The Son of Clemenceau. Александр Дюма-сынЧитать онлайн книгу.
may be good-looking," thought Claudius, "for I have noticed that where the men are uncomely the women are often the reverse. A Berlin professor has boldly likened the male Bavarian to the gorilla and the caricaturists have taken his cue. They are of the beer-barrel shape, coarse, rough, quarrelsome and quick to enter into a fight. It is the national dish of roast goose—a pugnacious bird—and bread of oatmeal that does it. They may well have one beauty of the sex among them. And the carnation on the cheeks of these waitresses is so remarkable that they find rouge superfluous. They are dull, and yet the twinkle in their eyes indicates cunning."
Before him, the next seat was occupied by two gentlemen. They spoke in French, thinking no one would comprehend their conversation. They were discussing the ascending star, about which one had a deeper knowledge than the subjects of Baboushka.
"She is the cause of the disgrace of the Grand-Chamberlain of a northern kingdom," said this well-informed man. "He has been obliged to send in his grand cross of the Royal Order and his rank in the Holy Empire, after what was almost a revolution in the palace. He is a man over sixty, who was in Russia on an important mission, when he met by chance this young girl, whose mother was married to a noble, although the elder sister of one of those beauties notorious for their depravity in Paris. Perhaps, though, she secured her husband before her sister won this dubious celebrity. At all events, she lived blamelessly, but bad blood does not lie! This girl seems to aim at the reputation of her aunt, the celebrated Iza, whose portrait was painted, her figure copied in immortal marble, and her charms sung by French bards. At all events, she bewitched the old Count von Raackensee, who took her on a tour through our country and Austria. It was at Vienna that he, an old statesman and courtier, committed the folly of presenting her as his daughter! The truth came out—Austria and Prussia made remonstrances, and he was compelled to resign his office or this witch. He would not give her up and so he was punished."
"Punished?"
"Yes; he went on to live at Nice, where he had bought a villa in foresight for some such day of disgrace. The Circe was to follow him, but, instead of that, she has shaken off the golden links and condescends to stay a week in Munich to amuse us coarse swiggers of beer."
CHAPTER IV.
THE STAR IS DEAD LONG LIVE THE STAR!
By listening to others and observing them, man obtains the material for self-preservation. Evidently this star of the minor stage was a woman to be avoided; a rising light which might scar the sight and burn the fingers of too venturesome an admirer. Claudius had a premonition that he ought to go out and kill the few minutes in strolling the streets, before keeping the appointment, even at the risk of being questioned by the police. But he overcame the impulsion, and waited to face what might be a danger the more.
All the hall, by instinct and from the stories circulating—perhaps circulated by the agents of the management—divined that no common attraction was to be presented. Besides, to displace La Belle Stamboulane worthily on the stage, that chosen arena where the female gladiator carries the day, a miracle of beauty, wit and skill was requisite. Elsewhere, ability, practice, art, artifice, many gifts and accomplishments may triumph, but the fifth element as indispensable as the others, air, water, fire and earth—it is love, which legitimately monopolizes the theatre for its exhibition and glorification. Men and women come to such places of amusement to hear love songs, see love scenes, and share in the fictitious joys and sorrows of love, which they long to enact in reality. Nothing is above love; nothing equals it. He reigns as a master in a temple, with woman as the high-priestess, and man the victim or the chosen reward.
Preceding the novelty, a bass-singer roared a drinking-song, in which he likened human life to a brewer's house, in which some quenched their thirst quickly and departed; others stayed to quaff, jest, tell stories to cronies, before staggering out "full;" the oldest went to sleep there. Though rich-voiced and liked, this time he retired in silence, for the audience was tormented with impatience.
The orchestra struck up a fashionable waltz, and, as the door, at the back of a drawing-room scene, was opened in both flaps by the liveried servants, a young lady entered, so fresh, delightful and easy that for a moment it seemed as if it were a member of the "highest life" who had blundered off the street into this strange world.
From her glistening hair of gold to the tip of her white satin slippers, with preposterously high heels, this was the new incarnation of the woman who ends the Nineteenth Century. She was indisputably beautiful, and Claudius, who had thought that the Jewess was incomparable, feared that the apple would have to be halved, since neither could have borne it entire away. But the Jewess's loveliness exalted the beholder; this one's was of the strange, irritating sort, resisted with difficulty and alluring a man into those byways which end in the gaming hell, the saturnalian halls, and the suicide's grave. Love had never chosen a more appetizing form to be the pivot on which human folly—perhaps human genius—was to spin idly and uselessly, like a beetle on a pin in a naturalist's cabinet.
Kaiserina von Vieradlers was the modern Venus, a creation of the modiste rather than of the sculptor; though hips and bosom were developed extravagantly, the long waist was absurdly small; but no token of ill health from the tight lacing appeared in the irreproachable shape, the well-turned arms and the countenance which was unmarred in a single lineament; the movements were not strictly ladylike, they were too unfettered in spite of the smooth gloves and the stylish unwrinkled ball dress, rather short in front to parade the slippers mentioned and silk stockings so nicely moulded to the trim ankle as to show the dimple. She was more fair in her eighteenth year—if she were so old—than a Danish baby in the cradle. The yellow hair had a clear golden tint not tawny, and the fineness was remarkable of the stray threads that serpentined out of the artistic braid and drooping ringlets. The blue eyes had a multitude of expressions and gleams; now hard as the blue diamond's ray, now soft as the lapis lazuli's glow of azure; the expression was at present one of longing, tender, cajoling and coaxing—like a gentle child's, never refused a thing for which it silently pleaded.
The costume was a trifle exaggerated, as is allowable on the minor stage, but what was that in our topsy-turvy age, when the disreputable woman in a mixed ball is conspicuous among her spotless sisters by the quiet correctness of her toilet?
Kaiserina came down to the flaring footlights, after a little trepidation, which the inexorable demon of stage-fright exacted from her, with the swing and confident step of one sure that—while man may be unjust, cruel and oppressive to her sex off the stage—here she would reign and finally triumph. She bowed her head, but it was to acknowledge her gracious acceptance of the tribute of applause; she moistened her fiery-coal lips with a serpent's active tongue; she surveyed her dominion with eyes that assumed a passing emerald tint. There was a depth to those apparently superficial glances. It seemed to Claudius that one had singled him out, and he fancied, as his eyes became fastened on this vision of concentrated worldly bliss, that it was for him that she stretched her plump neck, waved her arms in long gloves, undulated her waist and murmured—though to others she was but repeating her song during the orchestral prelude:
"You talk of plunging into the strife; you are ready to endure privations, you would study and toil till you vanquish. Nonsense; you had far better repose, recruit after the humdrum, exhaustive life of college; enjoy life a little. Hear a love-song, not a professor's lecture—see a dance of the ballet, not the procession of the deans and proctors; come to me for I am immediate sensation—the pleasure for all times—eternal intoxication—certain oblivion—the ideal bliss of the Hindoo! I am the grandest proof of Life—I am Love embodied!"
What did she sing to the strains of the voluptuous-waltz made vocal? The words mattered not; in Esquimaux they would have been as intelligible from the intonation with which she imbued every note, and the restricted but perfectly comprehensible gestures with which she emphasized the phrases of double meaning—one for the literary censors who had "passed" this corruption, the other for even the more obtuse of the common herd.
The rival whom, without having seen her, she had dethroned,