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“And what may be the meaning of this?” demanded M. Binet, bewildered and profoundly shocked.
“Does it require explaining?” asked Scaramouche. “Doesn’t it speak for itself — eloquently? It means that Climene and I have taken it into our heads to be married.”
“And doesn’t it matter what I may take into my head?”
“Of course. But you could have neither the bad taste nor the bad heart to offer any obstacle.”
“You take that for granted? Aye, that is your way, to be sure — to take things for granted. But my daughter is not to be taken for granted. I have very definite views for my daughter. You have done an unworthy thing, Scaramouche. You have betrayed my trust in you. I am very angry with you.”
He rolled forward with his ponderous yet curiously noiseless gait. Scaramouche turned to her, smiling, and handed her the candle.
“If you will leave us, Climene, I will ask your hand of your father in proper form.”
She vanished, a little fluttered, lovelier than ever in her mixture of confusion and timidity. Scaramouche closed the door and faced the enraged M. Binet, who had flung himself into an armchair at the head of the short table, faced him with the avowed purpose of asking for Climene’s hand in proper form. And this was how he did it:
“Father-in-law,” said he, “I congratulate you. This will certainly mean the Comedie Francaise for Climene, and that before long, and you shall shine in the glory she will reflect. As the father of Madame Scaramouche you may yet be famous.”
Binet, his face slowly empurpling, glared at him in speechless stupefaction. His rage was the more utter from his humiliating conviction that whatever he might say or do, this irresistible fellow would bend him to his will. At last speech came to him.
“You’re a damned corsair,” he cried, thickly, banging his ham-like fist upon the table. “A corsair! First you sail in and plunder me of half my legitimate gains; and now you want to carry off my daughter. But I’ll be damned if I’ll give her to a graceless, nameless scoundrel like you, for whom the gallows are waiting already.”
Scaramouche pulled the bell-rope, not at all discomposed. He smiled. There was a flush on his cheeks and a gleam in his eyes. He was very pleased with the world that night. He really owed a great debt to M. de Lesdiguieres.
“Binet,” said he, “forget for once that you are Pantaloon, and behave as a nice, amiable father-in-law should behave when he has secured a son-in-law of exceptionable merits. We are going to have a bottle of Burgundy at my expense, and it shall be the best bottle of Burgundy to be found in Redon. Compose yourself to do fitting honour to it. Excitations of the bile invariably impair the fine sensitiveness of the palate.”
CHAPTER 7
THE CONQUEST OF NANTES
The Binet Troupe opened in Nantes — as you may discover in surviving copies of the “Courrier Nantais”— on the Feast of the Purification with “Les Fourberies de Scaramouche.” But they did not come to Nantes as hitherto they had gone to little country villages and townships, unheralded and depending entirely upon the parade of their entrance to attract attention to themselves. Andre–Louis had borrowed from the business methods of the Comedie Francaise. Carrying matters with a high hand entirely in his own fashion, he had ordered at Redon the printing of playbills, and four days before the company’s descent upon Nantes, these bills were pasted outside the Theatre Feydau and elsewhere about the town, and had attracted — being still sufficiently unusual announcements at the time — considerable attention. He had entrusted the matter to one of the company’s latest recruits, an intelligent young man named Basque, sending him on ahead of the company for the purpose.
You may see for yourself one of these playbills in the Carnavalet Museum. It details the players by their stage names only, with the exception of M. Binet and his daughter, and leaving out of account that he who plays Trivelin in one piece appears as Tabarin in another, it makes the company appear to be at least half as numerous again as it really was. It announces that they will open with “Les Fourberies de Scaramouche,” to be followed by five other plays of which it gives the titles, and by others not named, which shall also be added should the patronage to be received in the distinguished and enlightened city of Nantes encourage the Binet Troupe to prolong its sojourn at the Theatre Feydau. It lays great stress upon the fact that this is a company of improvisers in the old Italian manner, the like of which has not been seen in France for half a century, and it exhorts the public of Nantes not to miss this opportunity of witnessing these distinguished mimes who are reviving for them the glories of the Comedie de l’Art. Their visit to Nantes — the announcement proceeds — is preliminary to their visit to Paris, where they intend to throw down the glove to the actors of the Comedie Francaise, and to show the world how superior is the art of the improviser to that of the actor who depends upon an author for what he shall say, and who consequently says always the same thing every time that he plays in the same piece.
It is an audacious bill, and its audacity had scared M. Binet out of the little sense left him by the Burgundy which in these days he could afford to abuse. He had offered the most vehement opposition. Part of this Andre–Louis had swept aside; part he had disregarded.
“I admit that it is audacious,” said Scaramouche. “But at your time of life you should have learnt that in this world nothing succeeds like audacity.”
“I forbid it; I absolutely forbid it,” M. Binet insisted.
“I knew you would. Just as I know that you’ll be very grateful to me presently for not obeying you.”
“You are inviting a catastrophe.”
“I am inviting fortune. The worst catastrophe that can overtake you is to be back in the market-halls of the country villages from which I rescued you. I’ll have you in Paris yet in spite of yourself. Leave this to me.”
And he went out to attend to the printing. Nor did his preparations end there. He wrote a piquant article on the glories of the Comedie de l’Art, and its resurrection by the improvising troupe of the great mime Florimond Binet. Binet’s name was not Florimond; it was just Pierre. But Andre–Louis had a great sense of the theatre. That article was an amplification of the stimulating matter contained in the playbills; and he persuaded Basque, who had relations in Nantes, to use all the influence he could command, and all the bribery they could afford, to get that article printed in the “Courrier Nantais” a couple of days before the arrival of the Binet Troupe.
Basque had succeeded, and, considering the undoubted literary merits and intrinsic interest of the article, this is not at all surprising.
And so it was upon an already expectant city that Binet and his company descended in that first week of February. M. Binet would have made his entrance in the usual manner — a full-dress parade with banging drums and crashing cymbals. But to this Andre–Louis offered the most relentless opposition.
“We should but discover our poverty,” said he. “Instead, we will creep into the city unobserved, and leave ourselves to the imagination of the public.”
He had his way, of course. M. Binet, worn already with battling against the strong waters of this young man’s will, was altogether unequal to the contest now that he found СКАЧАТЬ