22
“It is a great pity,” said Monsieur Voltaire to him sternly, “that you are such an unmitigated rogue. You have great talents for this sort of thing, and if you had a rag of respectability, you would be capable of managing the Théâtre Français itself.”
Jacques Haret grinned, and went cut and thrust at Monsieur Voltaire.
“I beg to differ with you, Monsieur,” replied Jacques. “I did not inherit any talent for affairs, my family not having been in trade, nor have I any gift for running after the great, of which the only reward is sometimes a good caning, the dukes and princes pretending to be very sympathetic and meanwhile laughing in their sleeves. Do you suppose, Monsieur, that the oxen did not laugh when the poor toad swelled and burst?”
Now, as all this was a perfectly open reference to Monsieur Voltaire’s history and adventures, it bit deep. Monsieur Voltaire turned pale and glared with those wonderful eyes of his at Jacques Haret—but Jacques was no whit abashed. As I said before, those gentlemen-rascals are hard to abash.
There were several persons standing about, listening and understanding, and a smile went around at Monsieur Voltaire’s expense. Mademoiselle Lecouvreur looked distressed. Jacques Haret, seeing his advantage, assumed a patronizing tone to Monsieur Voltaire and said:
“I have always admired your plays and verses very much, Monsieur Voltaire, and your rise in the world has been as remarkable as my fall; but you were born luckier than I—you had no estate to lose. I hope your triumphant career will continue, and that you will be23pointed out as a man who was not kept down by want of birth, of fortune, of breeding, of looks—for I always thought you were devilish ugly, Voltaire—but who, by being in love with himself, and admitting no rival, rose to a first place among third rate poets!”
I swear it is humiliating to humanity to know that the Jacques Harets of this world always get the better of the François Marie Voltaires. Jacques Haret had no blushes for his fall, and Voltaire blushed for his rise! But such is the curious way of the world.
And what is quite as curious, the crowd was on the side of the pseudo-gentleman, and was rather pleased that he got the better of the notary’s son, who supped with dukes.
“Tell me this,” cried Monsieur Voltaire in his loud voice and very angrily, “how comes it that this young girl, whom I know to be the niece of Madame the Countess Riano, should be acting in your trumpery plays?”
He had taken out his snuff-box and opened it to appear calm, and Jacques Haret, before answering, coolly helped himself to the snuff—at which the crowd was lost in admiration.
“Monsieur,” answered Jacques Haret, “do you think if Mademoiselle Lecouvreur came sneaking to the manager of the Théâtre Français and asked to act without pay, for the love of the thing, she would be turned away? Well, Monsieur, this young lady is the Adrienne Lecouvreur of her age and class. She is the best child actress I ever saw, and she came to me—not begging, if you please, but haughtily demanding that she be allowed to take, when it pleased her ladyship, the leading parts in the plays I give. I allowed her to try once.24Since then, whenever I can get her, she is welcome on the stage of my theater. She asks no pay, but I would give her more than all the child actors in my company get, if I could always command her services.”
“And when Madame Riano finds it out?” asked Monsieur Voltaire.
“Then, God be my help!”
“But, Monsieur Haret,” said Mademoiselle Lecouvreur, “truly, it is not right that a young girl of her condition should be allowed to mix with the class of children you have here.”
“Mademoiselle, she does not mix with them. She is the haughtiest little lady you ever saw. Besides, old Peter, the servant who comes with her, watches her with the eye of a hawk.”
“It is but this, Haret,” continued Monsieur Voltaire, with impatience; “you have got an admirable little actress for nothing. Whether she comes to ruin, you care not; whether it lands you in prison, you are willing to take the chances; you are, in short, a scoundrel. Come, Mademoiselle Lecouvreur.”
“Sir,” replied Jacques Haret, following them to the gate, “I am in this business for my living, not for my health, which is admirable, thank you. There are risks in all trades—a wit is always liable to get in prison in these days, especially if he cracks his wit on his betters. I believe you have had two sojourns in the Bastille yourself, Monsieur Voltaire. Well, you survive and smile, and I may be as fortunate. Good evening, Monsieur; good evening, Mademoiselle.”
Neither Mademoiselle Lecouvreur nor Monsieur Voltaire replied to him, but getting into the coach in which25they came, were driven away under a narrow archway and were out of sight in a minute.
Jacques Haret’s mention of a serving-man directed my attention to an elderly man in the well-known purple and canary livery of Madame Riano, who stood close to the stage, never budging from his place. He was a respectable looking creature, with faithfulness writ large all over him. Homely, as well as elderly, he had the most speaking and pathetic eyes I have ever seen in any head. Just now, his expression of anxiety would have melted a heart of stone. And if he were in any way responsible for his young mistress’s being in that place, he did well to be anxious.
There was still another piece to be given, and the audience was awaiting it impatiently. The rays of the declining sun were level then, and the sweet, green, retired place looked sweeter and greener and more retired than ever. In the midst of the hush the stage was thwacked and the curtain parted. I happened to glance toward Lafarge, the actor. He stealthily raised his hands and brought them noiselessly together. All at once, the garden seemed full of soldiers. Lafarge pointed out Jacques Haret to an officer, who laid a heavy hand on him, saying:
“I arrest you for giving a theatrical performance without a license.”
Jacques Haret began to bluster. It was no use. He grew sarcastic.
“This, I presume, is at the instigation of that rascal Lafarge,” he cried. “The people passing by here stop and pay a few pence, and see a better performance than can be seen at the Comédie Française, around the corner.26So the audiences have been falling off. I hear there is scarcely any one in the house the nights Mademoiselle Lecouvreur does not play.”
Nothing availed. The thunder of carts resounded in the narrow streets.
“Come,” said the officer. “No matter where the information came from—get you and all your company into the carts outside—and you can sleep on a plank to-night in the prison of the Temple, and to-morrow morning you can give an account of yourself to the Grand Prieur de Vendôme.”
There was, of course, a frightful uproar. The soldiers seized the children and carried them toward the carts, the youngsters screaming with terror, especially the cobbler’s boy, who was the biggest boy, and yelled the loudest—the parents shouting, crying and protesting. There was a terrible scene.
As soon as the commotion began, I walked toward the old serving-man. The confusion was great, but in the midst of it I heard a calm, imperious little voice saying:
“Peter, come and take me home at once.”
It was the young Mademoiselle Capello, standing on the edge of the stage platform. She was very white, but perfectly composed.
Old Peter took her arm respectfully, when up stepped a brawny soldier—one of those stout fellows from Normandy—and catching Mademoiselle Capello by the other arm, said rudely:
“She must go, too!”
I thought old Peter would have dropped dead. As for the young girl, she fixed her eyes intrepidly upon the soldier, but she was trembling in every limb.
27
I could have felled the man with a single blow, but I saw that to make a brawl with a common soldier about Mademoiselle Capello would be fatal. Old Peter then managed to gasp out:
“This young lady is Mademoiselle Francezka Capello del Medina y Kirkpatrick, niece of the Countess Margarita Riano del Valdozo y Kirkpatrick, and she must be instantly released.”
“Well, then,” replied the soldier, laughing, “why doesn’t the Countess Margarita Riano del Valdozo y Kirkpatrick keep an eye on her niece, Mademoiselle Francezka Capello del Medina y Kirkpatrick, instead of letting her play with these little vagabonds of actors? But, my old cock, I think you are lying—so here goes!”
And he dragged Francezka off toward the carts, in which the rest of the children were being tumbled. Peter turned to me.
“For the love of God—” he began, and could say no more for terror and grief.
“I will follow her,” said I, “and no harm shall come to her unless my right hand loses its cunning. No doubt as soon as her identity is known she will be released. But, it must be kept quiet, you understand? Her absence must be concealed if possible.”
“O God! O God!”
The misery of old Peter was piteous. First, he would run toward the carts, swearing he would follow them on foot; then he would totter back, crying:
“I must tell Madame Riano!”
Meanwhile I had gone out, had engaged the first coach for hire and followed the odd procession as it started toward the Temple. In the first cart sat, besides28the soldier driving, the officer, Jacques Haret, and Lafarge, who was to lodge the information. Jacques Haret and Lafarge got to fighting in the cart, but that was speedily stopped. Then Jacques took to sharpening his wit on Lafarge and his bad acting, and the first thing I saw, the officer and the soldier were near tumbling out of the cart with laughter at their prisoner. I thought this boded ill for Lafarge, as the case would be heard before the Grand Prieur de Vendôme, and this Grand Prieur was not the great grandson of Henri Quatre for nothing—he, too, loved wit as well as wine and women. In the next cart were several children including the cobbler’s boy, who continued to yell vociferously and to beg that he should not be hanged. On the plank with the soldier driving sat Francezka Capello.
She wore no hat, and still had on her blond wig, and her fresh cheeks were raddled with paint—she had been unpainted in the first piece. But I could see her pallor under her rouge. She had on a large crimson mantle, which she wrapped around her, and sat perfectly still and silent. After all, she was the only creature in the party who had anything to fear, and yet she was the calmest of them all. The soldier driving, who was a good-natured fellow, began to cheer up the weeping children, and soon had them all smiling except the cobbler’s boy and Francezka.
“Come now,” he said. “This is nothing but a pleasant ride to a nice place, called the Temple, where there will be plenty of bread and cheese for you, and some nice clean straw for you to sleep on—and early to-morrow morning you will be sent home to your fathers and mothers, and you will each have a penny—or29perhaps a whole livre, so don’t be crying, but hold on now—”
Then he whipped up the horse so as to give the children a merry jolt, and the youngsters all began to laugh—still excepting the two co-stars of the troupe.
Mademoiselle Capello confessed to me, years afterward, that she fully expected to be executed, although she did not look for the ignominy of hanging, but rather decapitation—and she firmly resolved to die with the courage of the Capellos and the Kirkpatricks. To heighten this, she kept repeating to herself all the names, titles and dignities in her family, and thanked God that she was not as the other children were, or even the cobbler’s boy. And to render her exit more dignified, she wiped the paint from her lips and cheeks and managed to throw away her blond wig as the cart rolled under the dark and forbidding archway of the Temple, between the two peaked towers that had frowned there for five centuries.
30CHAPTER IIITHE RESCUE
The prison of the Temple was a huge gloomy building, fronting on two streets. Monsieur, the Grand Prieur de Vendôme, was governor of the prison, and had a whole wing of it fitted up very luxuriously for himself—for the Temple was the very pleasantest quarter of Paris, and the wits, the songs, the plays of the Temple have been celebrated ever since I knew Paris. Mirepoix was the deputy governor—there is always in these places a governor who draws the money and a deputy who does the work. Mirepoix was a great fool—I knew him well.
When the carts rattled under the archway which led into the courtyard on which the great hall of the prison fronted, I had dismissed my coachman and was waiting to see what could be done to screen Mademoiselle Capello. A few minutes after I arrived, old Peter came, breathless and almost speechless. I told him to remain in the courtyard until I should deliver his young mistress into his hands.
The sight of the black archway, the great, silent courtyard dimly lighted with lanterns—for night had fallen by that time—frightened the children. They stopped laughing and some of them began to whimper; the cobbler’s boy had never stopped howling a moment.
31
I stood close and saw Mademoiselle Francezka descend, and I made her a low bow, pointing to old Peter who stood close to me and made her a sign. She understood, and flashed me a tremulous little smile as she led the procession into the vast dark hall of the prison which opens on the courtyard.
I went in too. It was but dimly lighted. Mirepoix was already there—a weak, irresolute man of fifty or thereabouts, completely off his head, listening first to Lafarge, then to Jacques Haret, and seemingly not knowing whether the giving of a theatrical performance without a license was a misdemeanor or high treason. He knew Jacques Haret, however, and his reputation or want of reputation, and was inclined to take Lafarge’s side of the case.
The children were in a row, all shivering and trembling, except Francezka Capello, who stood with the pale beauty and virginal majesty of a Joan of Arc at the stake.
Jacques Haret—commend me to the Jacques Harets of this world for knowing all their rights!—seeing what a muddlehead Mirepoix was, cried stoutly:
“I demand to see the governor of the prison, the Grand Prieur de Vendôme.”
Now, this was his right—but Mirepoix proceeded to argue the point with him. The Grand Prieur was having a supper party. The Grand Prieur must not be disturbed—and much else to the same purpose. But all he could get out of Jacques Haret was:
“I demand to see the Grand Prieur. My great grandfather and his ancestor, Henri Quatre, were boon companions. My ancestor fought at Ivry under his ancestor,32and my family now possesses a letter from Henri Quatre to Jacques Haret, asking the loan of fifty crowns and a pair of breeches!”
I could have wrung Jacques Haret’s neck for his persistence, but I could do nothing but stand and watch and fume, with the young girl’s tragic face before me, and old Peter breaking his heart in the courtyard.
A messenger was sent for the Grand Prieur, and Jacques Haret consumed the intervening time in a wordy war with Mirepoix and Lafarge, and he got the better of both of them.
I scarce thought the messenger had got the length of the prison, when the door opened, and the Grand Prieur appeared. He was a very old man, but still handsome and black-browed, very like his brother Marshal, the Duc de Vendôme—but not so dirty, nor did he sleep with dogs in his bed. On the contrary, he was given to luxury, made excellent verses, and was of polished manners.
When he entered the hall I saw that he looked anxious, and peered eagerly into the half darkness that surrounded the company gathered there. Mirepoix plunged into the story, and to justify himself for interrupting the Grand Prieur’s supper party, one would have thought the twenty or so children were twenty malefactors and giving a theatrical performance without a license was the unpardonable sin.
The Grand Prieur heard him through and then cried:
“Good God! I thought it was an attempt on the king’s life! And for these brats you took me away from the supper table!”
33
Jacques Haret now came to the front, gravely reminding the Grand Prieur of the connection between their ancestors and the loan of the breeches. The Grand Prieur tried to scowl, but instead, burst out laughing. Jacques Haret then proceeded to give his account of the affair, including his preliminary interview with Madame Riano—or Peggy Kirkpatrick, as he called her—and he acted Peggy to the life so that even the frightened children laughed without understanding it; all laughed, in fact, except Mademoiselle Capello, who scowled tragically at the game made of her aunt. And not being deficient in sense, Jacques Haret took pretty good care not to hint that his star actress was Madame Riano’s niece. The climax came, however, when he apostrophized Lafarge as being the self-constituted protector of Madame Riano’s property. This brought down the house, and Lafarge stuttered:
“I—I was not thinking of protecting Madame Riano—it was the majesty of the law that was being outraged—the king—”
“Ah! You were protecting the king, then,” cried the Grand Prieur. “Well, I dare say the court and the army and the people and the church, among them, can do that without your help, Lafarge—and Jacques Haret—suppose, since you have spoiled my supper, you recompense me with a performance by this army of young criminals?”
“With the greatest pleasure, Monsieur.”
“And by that time, their parents will all be howling in the courtyard, and we can give the criminals each a coin, and let them go.”
Some of the parents had indeed already arrived, and34word was sent to them that the children would be released as soon as they had given their play.
There were some benches and tables against the walls—for here it was that the guard dined and supped—and these were hauled forth, some scenery was improvised with stools and sheets, and torches were procured to light up the vast dark place. The Grand Prieur had gone back to fetch his guests.
“Come, Mademoiselle,” said Jacques Haret to Mademoiselle Capello, “you must act your best, and get us all out of this scrape.”
For the first time I saw a look on Mademoiselle Capello’s face, indicating shame and humiliation at her position. She had not so far spoken a word that I knew of. She glanced toward me as much as to ask if she should agree—and I nodded. My one idea was to prevent a catastrophe before getting her into old Peter’s hands, and I dared not make any disturbance on her account.
“But, Monsieur,” she said to Jacques Haret, “you must let Peter, my servant, come to me—he followed me on foot all the distance from the garden.”
“I will! I will!”
Jacques Haret ran out and fetched Peter, who was outside the door. Peter dashed in, ran up to Francezka and began to cry:
“Oh, my darling little mistress! Oh, what will madame say to you? What will she do to you?”
I gave him a look of warning, which checked his lamentations. He squeezed himself into a little place back of the improvised stage, and from there I watched his anxious face during what followed.
35
Jacques Haret mustered the children on the stage, gave them such directions as were necessary, and then the sound of voices and laughter was heard, the door opened, and in came the Grand Prieur and his company of guests. There were thirty or forty of them, all gentlemen of the first quality, wearing their swords, and many of them showed their wine. A crowd of servants bearing candles came after them. These, Jacques Haret ranged as torch-bearers in front of the improvised stage. The guests were provided with benches, and the performance began. It wasMadame Mariamne and Monsieur Herod.
And then a new and terrible danger presented itself. It was quite possible that among these bewigged and bepowdered gentlemen, with their velvet coats and silk stockings, might be some frequenters of Madame Riano’s saloons—and then!
I watched their faces closely, and soon satisfied myself that none of them recognized Mademoiselle Capello, unless it were a young gentleman, Gaston Cheverny by name, who stood near the stage, close to old Peter. Fate delights in mountebank tricks. On the same day, I saw for the first time those two persons with whose lives my life was henceforth bound—Francezka Capello and Gaston Cheverny.
I noticed that this Cheverny was not more than twenty, and was not regularly handsome, although extremely well built and graceful. I took it that he was a youth of parts, or he would not be found, at his age, in the company of the Grand Prieur, who hated dullards. And as fate would have it, I loved Gaston Cheverny the first instant my eyes rested on him.
36
The performance began, and Mademoiselle Capello came upon the stage, and acted as if inspired. Circumstanced as she was, she was bound to act her best or her worst—and it was her best. She soon had her audience in convulsions of laughter; and when, with ready wit, she took off Lafarge, interjecting some of his foolish remarks into the farcicalMariamne, I thought the floor would have come through with the stamping of feet and pounding of jeweled-headed canes, while the laughter became a veritable tempest. And Francezka enjoyed it; that was plain in her kindling eye, and the color that flooded her late pale cheeks and lips.
Through it all, Gaston Cheverny smiled but little, and his face, which was the most expressive I ever saw, not excepting Monsieur Voltaire’s, showed pity for this young girl. I felt sure he recognized her.
When the part in the little play came ofMariamne’sfarewell, Mademoiselle Capello changed it to the realMariamne, as subtly as she had done in the afternoon in the garden. Her present audience, far more intelligent than any she had ever played to, instantly caught the beauty, the wit, the art, of what she was doing. A deathlike silence fell when Francezka, in her sweet, penetrating voice, was bidding the cobbler’s boy a last, despairing farewell. The Grand Prieur, leaning forward, put his hand to his ear—he was slightly deaf—and I felt my eyes grow hot with tears, when suddenly Mademoiselle Capello caught Gaston Cheverny’s eyes fixed on her. It was as if he had laid a compelling hand upon her. She stopped, hesitated, and walked a few steps toward him. Her rosy face grew pale; she opened her mouth, but was unable to speak a word.37Jacques Haret, standing close to her, gave her the cue once—twice—very audibly. Mademoiselle Capello, without heeding him, and moving like a sleep-walker, went still farther toward the edge of the stage where Gaston Cheverny stood—and then covering her face with her mantle she burst into a passion of tears and sobbing.
There was a movement of compassion for her; old Peter on the edge of the crowd was begging,
“For God’s sake, gentlemen, let me go to my child—she is my daughter—I am but a serving-man—” but no one moved to let him through.
The children on the stage were in confusion—Jacques Haret was in despair. Mademoiselle Capello, with her face still wrapped in her mantle, continued her convulsive sobbing. Gaston Cheverny made a lane with his strong arm through the crowd and called to Peter.
“This way, my man. Come and fetch your daughter.”
Peter got through at last, lifted the weeping Francezka down in his arms, and started for the door with her.
I left the hall quickly, in which there was much confusion—the Grand Prieur calling out that the children should have a livre each, except the cobbler’s boy and Francezka, who were to have a gold crown.
Outside in the courtyard under the dark, starlit sky, I found Peter with Mademoiselle Capello and Gaston Cheverny. The young girl had regained her composure, and stood silent, pale as death and like a criminal, before Gaston Cheverny. Like most very young men, he liked to reprove, and to assume authority over others but little younger than himself.
38
“Mademoiselle,” he was saying, “you have, perhaps, forgotten me and my brother, Monsieur Regnard Cheverny—you were too young to remember us. But we had the honor of knowing you in Brabant when you were little more than an infant—and our houses have always been friendly. For that, as well as other reasons, I must exact a promise of you. Never repeat this performance. You are but a child yet, and this indiscretion may well be forgotten. But Mademoiselle, you will soon be a woman—and a woman’s indiscretions are not forgotten.”
All of which would have been very well from a man of forty, but was slightly ridiculous in this peach-faced youth of twenty.
A gleam of spirit—of Madame Riano’s spirit—flashed into Mademoiselle Capello’s face at this assumption on Gaston Cheverny’s part.
“Monsieur Cheverny,” she said, “I remember you perfectly well—also, your brother, Monsieur Regnard Cheverny. I am older than you think, perhaps. I even remember that I hated one of you—I can not now recall which one—except that he or you annoyed me, when I was a child in Brabant, at my château of Capello”—oh, the grand air with which she brought out “my château of Capello!”—“and—and—if I act—it is none of your business.”
“It will be Madame Riano’s business, though,” darkly hinted Gaston Cheverny.
At this veiled threat to tell her aunt, Mademoiselle Capello showed she was but a child after all, for she broke down, crying:
“I will promise, Monsieur.”
39
There was but a single coach in sight, and while Gaston Cheverny was haranguing Mademoiselle Capello, I had engaged it to take her home. The coachman drove up, I opened the door and invited mademoiselle to enter. She recognized me at once, and curtsied deeply.
“Thank you, Monsieur,” she said with the greatest sweetness in the world. It was the first time she ever spoke to me—and can I ever forget it?
“Thank you, Monsieur; I do not know your name, but I know you followed me to this dreadful place to take care of me—and you have treated me with the utmost respect, Monsieur, and have not dared to reprove or threaten me, and I thank you for that, too!”
She gave a sidelong glance out of her eloquent eyes at Gaston Cheverny, that I would not have had her give me for the best horse in the king’s stables. The young man did not relish it, and straightway undertook to make me responsible for his chagrin. He scowled at me when I made my bow to Mademoiselle Capello, and attempted to divide the honor with me of putting her in the coach, which, after all, old Peter did. The door slammed, the coach rattled off, with Peter upon the box, and Mademoiselle Capello sitting in offended majesty within.
40CHAPTER IVIN BEAUTY’S QUARREL
My young cock-a-hoop and I being left facing each other on the pavement of the court, he said to me, with a terrific scowl in his handsome bright young face:
“Who are you, sir?”
“Babache,” said I. “Captain of Uhlans in the body-guard of Count Saxe.”
“Well, Babache,” continues my young man, twirling his snuff-box as he had probably seen some older man do, “you were infernally in my way just now.”
“Was I?” answered I. “Why did you not tell me at the time? I would have gone and jumped into the Seine—” and as I spoke, I flipped the snuff-box out of his hand. I never saw a youngster in a greater rage. Like Mademoiselle Capello, a minute before, he hated to be treated like a child.
“Sir,” said he, “you shall eat your words.”
“Sir,” I replied, “I have supped already; and besides, I never had any appetite for that dish.”
With that he whipped out his sword, and I said, holding up my hand:
“My lad, I am willing to fight, if that is what you are after; but being much older and wiser than you, I will tell you that our quarrel must not in any way41relate to the young lady who has just been rescued from a very painful predicament. Suppose we quarrel about Count Saxe?”
“With all my heart,” responds Gaston Cheverny.
“He is, as you know, the greatest man that ever lived,” said I.
“Monsieur,” replied my young game chick, very politely, “I thought him a great man up to this very moment and felt honored by his notice—for I know him—but since I hear he is a friend and patron of yours, I swear I think he is the veriest poltroon, the ugliest man, the stupidest oaf I ever saw.”
“Thank you,” said I. “Kindly name the place and hour where a meeting between us may be arranged.”
“Why, here and now is the best time to arrange it. The garden of the Temple is retired enough. The moon is now rising—and with two good lanterns we can see to stick at each other—and we can each find an acquaintance within this very building.”
I was astonished at the youth’s temerity—but I saw it was not bloodthirstiness, but rather a youthful longing for a pickle-herring tragedy. It was my lady Francezka over again. Having scolded that young lady with the air of a patriarch, for her venturesomeness, Gaston Cheverny proceeded to hunt up adventures of his own. I saw that the notion of fighting by the light of flickering stable lanterns mightily tickled his fancy. So I said, looking at the great clock in the tower of the Temple:
“It is now ten o’clock. Shall we make it in an hour?”
“We can easily meet in half an hour.”
42
“Certainly,” I answered. “We must each find a friend and a lantern.”
“Done,” he cried—and turned off.
I was much more puzzled to find a friend and a lantern than I was at the prospect of crossing swords with young Cheverny. The only human being I could think of at hand was Jacques Haret—and I loathed the thought of having him in that capacity. Just then, Jacques Haret came out of the door and passed through the courtyard. The time was short, so I stopped him, briefly stated the matter, and he accepted my cause, laughing uproariously the meanwhile. I had told him, of course, that Gaston Cheverny and I had quarreled about the greatness of Count Saxe.
“I know Cheverny well,” he cried. “When I was a gentleman, I, too, had a place in Brabant. Old Peter, you must know, was a retainer of my family, and served with my father under Marshal Villars, and that is how, my estate being gone—bought by Regnard Cheverny, brother of Gaston—and Peter coming to Paris, he took service with Peggy Kirkpatrick. He had known the Capello family in Brabant.”
Jacques Haret commonly told the truth about these things—and so I knew it to be true. He told me he had finally disposed of the children for the night, and proposed to get out of the way as quickly as possible. There was but little money in the theater, he said,—the cobbler’s boy, his best actor, was so frightened at the adventures of the evening that he would never be worth anything as an actor again. Francezka would play no more; so he thought, on the whole, he had better cut the entire business, especially as it was possible the43matter might come to Peggy Kirkpatrick’s ears. Like myself, he regarded the meeting with Gaston Cheverny very lightly. I had my sword with me, and did not need to hire one as my adversary did, for he had on merely a dress sword, unfit for work. We could not lay hands on a surgeon, and I told Jacques Haret it mattered not—I would only be amusing myself with my young man, and he was only for saying that he crossed swords at a moment’s warning, about a young lady—and no one was likely to be hurt. We required a lantern, however, and Jacques Haret proposing a wine shop as a place likely to have a lantern for hire, we went in search of one—and speedily found it. And we were also able to secure what I knew would please my young cock mightily—one of those pieces of black cloth which old custom decrees shall be carried to throw over the corpse if either one of the combatants fall. It was no more likely to be used than a babe’s swaddling clothes, but it looked tragic, and I saw that young Cheverny was bent upon being as tragic as possible, under the circumstances.
At the appointed time we were at the rendezvous. The Temple gardens were remote and retired, and at this hour of the night were perfectly deserted, not even a watchman being about.
I found my young friend with another cavalier, some years older than himself—a regularpetit-maître, Bellegarde by name, insipid beyond words, and very fretful because Gaston Cheverny had insisted on fighting at such a time.
Jacques Haret went through the affair with the most killing gravity. Monsieur Bellegarde asked if an accommodation was possible. Jacques Haret replied no,44except upon the admission that Count Saxe was the greatest man that ever lived. This Bellegarde earnestly besought Gaston Cheverny to agree to, alleging that he knew of several persons who were of that mind, and besides he was then due at a supper party. Cheverny, however, persisted stoutly that Alexander the Great was a more considerable man, and the supper party must wait until after the meeting in question. Then Jacques Haret said there was no time to lose. I never saw a youngster so pleased as Gaston Cheverny was at that. He had come to Paris for adventures and here was one to his exact taste. I think the fighting by the lantern-light filled his boyish soul with rapture.
For myself, I knew I was a good and experienced swordsman; and I meant to use all my skill to give him the right sort and size of cut—not a mere scratch, which would never have satisfied him—but one of those cuts, trifling in themselves, but which produce a good deal of blood, and which enable a fellow to carry his arm in a sling, and so win the sympathy of the ladies. Just as I had loved the youth on first seeing him, so I looked into his soul, and fancied his delight, his swagger, his airs of consequence, at appearing in company with his arm in a sling; and although I felt perfectly sure that he would die rather than reveal the name of the young lady, or rather the child about whom we had fallen out, I felt assured he could not keep to himself that he had fought in beauty’s quarrel. And the amusement Count Saxe would have out of it!
We stripped off our coats, our swords were put into our hands, and I went about to oblige my young friend.45I found him a fairly good swordsman for his age, but I could have disarmed him at any moment. However, that would have broken his heart. So I clashed away good-naturedly, making him think he was having a devil of a time, until, beginning to feel a little winded, I thought it time to give him the stroke he wanted.
I have a cut in tierce of which I have always had the mastery, and it was this cut I was giving Cheverny, when suddenly the lantern back of him went out. At the same moment his foot slipped; his guard gave way completely, and my sword’s point went exactly where I had never meant it to go—into his left side. He dropped like a stone.
I was the first to reach him, and turned him over on his back. Bellegarde, a silly popinjay, lost his head completely, and began to howl for one of those new-fangled screw tourniquets which had been invented by Jean Louis Petit, not so long before. But of course nobody had one, or could get one, or knew how to use it, had it dropped from heaven. Jacques Haret, as usual, kept his wits and disappeared in search of a doctor and a coach.
I bound my mantle around Gaston Cheverny’s body, told him to lie still, meanwhile examining him to see if he was about to die. I thought he was. His face was quite green, his extremities grew cold and he was deathly sick. But his eye retained its undimmed brightness; and while he was lying there on the ground, in this sad state, he burst out into a feeble laugh.
“Babache, you are so damned ugly,” he whispered.
Was it strange I loved the boy who was so much himself46in such circumstances, and would have given my right arm if that cursed lantern had not gone out? I said to him:
“If you open your mouth again, I swear to leave you lying here on the ground; and you will probably die of that hole I made in you.”
His own sensations by that time must have shown him the seriousness of his wound. He lay still and silent and greenish-gray and sick and gasping; and I—I could not look at him for very anguish.
It was but half a quarter of an hour before Jacques Haret returned with a physician and one of those sedan chairs which can be made into a litter. The physician, an intelligent looking man, examined the rude bandage I had made for the wounded man, and then silently motioned us to lay him on the litter, which we did. His lodgings were close by, so Bellegarde told us—and we bore our gruesome burden through the street.
Gaston Cheverny’s hurt was as much an accident as if it had been a lightning bolt, but no man ever suffered more than I at the thought that I had inflicted it. Arrived at his lodging—an excellent one in the quarter of the Temple—we carried him into his bedchamber, laid him on his bed, got his valet, and, except the valet, we were all ordered to leave by the physician. As I turned away from the bed, Gaston Cheverny managed to hold out his hand to me. I took it, and I am not ashamed to say that, for the second time that night, tears came into my eyes. Outside in the street I watched and waited. The night grew sharp, and the darkness grew dense, and the city’s throbbing pulse grew still. I47walked up and down the street, and only the watchman’s distant cry and my own quiet foot-fall, broke the midnight silence. The inevitable thought came to me, whether, after all, there be any such thing as chance in the world—or, whether all is chance. I had paused that afternoon before the grille of an old garden, softly called to stop by the scent of the lilacs—and because I had ever loved the scent of lilacs a man might die that night.
No one came out of the house where Gaston Cheverny battled with death. The lights burned steadily in the saloon which communicated with the bedchamber where we had carried the wounded man, and the room remained empty, so I knew Gaston Cheverny still lived. Some time after midnight the valet came out running. I ran after him to ask how his master fared.
“Very bad,” replied the poor fellow. “I go for another physician now.”
After an hour a coach rumbled up—it was then the first gray and ghastly moment of the dawn. Out of the coach got a court physician whom I knew by sight. He remained a long while within the house, and when he came out looked solemn. I asked him civilly how his patient did, and he gave me the same answer as the valet—“Very bad.” He added, however, that the youth was young and strong, untainted by dissipation, and if he lived twenty-four hours, would probably survive. I was never one to give way to despair, and so I dwelt on these hopeful words. I am not ashamed to say I stepped into the church of the Temple, and made a prayer or two as well as I knew how for the young48man. There are, as I heard Madame Riano say some years afterward, such things as praying rogues and swearing saints—but though I prayed, I was not a rogue.
It may be imagined that I went not far from Gaston Cheverny’s lodgings during that twenty-four hours. I went to the Luxembourg once or twice, where Count Saxe was lodged by the king’s order, and I, of course, next him, and asked if I was needed, but each time, Beauvais, the valet, who was a fair writer, told me nay; and leaving word where I was to be found, I returned to my vigil at Gaston Cheverny’s door.
On the second sunrise after I had run him through, I heard the welcome news from the physician that the wound was healing with the first intention, that there was no fever, and that he had never known so serious a case progress so well. I returned to the Luxembourg, left word I was not to be called except by Count Saxe, and throwing myself on my bed, slept ten hours without waking. I had dreams in those hours—dreams of Mademoiselle Capello. It was on Friday night that I had come so near giving Gaston Cheverny his death wound—and it was on Sunday evening that I rose, after my sleep and my dreams, shaved, bathed, dressed, and went in search of Count Saxe.
49CHAPTER VTHE ELDER BROTHER
I found my master in a room which had been a favorite one of that dead and gone and wicked Duchesse de Berry, who died of drink and debauchery at twenty-four years of age. Poor woman! I often used to fancy her gliding about that room, her pallid face rouged, her eyes on fire, and she, laughing and anxious, studying the faces of the men and women before her, and wishing she could see those behind her. She showed good taste by preferring that apartment, for it was spacious and airy, with three great windows looking upon the green Luxembourg gardens beneath, where the nightingales sang every night. The walls and ceiling of this room were frescoed with the story of the love of Ulysses and Calypso.
No one had occupied this particular room since the Duchesse de Berry, and it contained the same magnificent hangings, chairs, tables, sofas, consoles, girandoles, and what not, that unfortunate woman had used. Count Saxe’s belongings always seemed to be swearing at those of the dead and gone duchess. Count Saxe called the room his study; but rather, it should have been called his armory, for, instead of books, he had in it all manner of arms and everything pertaining to a soldier’s50life. He needed not books, being already instructed by his own mother-wit in all that was of any real value to know. This matter of reading is vastly overrated. There are persons who think it is the mill that makes the water run. It is men like Count Saxe who give occasion for books to be written.
This study, therefore, was a place of arms. On the walls hung all manner of musketoons, fusils, and the like, with drawings of mortars and field and siege artillery, with specimens of horses’ bits and saddles and stirrups, and everything relating to the equipment of a soldier. There were a plenty of maps besides. On the great table in the middle of the room was spread a huge map and many dozens of tin manikins, about as high as my thumb; for anybody who thinks that Count Saxe did not study the science of war, knows not the man.
He was at that moment sitting at the table, on which a dozen candles gleamed. He was dressed in black and silver, a dress that showed off his vivid beauty—for he was the most beautiful man who ever lived. Not Francezka Capello’s eyes were more brilliant, more soft than those of Maurice of Saxe. Was it to be expected that with his beauty, his figure, his voice, his charm, and above all, his genius, he should be an anchorite? The women would not let him alone—that is the whole truth. If I had been a woman I should have died of love for him.
“I thought you had gone back to Tatary, Babache,” he cried, throwing his leg over his chair, pushing away his map, and motioning me to a seat. “Tell me your adventures.”