Carnival at Oberleutensdorf, and left at Dux a manuscript headed 'Passe temps de Jacques Casanova de Seingalt pour le carnaval de l'an 1792 dans le bourg d'Oberleutensdorf'. While in that city, meditating on the Faulkircher incident, he wrote also 'Les quinze pardons, monologue nocturne du bibliothecaire', also preserved in manuscript at Dux, in which we read:

"Gerron, having served twenty years as a simple soldier, acquired a great knowledge of military discipline. This man was not yet seventy years old. He had come to believe, partly from practice, partly from theory, that twenty blows with a baton on the rump are not dishonoring. When the honest soldier was unfortunate enough to deserve them, he accepted them with resignation. The pain was sharp, but not lasting; it did not deprive him of either appetite nor honor . . . . Gerron, becoming a corporal, had obtained no idea of any kind of sorrow other than that coming from the blows of a baton on the rump . . . . On this idea, he thought that the soul of an honest man was no different than a soldier's breech. If Gerron caused trouble to the spirit of a man of honor, he thought that this spirit, like his own, had only a rump, and that any trouble he caused would pass likewise.

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