The Greatest Works of Gustave Flaubert. Gustave Flaubert

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      Chapter Fifteen

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      The crowd was waiting against the wall, symmetrically enclosed between the balustrades. At the corner of the neighbouring streets huge bills repeated in quaint letters “Lucie de Lammermoor-Lagardy-Opera-etc.” The weather was fine, the people were hot, perspiration trickled amid the curls, and handkerchiefs taken from pockets were mopping red foreheads; and now and then a warm wind that blew from the river gently stirred the border of the tick awnings hanging from the doors of the public-houses. A little lower down, however, one was refreshed by a current of icy air that smelt of tallow, leather, and oil. This was an exhalation from the Rue des Charrettes, full of large black warehouses where they made casks.

      For fear of seeming ridiculous, Emma before going in wished to have a little stroll in the harbour, and Bovary prudently kept his tickets in his hand, in the pocket of his trousers, which he pressed against his stomach.

      Her heart began to beat as soon as she reached the vestibule. She involuntarily smiled with vanity on seeing the crowd rushing to the right by the other corridor while she went up the staircase to the reserved seats. She was as pleased as a child to push with her finger the large tapestried door. She breathed in with all her might the dusty smell of the lobbies, and when she was seated in her box she bent forward with the air of a duchess.

      The theatre was beginning to fill; opera-glasses were taken from their cases, and the subscribers, catching sight of one another, were bowing. They came to seek relaxation in the fine arts after the anxieties of business; but “business” was not forgotten; they still talked cottons, spirits of wine, or indigo. The heads of old men were to be seen, inexpressive and peaceful, with their hair and complexions looking like silver medals tarnished by steam of lead. The young beaux were strutting about in the pit, showing in the opening of their waistcoats their pink or applegreen cravats, and Madame Bovary from above admired them leaning on their canes with golden knobs in the open palm of their yellow gloves.

      Now the lights of the orchestra were lit, the lustre, let down from the ceiling, throwing by the glimmering of its facets a sudden gaiety over the theatre; then the musicians came in one after the other; and first there was the protracted hubbub of the basses grumbling, violins squeaking, cornets trumpeting, flutes and flageolets fifing. But three knocks were heard on the stage, a rolling of drums began, the brass instruments played some chords, and the curtain rising, discovered a country-scene.

      It was the crossroads of a wood, with a fountain shaded by an oak to the left. Peasants and lords with plaids on their shoulders were singing a hunting-song together; then a captain suddenly came on, who evoked the spirit of evil by lifting both his arms to heaven. Another appeared; they went away, and the hunters started afresh. She felt herself transported to the reading of her youth, into the midst of Walter Scott. She seemed to hear through the mist the sound of the Scotch bagpipes reechoing over the heather. Then her remembrance of the novel helping her to understand the libretto, she followed the story phrase by phrase, while vague thoughts that came back to her dispersed at once again with the bursts of music. She gave herself up to the lullaby of the melodies, and felt all her being vibrate as if the violin bows were drawn over her nerves. She had not eyes enough to look at the costumes, the scenery, the actors, the painted trees that shook when anyone walked, and the velvet caps, cloaks, swords — all those imaginary things that floated amid the harmony as in the atmosphere of another world. But a young woman stepped forward, throwing a purse to a squire in green. She was left alone, and the flute was heard like the murmur of a fountain or the warbling of birds. Lucie attacked her cavatina in G major bravely. She plained of love; she longed for wings. Emma, too, fleeing from life, would have liked to fly away in an embrace. Suddenly Edgar-Lagardy appeared.

      He had that splendid pallor that gives something of the majesty of marble to the ardent races of the South. His vigorous form was tightly clad in a brown-coloured doublet; a small chiselled poniard hung against his left thigh, and he cast round laughing looks showing his white teeth. They said that a Polish princess having heard him sing one night on the beach at Biarritz, where he mended boats, had fallen in love with him. She had ruined herself for him. He had deserted her for other women, and this sentimental celebrity did not fail to enhance his artistic reputation. The diplomatic mummer took care always to slip into his advertisements some poetic phrase on the fascination of his person and the susceptibility of his soul. A fine organ, imperturbable coolness, more temperament than intelligence, more power of emphasis than of real singing, made up the charm of this admirable charlatan nature, in which there was something of the hairdresser and the toreador.

      From the first scene he evoked enthusiasm. He pressed Lucy in his arms, he left her, he came back, he seemed desperate; he had outbursts of rage, then elegiac gurglings of infinite sweetness, and the notes escaped from his bare neck full of sobs and kisses. Emma leant forward to see him, clutching the velvet of the box with her nails. She was filling her heart with these melodious lamentations that were drawn out to the accompaniment of the double-basses, like the cries of the drowning in the tumult of a tempest. She recognised all the intoxication and the anguish that had almost killed her. The voice of a prima donna seemed to her to be but echoes of her conscience, and this illusion that charmed her as some very thing of her own life. But no one on earth had loved her with such love. He had not wept like Edgar that last moonlit night when they said, “Tomorrow! tomorrow!” The theatre rang with cheers; they recommenced the entire movement; the lovers spoke of the flowers on their tomb, of vows, exile, fate, hopes; and when they uttered the final adieu, Emma gave a sharp cry that mingled with the vibrations of the last chords.

      “But why,” asked Bovary, “does that gentleman persecute her?”

      “No, no!” she answered; “he is her lover!”

      “Yet he vows vengeance on her family, while the other one who came on before said, ‘I love Lucie and she loves me!’ Besides, he went off with her father arm in arm. For he certainly is her father, isn’t he — the ugly little man with a cock’s feather in his hat?”

      Despite Emma’s explanations, as soon as the recitative duet began in which Gilbert lays bare his abominable machinations to his master Ashton, Charles, seeing the false troth-ring that is to deceive Lucie, thought it was a love-gift sent by Edgar. He confessed, moreover, that he did not understand the story because of the music, which interfered very much with the words.

      “What does it matter?” said Emma. “Do be quiet!”

      “Yes, but you know,” he went on, leaning against her shoulder, “I like to understand things.”

      “Be quiet! be quiet!” she cried impatiently.

      Lucie advanced, half supported by her women, a СКАЧАТЬ