Servants of Sin

"Do what you will," said those aristocratic tyrants, who (after having preached up the place as one from which almost the elixir of a new life might be drawn) had now followed their patients to the spot thereby to guard over and protect them, and, also, to continue to increase their bills. "Do all that you desire, save-a few things. No late hours, no rich dishes, no potent wines, no heated rooms. Instead, fresh air all day long in the valleys, or, above, on the hills; the plain living of the country and long nights of rest; for drink, the pure draughts of the springs and of milk. Thereby shall you all return to Paris renovated and restored."

Yet they were careful not to add, "And ready to commence a fresh career of dissipation which shall place you in our hands again and, eventually, in the tombs of your aristocratic families."

Since, however, the visitors followed with more or less regularity the prescribed regimen, the wholesomeness of the life was soon apparent in renewed appetites, in cheeks which bloomed-almost, though not quite-without the adventitious aid of paint and cosmetiques; in nerves which ceased to quiver at every noise; in nights which were passed in easy slumbers instead of being racked by the pangs of indigestion. Wholesome enough indeed, revivifying and strengthening; a life that recuperated wasted vitality and prepared its possessors for a new season of dissipation and debauchery at the Regent's court. Yet, withal, a deadly dull one! Wherefore, when it was whispered that they were invited to "a representation of a play" by "a lady of rank," which play was, as they termed it themselves, "Un secret de la Comédie," since everyone in Eaux St. Fer knew who the lady of rank was, they flocked to the saloon of The Garland, and did so a little more eagerly than they might otherwise have done, since there was also in the air a whisper that, in the "representation," was something more than the mere attempts of a would-be bluestocking to exhibit her talents for dramatic construction.

De Crébillon possessed another talent besides an inventive genius and a power of writing tragedies; he had a tongue which could whisper smoothly but effectively, a glance which could suggest, and an altogether admirable manner of exciting curiosity by a look alone.

So they were all gathered together now, two hours after their early and salutary, but scarcely appetising, dinners had been eaten; and they formed a mass of gorgeously-dressed, highbred men and women, everyone of whom were known to the others, and everyone of whose secrets were, in almost every case, also known to each other. Yet, since each and all had a history, none being free from one skeleton of the past (or present) at least, this was not a matter of very much importance.

In costumes suited for the watering-places-yet made by the astute hands of the workwomen of Mesdames Germeuil or Carvel, Versac or Grandchamp, and produced under the equally astute eyes of those authorities in dress-the ladies entered the room where the representation was to take place, their pointed corsages and bouffante sleeves, with their deep ruffles at the elbows, setting off well their diamond-adorned head-dresses and their flowered robes. As for the men, their dress was the dress of the most costly period in France, not even excepting the days of the Great Monarch; their court-swords gold-hilted; their lace at sleeve and breast and knee worth a small fortune; their wigs works of art and of great cost.

"Mon ami," said the Marquise Grignan de Poissy to a youth who approached her as she made her way through the press of her friends, the young man being none other than her nephew, the present bearer of the title of the de Poissys, "you are charming; your costume is ravishing."

"Yet," she continued, "that is but a poor weapon to hang upon a man's thigh," and she touched lightly with her finger the ivory and gold hilt of the court-sword he carried by his side. "There is no fighting quality in that."

"My dear aunt," exclaimed the young marquis, glancing at her admiringly, for, even to him, the beauty of his late uncle's widow was more or less alluring, "my dear aunt, it professes to have no fighting qualities. It is only an ornament such as that," and he, too, put out a finger and touched the baton, or cane, which she carried in her hand in common with other ladies.

"Yet this," she said, "would strike a blow on any who molested me, even though it broke in the attempt, being so poor a thing," and her deep blue eyes gazed into his while sparkling like sapphires as they did so.

"And," he replied, not understanding why those eyes so transfixed him, or why, at the same time, he vibrated under their glance, "this would run a man through who molested you, even though it broke in the attempt, being so poor a thing," and he gave a little self-satisfied laugh.

"Would it? You mean that?"

"Without doubt, I mean it," he replied, his voice gradually becoming grave, while he stared fixedly at her, as though not comprehending. "Without doubt, I mean it." Then he said, a moment later-speaking as though he had penetrated the meaning she would convey: "My dear aunt Diane, is there by chance anyone whom you wish run through? If so name him. It shall be done, to-night, to-morrow, at dawn, for-for-the honour of our house and-your bright eyes."

"No! No! No! No! I do but jest. Yet, come, sit by me, I-I am nervous for the success of this play. I know the writer thereof-"

"So do I!" he interjected.

"And, see, all are in their places. De Crébillon comes on the platform to speak the argument. Sit. Sit here, Agénor. Close by my side." Then she muttered to herself so low that he could not hear her words. "Almost I fear for that which I have done. Yet-Vengeance confound him! – he merits it. And worse!"

An instant later the easy tones of de Crébillon were heard announcing-as briefly and succinctly as though he were addressing the players at the Français ere reading to them the plot of some new drama by himself-what was to be offered to the audience.

Having opened his address with many compliments to those assembled there and to their exalted rank, equalled only by their capacity of judgment and their power to make or mar for ever that which would now be submitted to them as the work of an illustrious unknown, he went on-

"The scene is in two acts. The title is 'The Abandoned Orphan.' The leading characters are Cidalise, who is the orphan, and Célie, who has protected her. The first act exhibits the child's abandonment, the second-but, no! Mesdames et Messieurs-that must be left for representation, must be unrolled before you in the passage of the play. Suffice it, therefore, if I say now that the work has been hurriedly written so as to be presented before you for your delectation; that the actors and actresses are the best obtainable from a troupe now happily roaming in Provence; that, in effect, your indulgence is begged by all. Mesdames et Messieurs, the play will now begin."

Amidst such applause as so fashionable an audience as this felt called upon to give, de Crébillon withdrew from the hastily-constructed platform which had been erected in the great saloon-which was not, in truth, very great-the blue curtain that was stretched across from one side of the room to the other was withdrawn, and the play began. Yet not before more than one person in the audience had whispered to himself, or herself, "At whom does she aim?" Not before, too, more than one had turned their eyes inwardly with much introspection. And one who heard de Crébillon's words gave a sigh, almost a gasp of relief. That one was Monsieur le Duc Desparre. To his knowledge he had never abandoned any infant.

There was, naturally, no scenery; yet, all the same, some attempts had been made to aid dramatic illusion. The landlord had lent some bits of tapestry to decorate the walls, and some chairs and tables. In this case only the commoner sort were required, since la scene depicted a room not much better than a garret. And in this garret, as the curtain was pulled aside, was depicted Célie having in her arms a bundle supposed to be the child, Cidalise, while on the bed lay stretched the unhappy mother, dead.

With that interminable monologue, so much used by the French dramatists of the period, and so tolerated by the audience of the period, Célie delivered in blank verse a long recitation of what had led to this painful scene. Fortunately, the actress who played this part was (as happened often enough in those days, when the wandering troupes were quite as good as those which trod the boards of the Parisian stages, though, through want of patronage or opportunity, they very often never even so much as entered the capital) quite equal to its rendition, she having a clear distinct diction which she knew thoroughly well how to accompany with suitable gesture. Also, which caused some remark even amongst this unemotional audience, she bore a striking likeness to the highbred dame who was the authoress of the drama. The woman was tall and exquisitely shaped; her primrose-coloured hair-coloured thus, either by art and design, or nature-curled in crisp curls about her head; her eyes were blue as corn-flowers. Wherefore, as they gazed on her, there ran a suppressed titter through that audience, a whispered word or so passed, more than one head turned, and more than one pair of eyes rested inquiringly on Diane Grignan de Poissy sitting some row or so of chairs back from the platform. And there were some whose eyes sought the countenance of le Duc Desparre and observed that his face, although blank as a mask, showed signs of aroused interest; that his eyes were fixed eagerly on the wandering mummer who enacted Célie.

"'Tis thee," whispered Agénor to his aunt. "'Tis thee!"

"Yes. It is I," she whispered back. In solemn diction, the woman unfolded her story. The story of an innocent girl betrayed into a mock marriage, a fictitious priest, desertion followed by death, and her own determination to secure the child and to rear it, and, some day, to use that child as a means whereby to wreak vengeance on the betrayer because he was such in a double capacity. He had sworn his love to Célie, to herself, as well as to the unfortunate woman now lying dead; he had deceived them both. Only the dead woman was poor; she was rich. Rich enough, at least, to provide in some way for that child, to keep it alive until the time came for producing it. "As I swear to do," Célie cried in rhyme, this being the last speech, or tag, of the prologue, "even though I wait for years. For years." Then she called on Phœbus and many other heathen divinities so dear to the hearts of the French dramatists, to hear her register her vow. And, thus, the prologue ended amidst a buzz from the audience, loud calls for Célie, for de Crébillon, for the author. Expectancy had been aroused, the most useful thing of all others, perhaps, to which a prologue could be put. De Crébillon led on the blue-eyed, golden-haired actress, and she, standing before the most exalted audience which had ever witnessed her efforts, considered that her fortune was as good as made. Henceforth, farewell, she hoped, to acting in barns and hastily-erected booths in provincial towns and villages, to the homage of country boors and simple country gentlemen. She saw before her.. what matters what she saw! In all that audience none, except a few of the younger and most impressionable of the men, thought of the handsome stroller; all desired to know what the drama itself would bring forth.

For none doubted now (since they knew full well from de Crébillon's whispered hints and suggestive glances who the author was) that Desparre was the man pointed at as the betrayer of the woman who had been seen stretched in the garret. All remembered that, for years, even during the life of the old king, his name had been coupled with that of the Marquise. And they remembered that she, who was once looked upon as the certain Duchesse Desparre of the future, had never become his wife; that instead, he had meant to wed with a woman who had emerged none knew whence except that it was from the gutters of the streets-from beneath a gambler's roof; and that even such a one as this had jilted him! Jilted him who sat there now, still as a statue, white as one, too. Looking like death itself!

What were they about to see? A denunciation of this man by his abandoned child to that intended bride born of the gutter, a denunciation so fierce and terrible that even she, that creature of nothingness, shrank from him as something so base-so scabreux, as they termed it in their whispers-that she dared not share his illustrious name! Was that what was now to be depicted before them? Was that the true reason for the scandal with which all Paris had rung since the cruel months of winter; of which people still spoke apart and in subdued murmurs? Was the abandoned orphan, or rather her representative, to speak her denunciation on that platform? Was that woman of the people to fly from him before their eyes? Was the Duc Desparre to be held up before them here, on this summer day, in the true colours which all knew him to possess, but which all, because he was of their own patrician order, endeavoured to forget that he thus possessed?

If so, then Diane Grignan de Poissy's vengeance was, indeed, an awful one! If so, then God shield them from having their own secrets fall into her possession, from having her vengeance aroused against them, too!

As had been ever since the days of Hardy, of Corneille, of Moliere, their attention was now drawn to the fact that the actual play was about to commence by three thumps upon the stage from a club, and, once more, they settled down to the enjoyment of the spectacle; the buzz amongst them ceasing as again the curtain was drawn back. They prepared for the denunciation! Yet, still, in their last whispers to each other ere silence set in, they asked how that denunciation was to take effect? There were but two female characters, Célie, the protectress, Cidalise, the orphan. Where then was the character of the woman to whom the man was to be denounced; the woman who should represent before them that creature of the lower orders who, in actual fact and life, had last winter fled from Desparre-the blanched figure sitting before them-sooner than become his wife and a duchess?

Perhaps, after all, they thought and said, they had been mistaken-perhaps, after all, it was not a true representation of Desparre's degradation which was about to be offered to them! Perhaps they had misjudged, overrated, the vengeance of Diane!

Well! they would soon see now. The curtain was withdrawn, the scene was exposed, and it represented a pretty salon adorned for a festivity-a betrothal.

The play began.

CHAPTER XIX

"THE ABANDONED ORPHAN"

DRAMA

The usual guests who figure at stage weddings had assembled in the salon. Evidently, the audience whispered, one to another, it was a marriage contract, at least, which was about to be signed-or, perhaps, an assemblage of relatives at the bride's house ere setting forth to the church. No doubt of that, they thought, else why the love-knots at ladies' wrists and breasts-quite clean and fresh because, somehow, the poor strolling players who represented high-born dames had been provided with them by the giver of the entertainment-and why, also, had the gentlemen got on the best suits which the baggage waggon of their troupe contained?

Wherefore, after seeing all this, the actual high-born dames and men of ancient family in the audience gave many a sidelong glance at each other, while the former's eyes frequently flashed leering looks over their enamelled cheeks and from beneath their painted eyelashes and eyebrows. For all recalled that, in the real drama which had happened in Paris in the winter months-the real drama over which Baron and Destouches and Poinsinet (who should never have been an author, since he was born almost a gentleman), and other grinning devils of the pen, had made such bitter mockery in verse and prose-in that real drama, a marriage, renounced and broken, had formed the main incident. Recalling all this, they settled down well into their seats, eager and excited as to what was to come.

Enter amongst the guests, Célie. The handsome woman was made up to look a little older now. Yet, "the deuce confound me!" said the venerable Marquise de Champfleury, a lady who, fifty years before, had been renowned for her bonnes fortunes in the Royal circle, "the deuce confound me! she resembles Diane more than ever." Which was true, and was, perhaps, made more so by the fact that the woman was now wearing a costly dress which Diane Grignan de Poissy had herself worn more than once at Eaux St. Fer before all her friends, but which she had now bestowed upon the wandering actress. The latter was, indeed, so like Diane, that again and again the revered marquise uttered her oaths as she regarded her.

To Célie there entered next Cidalise, young, slender, pretty, yet-because sometimes the troupe were starving and had naught to eat but that which was flung to them in charity, or a supper of broken victuals given them by an innkeeper in return for a song or performance before a handful of provincial shopkeepers-thin, and out of condition. Nevertheless, she could deliver her lines well, and speak as clearly as Charlotte Lenoir had done, or as La Gautier did now-and would have become a leading actress, indeed might become one yet, if she could only get a foothold in Paris.

In short, sharp sentences, such as the French dramatists loved to intersperse with the terribly long monologues which, in other places, they put into the mouths of their characters, Célie asked her if she was resolved to carry out her contract and marry this man, this Prince, who desired her for his wife? Yes, Cidalise replied, yes. Not because she loved him, but because her origin was obscure, her present surroundings revolting. Was not her uncle a gambler! At this there was a movement amongst the audience; many exquisitely painted fans were fluttered, a rustle of silk and satin and brocade was perceptible. And, also, eyes gleamed into other eyes again, but none spoke. Even the old Marquise de Champfleury swore no more. The aged trifler had become interested, a novelty which had not occurred to her-unless in connection with herself and her food and her health-for a long time.

Yet, because when all is said, these were ladies and gentlemen, not one stole a glance in the direction of Monsieur le Duc.

Had they done so they would have seen that he sat motionless in his seat, with his eyes half closed, yet glittering, as they gazed at the two women on the stage.

Two more figures were now upon the scene. His Highness, the Prince, the bridegroom predestinate, and also the uncle of Cidalise; the first called Cléon, Prince de Fourbignac, the second, Dorante. They loved such names as these, did those old French dramatists. Yet what was there about the man who played the Prince which awoke recollections in the minds of all the audience of another man they had once seen or known who was not the Duc Desparre, but someone very like him? How-how was that likeness produced? The vagabond, the stroller who enacted the illustrious personage, was a big, hectoring fellow, with a short-clipped, jet black moustache; an individual who looked more accustomed to the guardroom than a salon, to a spadroon clanking against his thigh-perhaps sticking out half a foot through its worn-out scabbard-than to a clouded cane which he now wielded, even though in a salon. His clothes, too-they were the best that could be found in the frowsy, hair-covered trunk which carried the costumes of the "first gentleman" of the troupe-seemed more fitted to some bully or sharper than to an exquisite. So, too, did his expressions, his "Health, belle comtesse!" to one high-born (stage) lady, his "Rasade" to another whose glass touched his as she wished him felicity; so, too, did his vulgar heartiness to all.

"A Prince!" the real aristocrats in front muttered to themselves and each other, yet remembered that the words he uttered must for sure have been put into his mouth either by the authoress, or her collaborateur, De Crébillon. Only, why and wherefore? And still they were puzzled, since many of them could recall in far back days some fellow very much like the creature who was now strutting about the stage and kicking a footman here and there, slapping the bare shoulders of female guests, and giving low winks to his male friends.

There was some art in this, they muttered; some recollection which it was intended to evoke. Whom had they ever known like this? What fellow who, for some particular reason, had been admitted to their august society-a society in which, to do them justice, they behaved admirably and with exquisite grace so long as their actions were public, no matter how much they atoned for that behaviour by extremely questionable conduct in private?

Then they remembered all, memory being aroused by none other than the respected Marquise de Champfleury.

"Me damne!" she whispered, changing her form of exclamation somewhat-probably for fear of being monotonous. "Me damne! does no one recall our friend when a beggarly captain on the frontier? Hein! he was the second, heir then, wherefore we permitted his presence sometimes. Yet, only sometimes, God be praised! Had he not been an heir, our lackeys should have kicked him down the street. You remember; you, Fifine, and you, Finette? Heaven knows you are both old enough to do so!"

After which the amiable aristocrat ceased her pleasing prattle, and attended to the development of the drama before them.

They were all doing that now, eagerly, absorbingly, and even more especially so since the fine memory of the old Marquise had recalled to them, or most of them, the time when Desparre stamped about their salons roughly, and, because he was the second heir to the dukedom and almost sure to succeed to it some day, treated them all to a great deal of what they termed privately in disgust, "his guardroom manners." And, in remembering, they thought what good fortune it was for Diane (if it was not the outcome of astute selection) to have secured this rough fellow to personate the man she was undoubtedly bent on exposing-the man who now sat staring at the stage with his face as set as a mask, and as expressionless.

Meanwhile, the play went on. The signing of the contract which, all recognised now, was the ceremony to be performed, was at hand. First came the bridegroom, who-having ceased his tavern buffooneries-so becoming to a Prince! and in the distribution of which he had included Cidalise, who, with well-acted horror, shrank from him every time he approached her-drew near the table at which the notary and his clerk sat, and, having slapped the former on the back, affixed his signature with a great deal of gesticulation, and then handed the quill with ostentatious politeness to his future Princess.

"Sign, dear idol," he whispered in a stage whisper, "sign. I await with eagerness the right to call thee mine." Only he marred somewhat these affecting words by winking at another girl who stood by Cidalise.

On either side of that Iphigenia were grouped now Célie and Dorante-an old grisly actor this, round shouldered and ill-favoured, who had forgotten to shave himself that morning, or who, perhaps, imagined that, as he represented a Parisian gambler, it was a touch of nature to go thus unclean-Cléon being of course next to Cidalise. And to her, Célie spoke clearly, so clearly that her voice was heard by everyone of the audience present in the salon of The Garland as she said "Sign, Cidalise." Then she stood with her large blue eyes fixed full on Cléon, while the expression in them told the spectators as plainly as words could have done that the great moment was at hand, that the dénouement was coming.

"Sign," she said again.

Taking the pen, the girl signed, repeating in stage fashion the letters of the name "Cidalise," so that the audience, who could not see the characters, should understand that they were being written down.

"So," exclaimed Célie, her eyes still on Cléon, "So, Cidalise. Continue."

"D. O. R.," murmured the bride as she pretended to write again, when, suddenly, breaking in upon hers was heard the voice of the leading actress. "No! Not that. If you sign further you must use another name." Then, turning to Cléon she hissed rapidly:

"Lâche! You abandoned one woman and deserted another. My time has come."