Chapter 15

"No, I won't," answered the Marquis, "but you are welcome to my wife; she loves dressing-up and all that nonsense;" adding, "It is the only thing she can do with success."

"But we want her to act. Can she?"

"Act!" said the amiable husband. "She can act like the devil!"

By the time we had returned to the salon the Prince had not only found a good word for a charade, but had decided in his resourceful mind all minor details. He thought it would amuse the Prince Imperial to join us, and he asked permission of the Prince's _gouverneur_ to allow him to do so. The permission was readily given.

Prince Metternich begged Vicomte Walsh to obtain the Empress's gracious consent to honor the performance with her presence. She was very pleased at the idea of seeing her son's _début_ as an actor, and promised to come, and even said she would have the tea, usually served in her salon, brought to the little theater.

Prince Metternich gave us a sketch of what he wanted us to do, and gave us general instructions as to our costumes, and bade us meet again in an hour. He would see to everything else: light, heat, scenery, powder, paint, etc., all the accessories, would be ready for us. We ladies were to be _pierrettes_ and dancers of Louis-Quinze period; the gentlemen were to represent the _talons rouges_, and to have red cloth pasted on the heels of their low shoes. We could paint our faces and powder our hair after our own ideas. "But, ladies, above all, do not be late," were the parting words of the Prince.

We followed his instructions as well as we could, and reappeared in the theater to hear the now fully matured plans of our impresario.

The Empress was seated before we were ready, Prince Metternich was so long painting the Prince Imperial. We could hear her saying, "Allons! Allons!" clapping her hands in her eagerness for us to commence.

The word was PANTALON.

The first syllable, PAN, was represented by the Prince Imperial as a statue of Pan.

His body was visible to the waist above a pedestal. Over his flesh-colored undershirt he wore a wreath of green leaves across his shoulders, and his head was also covered with a wreath. He held the traditional flute before his mouth. No one could have recognized the delicate features of the Prince Imperial, as Prince Metternich had painted his lips very large and very red, and had added a fantastic mustache. His eyebrows (black as ink) had an upward tilt, in true Mephistophelian style.

It was a sylvan scene. Prince Metternich had ordered from the greenhouse some orange and other trees to be moved on to the stage, which made a very pretty effect.

The Princess Metternich, in a quaint costume, was the Harlequine to her husband's Harlequin. They made a very funny love scene, because, being man and wife, they could make all their kissing real, and so ridiculously loud, that one could hear it all over the theater. Every one laughed till they cried, and particularly as Pan was rolling his eyes about in a very comical manner.

Her other lover (Pierrot) came in unawares; but she had time to throw a shawl over Harlequin, who put himself on all fours, thus making a bench, on which she demurely sat down. In order to throw dust in Pierrot's eyes, she took from her basket a hammer and some nuts and began cracking them (to the audience's and Pan's horror) on poor Harlequin's head, eating them with great _sang-froid_.

Prince Metternich had prudently provided a wooden bowl, with which he covered his head so that his ambassadorial skull should be spared. Pan smiled a diabolical smile, and had, of course, a great success.

TALON was the next syllable. This was a sort of pantomime. The actors were grouped like a picture of Watteau. Count Pourtales was a dancing-master and was really so witty, graceful, and took such artistic attitudes that he was a revelation to every one. Prince Metternich (his bosom friend) exclaimed:

"Who would ever have thought it? How talent conceals itself!"

The whole word PANTALON was a combination of Columbines, Harlequins, and Louis-Quinze cavaliers dancing in a circle, and all talking nonsense at once.

The statue of Pan in knickerbockers, his wreaths still on his head and shoulders, joined in the dance.

The Empress led the vociferous applause, and Prince Metternich came forward on the stage and said, "Ladies and gentlemen, we are deeply flattered at your approval. There will be a second performance before his Majesty, the Emperor of the French, and I hope you will accord us your patronage."

There was great laughter at this.

Count Pourtales took me in to dinner. We were very glad to be neighbors. He was resting on his laurels, and I wanted to rest before getting mine (if I got any) this evening. We exchanged views on nervousness. He said he had been dreadfully nervous in the afternoon. I told him I was always nervous when I had to sing, and when I sang the first song I was hot and cold all over.

"Like Alboni," he said; "she has had to give up singing in opera, she had such stage-frights."

We thanked each other after finishing dinner for having been kind enough to have let the other alone.

The rain was still pouring in torrents when we returned to the salon. In spite of the many voices, we could still hear it pattering against the windows of the terrace. It was lucky there were some stars among us, as Monsieur de Lareinty had said, otherwise we would have seen none to-night.

At ten o'clock the "galaxy" went into the _salle de musique_, and the planets began to shine. First came Baroness Gourgaud, who attacked the "Mi-bémol Polonaise," of Chopin. Their Majesties settled themselves in their chairs with a look of heavenly resignation on their faces, which was reflected on those of most of the guests.

However, she played beautifully, more like an artiste than an amateur. The Empress went forward to her, holding out her hand, which the Baroness, bowing to the ground, kissed gratefully, feeling that she had covered herself with glory, as she really had.

Then Monsieur de V---- (our basso) sang "O Marguerite," from Faust, without the slightest voice, but with excellent intentions. Next, having the music under his hand, he continued and sang "Braga's Serenade," which he thought was more suited to his voice, though it is written, as you know, for a soprano. He sang the girl's part in a mysterious, husky, and sepulchral voice, and the angel's part weaker and feebler than any angel ever dreamed of.

I looked at the beautiful ceiling painted by Girodet, and to keep myself from going to sleep counted the legs of the angels, and tried to calculate how many legs belonged to each. Monsieur de V---- said his idea was to make the contrast very strong between the girl and the angel; he certainly succeeded!

Monsieur Dué played some of what he calls his "Sketches." "Il est si doué (gifted)," exclaimed Princess Metternich.

Every one was pleased; so was he.

I sang "Le Rossignol," of Alabieff, in which is the cadenza Auber wrote for me. Princess Metternich played the accompaniment.

Madame C---- (our contralto) sang "Lascia che pianga," which suited her beautiful voice better than it did the audience's taste. Then she sang "Ah! Mon Fils," of "Le Prophète," with great effect, accompanying herself.

But this was not the kind of music to please our audience.

Count E---- (our tenor) was asked to add his Milky Way tenor to the rest of the planets, but begged to be excused on the plea of a sore throat. No one questioned this, and he was allowed to remain unheard.

Later I sang "Oh! that We Two were Maying," by Gounod, a much too serious song; but the Empress said she thought it was the most beautiful one she had ever heard. I think so, too. I also sang one of Massenet's, "Poème d'Avril." They asked for "Beware!" which I sang. The Emperor came up to me (each time he gets up from his chair every one gets up and stands until he sits down again), and said, "Won't you sing the song about the shoe?"

What did he mean? I had no idea.

"The one you sang the other night," said the Emperor.

What do you think he meant?

Well, he meant "Shoo-fly!" I sang it, as he desired. I don't believe he knows yet what its true meaning is. There is an end to all things, and our concert came to an end at last. Their Majesties, with gracious smiles and repeated thanks, retired, the Milky Way faded from view, and the planets went to bed.

I know I deserved mine, and I appreciated it when I got it.

_December 3d._

The _chasse à courre_ is generally fixed for the last day of the _série_; but their Majesties, at the suggestion of the thoughtful Vicomte Walsh, ordered it to be changed to this afternoon, in order that the operetta should arrive at a riper stage of perfection. Would it ever be near enough? We had never had a moment yet when we could rehearse all together. Vicomte de V----'s costume had not come from Paris, and he was bordering on brain-fever, in a state of expectancy and impatience. Neither he nor d'Espeuilles knew their songs, and the chorus needed much drilling. The Princess Metternich put her salon at the Marquis's disposal, and he spent half his time teaching some of his pupils.

The days of the _chasse à courre_ the gentlemen appear in red coats and the ladies in green-cloth dresses. Those that had _le bouton_ put it in their buttonhole. You may be sure I wore mine!

All the carriages, the horses, and grooms were before the terrace at two o'clock, and after the usual delay we drove off to the forest. Their Majesties and the Prince Imperial were on horseback. The Duchess de Sesto invited me to drive with her, and in the same _char-à-banc_ with us were Baronne de la Poeze, Comtesse Pourtales, and four or five others. The Duchess looked very dainty, wrapped in her chinchilla furs. I had had so little time to learn the talking part of my rôle that I took it with me in the carriage, hoping to be able to study it. They all sympathized with me, as they knew the operetta was to be given to-morrow evening.

The roads were full of mud; but we splashed through them regardless of such minor details as dirt Fortunately it did not rain, and the sun made a few spasmodic efforts to come out, but it was far from being the ideal day of last year.

This _chasse_ varies but little, and I described my first acquaintance with it in a letter last year, so I will spare you the repetition of details. I fancy the route we took was the same; but I am not quite sure, for all the roads and avenues resemble one another.

Once, as we halted at an _étoile_, we saw a beautiful stag bound past us, full of life and strength, with enormous horns (they said it was a _dix cors_). Every one in the carriage stood up in their excitement to look after it. How I wished he would escape and live his free and happy life in the forest. I hate this _chasse_; I hate to write about it; I hate to be present at it. It is all so pitiful and painful to me! How can any one find pleasure in such cruel sport?

To kill a living creature, to take the life of an animal that has done you no harm, seems horrible to me. But I will say no more on this subject. It always puts me in a bad temper, and makes me disgusted with my fellow- creatures.

We followed the other part of the cavalcade and arrived at the _carrefour_ in time to see the death of one stag. The others saw it, but I was occupied with my manuscript.

There were two stags taken, two beautiful creatures that ought to have lived.

It was so cold and bleak I longed to get back to warm rooms, cheerful fire, and a hot cup of tea, which I was sure to find awaiting me, and I was heartily glad when we turned homeward.

Six o'clock had just struck when we drove up to the front of the Grand Escalier, and I was able to get a little rest before dressing for dinner.

All the ladies who owned diamond crescents, or any crescent suggestive of Diana and her pastimes, put them on. The Empress had a gorgeous crescent on her lovely hair.

The worn-out Marquis took me in to dinner. It was fortunate, for there were some vital points which we had to discuss. On my other side was the Count de Grammont, a sportsman, who wanted to talk only of the hunt; but I was able to turn a deaf ear to his marvelous exploits, thanks to the Marquis's incessant explanations.

There was a little dancing, to fill up the time before the _curée_. It is a pity that this is our last dance. The chamberlains are beginning to show a good deal of talent in their playing _le piano méchanique_, and they can play almost in time.

The _curée_ was at ten o'clock. The long gallery was soon alive with an eager public. All the windows were occupied by the ladies. The courtyard was filled, in spite of the cold weather, with the populace of Compiègne; the _piqueurs_ waved their torches; the dogs howled and yelped; the _gardes_ blew their long _cors de chasse_, and it was just like last year, except that on this occasion there were two stags--therefore, two sets of entrails to be devoured.

Tea and cakes were passed about. Those who had come from the neighboring châteaux took their leave, those who were to return to Paris drove off to the station, and the privileged guests retired to their apartments.

_December 4th._

At ten o'clock this morning I was surprised at hearing a timid knock at my salon door. Who should it be but the Marquis d'Aoust. He begged my pardon for disturbing me; but he wished to consult me about something he considered of great importance.

He looked disheveled and careworn, even at this early hour, as if he had not slept all night. Would I be willing to help Count d'E---- in our duet, and sing a part of his music? Otherwise, he was sure it would never go.

I told him it would not be easy to sing tenor; but I would see at the rehearsal what I could do. He was in despair. I tried to tranquilize him, my compassion triumphing over my forebodings, and assured him that all would go well. I did not tell him that I had had a succession of nightmares last night, where I saw myself stranded on the stage, having forgotten both words and music.

He said that he had been on the stage at work with the carpenters since I don't know when this morning. They had first put up the scenery as he had ordered; but he saw that there would not be space for the eight performers (there are two scenes where we are all on the stage at once). Accordingly, he had ordered the carpenters to change it.

I ate my _déjeuner_ sandwiched between the tenor and the basso. We rehearsed our dialogues, although we pretended to discuss other matters.

The Empress went directly to the Marquis after _déjeuner_ and said, "We are looking forward to your operetta to-night with real pleasure, and we are sure that it will be a great success." The Marquis was radiant.

When we met later in the theater for our first and only rehearsal we were delighted to find there the grand piano from the _salle de musique_. The curtain rose on a very pretty garden scene, with trees on either side, green linen on the floor representing grass, a village with a church- steeple in the background, and for stage properties a garden bench and a vase placed just before the footlights, so that it would not interfere with our movements, but would show us where _not_ to fall off.

The Marquis was, of course, at the piano, and Prince Metternich, as prompter, squeezed into a prompter's box, looking wretchedly uncomfortable. We commenced the rehearsal, which, on the whole, went off better than we expected.

The basso is the first to appear. He sings a melancholy song, in which he makes known his love for the humble village maiden. His voice gets more dismal and lower as he becomes despondent, and higher and more buoyant as his hopes rise. At the end, when he sings "Elle sera à moi," his voice, though very husky, was almost musical. Then I, as the village maiden, enter with a basket, suggestive of butter and eggs, and sing a sentimental ditty telling of my love for the friend of the lord. The music of this is mediocre beyond words. The Marquis tries to show, by a few high soprano notes, how high my wildest flights of aspirations fly before I could ever reach the subject of my love. "Mes tourments" and "le doux plaisir d'aimer" get so mixed that I don't know myself what I am singing about.

The lady of the manor hears my lament, and, believing me to be in love with her husband, berates me in a dramatic duet. The friend and adviser now appears, and we get through an incomprehensible trio. He cannot convince her (the lady) of the innocence of her husband. She insists upon thinking him a traitor, leaves us in a fury, and we have the floor to ourselves when we sing the famous duet on account of which the Marquis had qualms this morning. In it there is a minor phrase which is quite intricate, and I saw that unless I came to d'E----'s rescue he could never manage it.

The lord and the lady reappear, while the friend and I retire in the background and lean up against the village steeple and whisper. The lady is violent and the lord is indifferent. The music sounds like an everlasting grumble, because her voice is contralto and his is bass. The village maiden is called to the front, and denies everything she has been accused of. The husband makes amends in a phrase miles too high for his voice. The friend takes all the blame on his black-velvet shoulders, and says he has loved the maiden all along. The maiden is overcome with emotion and faints for joy.

The final quartette is a sad affair, musically speaking, constructed on the Marquis's own ideas of thoroughbass. All the singers start on the same plane, the soprano soars heavenward, the contralto and the bass grovel in their deepest notes, while the tenor, who ought to fill up the gap, stands counting the measures on his fingers, his eyes glued to the prompter, until he joins me and we soar together.

To use a metaphor, one might say that the contralto and bass were in the lower regions, the soprano floating in heaven, the tenor groping about on earth for his note; then we all meet on the same place we started from, which is the signal for the chorus to unite their forces with ours.

The Marquis was dreadfully put out with me because I refused to faint on the stage (in the text it says _Rosette tombe évanouie_). He said nothing was easier. I had only to put my arms out to break the fall and--fall. He thought that with a little practice between the afternoon and the evening I should be able to do it.

I could see myself covered with bruises tumbling about over sofas and chairs, and I could see the bewilderment of any one coming into my room while I was practising this part of my rôle.

I said, "I absolutely refuse to risk my neck." He thought it was very selfish of me. One would have thought that the whole success of the operetta depended on my fainting. He said he could show me how to fall without hurting myself, and in trying to do so he tripped over the vase and bumped his head against the garden bench. Fortunately he did not damage himself, but the argument ended then and there.

At half-past four my maid came to the theater to tell me that the Empress expected me to tea. I had thought she would, as she had promised the answers to those questions; and so it was. As soon as I appeared (I had had time to change my dress) the Empress called me to her and said:

"Here are the answers to your American soul-probing questions! These are mine (giving me hers) and here are the Emperor's. He was very pleased to write them, as it was you who asked him; besides, I think they amused him. He spent a long time pondering over each answer. You see," she added, with her lovely smile, "nous vous aimons bien."

I was very glad to have the answers. I copy them for you.

A quelle qualité donnez-vous la préférence? À la gratitude.

Quels sont vos auteurs favoris? Tacite.

Quelles sont vos occupations favorites? Chercher la solution de problèmes insolubles.

Qui voudriez-vous être? Mon petit fils.

Quelles personnes de l'histoire détestez-vous le plus? Le Connétable de Bourbon.

Pour quelles fautes avez-vous le plus d'indulgence? Pour celles dont je profite.

NAPOLÉON LOUIS.

A quelle qualité donnez-vous la préférence? Au dévouement.

Quels sont vos auteurs favoris? Calderon, Byron, Shakespeare.

Quelles sont vos occupations favorites? Faire le bien.

Qui voudriez-vous être? Ce que je suis.

Quelles personnes de l'histoire détestez-vous le plus? Lopez.

Pour quelles fautes avez-vous le plus d'indulgence? Pour celles que la passion excuse.

EUGÉNIE.

I add the answers of Prosper Mérimée:

À quelle qualité donnez-vous la préférence? La persévérance.

Quels sont vos auteurs favoris? Pr. Mérimée.

Quelles sont vos occupations favorites? Faire des châteaux en Espagne.

Qui voudriez-vous être? Napoléon III.

Quelles personnes de l'histoire détestez-vous le plus? Mazarin.

Pour quelles fautes avez-vous le plus d'indulgence? La gourmandise.

PROSPER MÉRIMÉE.

I think the Emperor's are very clever.

"And the operetta?" inquired the Empress.

"I hope your Majesties will be indulgent," I replied.

Monsieur de Laferrière was next to me at dinner. He was as much interested in the operetta as other people seemed to be. I took advantage of his being my neighbor to ask him to manage it so that we could leave the salon before the _cercle_ commenced, as we had to dress, and if any of us were late I dared not think what the effect would be on the nervous Marquis.

The Emperor raised his glass during dinner, though I sat very far down the table. I suppose he wanted to inspire me with hope and courage.

Monsieur de Laferrière arranged everything for us most amiably. We rushed off to our rooms to dress. I, for one, was not long over my toilette, and, followed by my maid, hurried through the long corridors to the theater.

We were all there except Monsieur de V----, who was no doubt still pottering over his raiment. The artist he had ordered from Paris was already there, brush in hand, ready to paint us. The result was very satisfactory. When we looked at ourselves in the glass we wondered why one should not be beautiful every day with so simple an art.

We were rather taken back when Monsieur d'Espeuilles appeared in a wig and a false mustache; but he hastened to say there was nothing like being disguised to put one at one's ease. The gentlemen of the chorus, not willing to go to any extra expense, had _culottes courtes_ and white stockings; the ladies had tried to be more in harmony, but they thought that with rakes, spades, and basket they had quite enough _couleur locale_.

The chamberlain came to ask whether their Majesties should come now. Prince Metternich answered that we were waiting for them, A tedious delay occurred before the audience had settled into their places in accordance with their rank, to the great annoyance of Prince Metternich, shut up in the small prompter's box, and the Marquis d'Aoust, fidgeting at the piano, and driving us almost to distraction by his repeated questions and exhortations: "Do you think you know your part? Don't forget to"--etc.

At last! at last! No retreating now, _Coûte que coûte!_ we must take in the plank and embark on our shaky craft.

The Marquis attacked the overture by playing some vigorous arpeggios and pompous chords. The curtains were drawn aside and the lord of the manor entered. After his monologue, which he did very well, he hesitated a moment. This agitated the Marquis to such a degree that he stood up and waved his hand as a signal to him to commence his song, and gave him the note on the piano. Monsieur de V---- started in all right and sang his song with due sentiment, and very well. I even think as far back as the sixth row of seats they were conscious that he was singing. His acting and gestures were faultless. All Frenchmen can act.