Part 16
The result of the interview proved that Madame Duronceray had not exaggerated her daughter's talents. As actress, singer, and dancer, the girl showed remarkable promise, while she was as charming as she was accomplished.[120] A very brief examination sufficed to assure Favart that he had discovered a most valuable acquisition to his troupe; and it was at once arranged that Mlle. Chantilly, as Justine had decided to call herself, out of deference for a branch of the Duronceray family which lived in Paris and might conceivably have taken umbrage at one of their name appearing on the stage, should make her _début_ in a piece from Favart's own pen, which he was then writing, in celebration of the approaching marriage of the Dauphin with the Infanta Maria Theresa. The title of this vaudeville, _Les Fêtes publiques_, has alone come down to us; but, whatever its merits may have been, it was highly successful, the new actress's piquant beauty and grace, no less than her vocal and dramatic talents, being loudly acclaimed by a succession of crowded houses.
The charms of Justine had already made a deep impression upon Favart, and, after her triumph in _Les Fêtes publiques_, he became so deeply in love with the fair _débutante_ that he declared his passion, which the young lady was pleased to reciprocate. An honest and excellent man, Favart did not attempt to take advantage of their respective positions,[121] but offered to make her his wife; and, on December 12, 1745, they were married at the Church of Saint-Pierre-aux-Boeufs, a little church generally patronised by persons who wished to keep their marriages secret for a while, in the presence of only the necessary witnesses.
In view of what we shall presently relate, it is important to note that M. Duronceray, Justine's father, was not present at the ceremony, although he had given the required consent to his daughter's marriage, in writing.
The marriage took place under very inauspicious circumstances. The vogue that Favart by his operas and Justine by her singing and acting had obtained for the Opéra-Comique had aroused the jealousy of the Théâtre-Français and the Comédie-Italienne; and, in the autumn of 1745, they solicited and obtained its suppression. The severity of this measure was somewhat mitigated by the permission which Favart received to open a theatre at the Fair of Saint-Laurent, whither he transferred his company, and presented, among other pieces, a pantomime, entitled _Les Vendanges de Tempé_, of which the success was assured by the charming acting of Justine. This privilege, however, was only accorded him for a very short time, with the object of allowing the troupe of the Opéra-Comique leisure to make other arrangements, and, on its withdrawal, Favart and his colleagues found themselves in a very embarrassing situation; and matters must have gone hardly with them, had not the poet had the good fortune to find a protector as powerful as he was unexpected.
It happened that some little time before the suppression of the Opéra-Comique, Favart had met at the house of one of those leaders of the fashionable world whose whim it was to patronise actors and men of letters, Maurice de Saxe, now become the greatest soldier of his age, _Maréchal de France_, and "general-in-chief of all the armies of the King." Maurice, who was as enthusiastic a patron of the drama as he had been in the days of poor Adrienne Lecouvreur, was followed in his campaigns by a troupe of actors, which gave performances wherever the army happened to be quartered, sometimes in a regular theatre, sometimes in an improvised one; and he now suggested to Favart that he should organise a second troupe and accompany him to Flanders for the campaign which was about to open.
The offer seemed like a fortune to poor Favart, in the state of poverty and uncertainty to which he was then reduced; nevertheless, he hesitated to accept it, pointing out that the formation of a second company might be regarded by the troupe already in existence as an encroachment on its privileges, and that its leader--one Parmentier, an arrogant and unscrupulous person, with whom Favart was by no means anxious to enter into competition--would be sure to throw obstacles in his way. The Marshal, however, solved the difficulty by promising to transfer the Parmentier troupe to the division of the army commanded by Maréchal Löwendal, and attach Favart's company to his own person; and, under these conditions, the poet gratefully accepted his offer.
Here are the terms in which the Marshal announced his appointment to Favart, and, at the same time, informed him of what was expected of him:--
"The favourable report that has been made to me about you, Monsieur, has induced me to choose you, in preference to all others, in order to give you the exclusive management of my comedy company. I am persuaded that you will use every endeavour to ensure its success; but do not imagine that I look upon it merely as an object of amusement; it enters into my political views and into the plan of my military operations. I will advise you what you will have to do in this respect when occasion arises, and, in the meanwhile, I count upon your discretion and punctuality. You are from this moment at liberty to make all your arrangements for opening your theatre at Brussels, in the month of April next."
As there was but little time at his disposal, Favart started at once for Brussels, where he obtained a lease of the Grand Theatre in the Rue de la Monnaie. Then he returned to Paris, and, having selected his company, which comprised all the best artistes of the deceased Opéra-Comique, he and Justine set out for Flanders.
Two days after their arrival in Brussels, Maurice de Saxe made his entry into the city. The excitement was intense; an enormous crowd lined the streets through which the procession was to pass; while the windows, and even the roofs of the houses, were thronged with spectators eager to catch a glimpse of the famous general. The weather, however, was unfavourable for a public ceremony; a storm was brewing, and, as the Marshal reached the Hôtel de Ville, where all the fair ladies of Brussels had congregated to receive him, a terrific peal of thunder was heard. Many persons no doubt saw in this an omen of evil for the hitherto all-conquering warrior; but Favart chose to regard it far differently, and forthwith improvised the following verses:--
"Est-ce là notre général Que ramène Bellone? --Eh! oui, c'est ce grand maréchal, C'est lui-même en personne. --Non; je le vois à ses regards, C'est le Dieu de la guerre, Et Jupiter annonce Mars Par un coup de tonnerre."
Copies of these verses were printed and circulated everywhere; and the Marshal, having had his attention drawn to them, as he was sitting down to dinner with his general officers, sent for the writer and complimented him upon them. One of the officers present, who did not share his chiefs passion for the theatre, asked Favart of what use a poet like himself could be to the army. "To celebrate the exploits of our warriors and satirise the enemy," was the prompt reply, and the questioner proceeded no further.
During the afternoon, apparently at the request of some of the ladies of the city, the Marshal gave orders that part of the troops should be paraded in front of the Hôtel de Ville and put through various evolutions. One of the corps selected was a contingent of Jacobite Highlanders, "who, in changing their country, had not thought it necessary to change their costume." The scantiness of the gallant Scotsmen's attire, Favart tells us, greatly shocked the Brussels ladies, to the intense amusement of the Marshal and his officers. In the evening, Favart's company gave their first performance, which was so well received as to remove all doubt as to the success of their enterprise.
Although Brussels was the centre of the Marshal's operations, and Favart had secured a lease of the Grand Theatre, the terms of his engagement obliged him to follow the army into the field, a necessity which involved him and his company in many hardships and privations. Once Favart passed three days and three nights without sleep, except such as he could obtain leaning against a tree, with his feet in water. Often provisions ran short; bread sold at fifteen sous the pound, and sometimes the unfortunate actors were nearly starving. Nor were dangers of an even more alarming kind wanting. The country swarmed with the irregular cavalry of the enemy, who intercepted convoys, cut off stragglers, and burned and pillaged to within musket-shot of the French lines. Neither age nor sex was sacred to these Croats and Pandours. A luckless troupe of actors on their way from Brussels to Cologne, to fulfil an engagement at the Elector's Court, was surprised by a body of these marauders and robbed of everything they possessed, with the exception of their theatrical costumes, in which they were compelled to trudge to Louvain, their woe-begone countenances contrasting oddly with the gay habiliments of Arlequin, Scaramouche, and the rest. Maurice de Saxe had granted Favart's company an escort of thirty men of the Régiment de Septimanie; but this force was insufficient to secure them from molestation. One day, while passing through some wooded country between Louvain and Indiogne, they were attacked by a body of hussars, who outnumbered their little escort by as many as four to one. A sanguinary hand-to-hand conflict ensued, for the marauders were as brave as they were ruthless, while their excesses had exasperated the French to the last degree. Twice the hussars were beaten back, and, at length, reinforcements arriving for the defenders, they drew off, leaving, however, only six of the gallant escort alive, the least wounded of whom had received four sabre cuts. Favart, in a letter to his mother giving an account of this adventure, speaks with admiration of the conduct of this soldier: "Never did I see a man of such courage. He was covered with blood, which he was losing in abundance, and yet would not permit his comrades to give a thought to him until the combat was over. Then, in order to speak, he was obliged to hold up his nose and a portion of his cheek, which had been separated from the rest of his countenance by a sabre cut, and had fallen down over his mouth!"
To compensate the Favarts for the hardships and perils they were compelled to undergo, Maurice de Saxe treated them with the greatest kindness; in fact, presents were simply showered upon them. On one occasion, we find him sending them three fine horses to draw their coach; on another, "a camp-bed of red satin"; on a third, twenty-five bottles of Hungarian wine. Moreover, he gave Favart to understand that he might draw upon him freely in case of necessity, and protected him against the attacks of the jealous Parmentier, the leader of the other troupe of actors, who, not without some cause, regarded Favart as a rival, and did all in his power to annoy and discredit him. The simple-minded poet, who had as yet no suspicion as to the real object of the Marshal's attentions, seems to have been under the impression that they were intended as tributes to his literary and dramatic talents, and, in his letters to his mother, waxes quite enthusiastic over his patron's kindness and generosity.
The Marshal, in engaging Favart's services, had told him that he regarded the troupe which followed his army as something more than a means of amusement, and that it "entered into the plan of his military operations." M. Léon Gozlan makes merry over this letter, which, he thinks, was written merely to flatter the poet's vanity, and lure him and his wife to Flanders;[122] but there can be no doubt that Maurice did attach considerable importance to the provision of such entertainments for those under his command. In the first place, they served to occupy not a little of the time which would otherwise be employed in more doubtful pleasures, particularly play, which, in spite of stringent prohibitions, was very prevalent in the army among all ranks, and had a most disastrous effect on the morale of the troops, causing the officers to gamble away their pay and the men their rations, and leading to frequent quarrels and much ill-feeling. In the second place, the Marshal's knowledge of the French character had taught him that a happy _couplet de circonstance_ sung to a lively air often had more effect upon the soldiers than the most eloquent of harangues. An anecdote celebrated in the history of this campaign will show how accurately the great commander had gauged the spirit of his troops.
In the autumn of 1746, the French, after capturing Namur, had occupied Tongres, in the market-place of which Favart had constructed a theatre. The allied army, under Prince Charles of Lorraine, was close at hand, and a decisive engagement was daily expected; but this did not prevent the improvised playhouse from being crowded every evening. Early in the afternoon of October 9, the Marshal sent for Favart to come to his quarters, and, on his arrival, dismissed the officers who were with him, and, turning to the poet, said: "To-morrow I shall give battle. As yet I have issued no orders to that effect. Announce it this evening at the conclusion of the performance, in couplets suitable to the occasion. Until that moment let nothing transpire."
Favart obeyed, and composed the following verses, which were sung by a young and pretty actress between the two pieces of which the performance consisted:--
"Nous avons rempli notre tâche, Demain nous donnerons relâche; Guerriers, Mars va guider vos pas; Que votre ardeur se renouvelle: A des intrépides soldats La Victoire est toujours fidèle.
"Demain bataille, jour de gloire; Que dans les fastes de l'histoire Triomphe encore le nom français Digne d'eternelle mémoire! Revenez après vos succès, Jouir des fruits de la victoire."
These verses caused the most unbounded astonishment. It was at first supposed that the poet had lost his head; a battle announced between two comic operas, the order of the day to the air of a popular song, seemed too absurd! Officers hastened to the Marshal's box to inquire if Favart had had any authority for his announcement; but Maurice smilingly replied that he had acted under his orders. Thereupon the astonishment changed to enthusiasm, and the theatre resounded with applause. "On all sides," writes Favart, "but two words were heard: '_Demain, bataille! demain, bataille!_' The intoxication passed rapidly from officers to men, and was so intense that one could not fail to see therein a presage of victory."[123]
The battle so eagerly anticipated did not take place next day, but on October 11, when Maurice attacked the allies at Roucoux, a little to the north of Liège, and completely defeated them, though the English, who, as usual, bore the brunt of the engagement, fought right valiantly, and the victory was in consequence very dearly purchased.
In celebration of his compatriots' triumph, Favart, on the morrow of the battle, hurriedly composed two or three scenes full of happy allusions to the events of the preceding day. These were performed the same night, and were, of course, received with enthusiasm. He did not confine himself, he tells us, to chanting the praises of the victors, but paid a generous tribute to the courage of the vanquished, one of his couplets concluding thus:--
"Anglais chéris de la victoire Vous ne cédez qu'aux seuls Français; Vous n'en avez pas moins de gloire."
The victory of Roucoux concluded the campaign of that year, and Favart and his company returned to Brussels, heartily thankful to be quit, for a time, of war's alarms. "I prefer," he wrote to his mother, "moderate profits with safety to a large fortune purchased by continual fear and danger." However, he had no reason to be dissatisfied with his winter season in the Belgian capital, which was indeed successful beyond his most sanguine anticipations, the profits at each performance averaging as much as six hundred livres. To add to his good fortune, he was able to rid himself of his rival Parmentier, who, finding that the Marshal had taken Favart definitely under his protection, and that all attempts to oust him were likely to prove abortive, retired in disgust, leaving the poet master of the field. The future now presented itself to Favart in the most smiling colours; but alas! the poor man was living all the while in a fool's paradise, from which he was soon destined to be very rudely ejected.
* * * * *
Though now in his fiftieth year, Maurice de Saxe was still as susceptible to feminine charms as in the days when he had wrought such havoc among the ladies of Lithuania and Courland. If the record of his gallantries did not equal those of his royal father, it was probably because his military occupations absorbed so large a portion of his time. His tastes, particularly where the theatre was concerned, were catholic. "Whom did he not love? To what actress or opera-girl's skirts was he not attached? All the actresses of his campaigns in Flanders succeeded one another in that inflammable heart and disputed there an ephemeral reign: Mlles. Darimattes, Fleury, Amand, Verrières,[124] Bline, Auguste, and Beaumenard. For the Saxon hero, the troupe which he caused to follow him was a seraglio, in which the last comers were the most honoured."[125]
Upon the susceptible Marshal it was only to be expected that the fresh beauty and grace of Justine should make a favourable impression, nor was his admiration for the young lady by any means diminished by the fact that--to borrow his own curious expression--she was "possessed by the demon of conjugal love,"[126] and, therefore, unlikely to afford him an easy conquest. M. Léon Gozlan asserts that Justine had attracted Maurice's notice in Paris, and that his invitation to Favart to accompany him to Flanders was nothing but a pretext for getting the poet's wife into his power. Of this there is some doubt; but, on the other hand, there can be no question that, before the end of the year 1746, Maurice had fallen desperately in love with the young actress, and had determined to make her, _bon gré, mal gré_, his mistress.
"Mlle. de Chantilly," he writes, "I take leave of you; you are an enchantress more dangerous than the late Madame Armide. Whether as Pierrot, whether under the guise of Love, or even as a simple shepherdess, you are so excellent that you enchant us all. I have seen myself on the point of succumbing--I, whose fatal art affrights the world. What a triumph for you, had you been able to make me submit to your laws! I thank you for not having used all your powers; you might well pass for a young sorceress, with your shepherd's crook, which is nothing else than the magic wand with which that poor prince of the French, whom, I fancy, they called Renaud, was struck. Already I have seen myself surrounded with flowers and _fleurettes_, fatal equipment for all the favourites of Mars. I shudder at it; and what would the King of France and Navarre have said if, in place of the torch of his vengeance, he had found me with a garland in my hand? In spite of the danger to which you have exposed me, I have not the heart to blame you for my weakness; it is a charming one! But it is only by flying from it that one is able to escape a peril so great.
"Adieu, divinité du parterre adorée; Faites le bien d'un seul et les désirs de tous; Et puissent vos amours égaler la durée De la tendre amitié que mon coeur a pour vous!
"Pardon, Mademoiselle, to the remains of intoxication this _rhymed prose_ to which your talents inspire me;[127] the effects of the liquor of which I have drunk endures, they say, often longer than one thinks."
* * * * *
From this letter, which is undated, but was no doubt written in the late autumn of 1746, as Maurice was on the point of setting out for Paris, where he spent the following winter, it would appear that the Marshal had already commenced the siege of the lady's heart. Whether his operations were crowned with success at this period is a point upon which there is a considerable difference of opinion. Dumolard, the editor of Favart's _Mémoires et Correspondance_, published in 1808, makes of Justine a perfect paragon of virtue, whose resistance the Marshal did not succeed in overcoming for some years, and then only under pressure of the most cruel persecution. M. Saint-Réne Taillandier, one of the most conscientious of Maurice's biographers, adopts the same view, and is very severe upon his hero's conduct in this matter; while he shows us Justine "despising alike threats and promises, the victim of disgraceful intrigues, persecuted, thrown into the depths of a dungeon, guarding pure and intact the dignity of her art, her honour, and her name: a rare lesson for an actress to give to a corrupt society." Sainte-Beuve[128] and Desnoiresterres, however, take a different view, and, much as we should wish to believe in the lady's innocence, we are compelled to admit that the evidence which they adduce leaves no room for doubt upon the matter. The former points to the report of the police-inspector, Meusnier, who declares that at Brussels Justine had ousted all the other enchantresses of the Marshal, and obtained so great an influence over her lover that no one could obtain any favour from him, except through her good offices,[129] and to Maurice's letter to the Princess of Holstein; while the latter cites a letter of Justine to the Marshal, written during her confinement in the Ursuline convent at Les Grands Andelys, in 1749, and which, in his opinion, amounts to a confession of her fault.[130]
But if Justine succumbed, as so many had succumbed before her, to this impetuous wooer, her fall would appear to have been due to a very different cause from that of any of her predecessors in the Marshal's affections. It is certain that her heart was not concerned in the matter, while it is very improbable that she was influenced by a desire to participate in the favours which Maurice was in the habit of heaping upon his enchantresses, though she subsequently admitted to having "availed herself of his benefits and assistance," doubtless being of opinion that, since the mischief was done, she was justified in making the best of the situation. The poor young woman, indeed, appears to have regarded the Marshal with feelings of positive aversion, and there can be little doubt, in view of what follows, that she was intimidated into surrender through fear of the consequences to herself and her husband of thwarting the man in whose power they had placed themselves; a fear which, as we shall presently see, was but too well justified.
Under these circumstances, it is scarcely surprising that the _liaison_ should have been a brief one. Tortured by remorse, loving her unsuspecting husband the more now that she knew herself unworthy of his affection and confidence, still possessed, in fact, by "the demon of conjugal love," in spite of all Maurice's efforts to exorcise him, Justine only waited for a favourable opportunity to break her chains. Maurice's absence in Paris during the winter of 1746-1747 apparently gave her the necessary courage, and, on his return to Flanders, she refused, to his intense indignation, to resume her relations with him, and persisted in her resolution, notwithstanding all his threats and entreaties. Such was the position of affairs when hostilities were renewed in the spring, and the Favarts and their troupe quitted Brussels to join the army.