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CHAPTER VII
There was to be a first appearance on the stage of Lord Monmouth’s theatre to-night, the expectation of which created considerable interest in the party, and was one of the principal subjects of conversation at dinner. Villebecque, the manager of the troop, had married the actress Stella, once celebrated for her genius and her beauty; a woman who had none of the vices of her craft, for, though she was a fallen angel, there were what her countrymen style extenuating circumstances in her declension. With the whole world at her feet, she had remained unsullied. Wealth and its enjoyments could not tempt her, although she was unable to refuse her heart to one whom she deemed worthy of possessing it. She found her fate in an Englishman, who was the father of her only child, a daughter. She thought she had met in him a hero, a demi-god, a being of deep passion and original and creative mind; but he was only a voluptuary, full of violence instead of feeling, and eccentric, because he had great means with which he could gratify extravagant whims. Stella found she had made the great and irretrievable mistake. She had exchanged devotion for a passionate and evanescent fancy, prompted at first by vanity, and daily dissipating under the influence of custom and new objects. Though not stainless in conduct, Stella was pure in spirit. She required that devotion which she had yielded; and she separated herself from the being to whom she had made the most precious sacrifice. He offered her the consoling compensation of a settlement, which she refused; and she returned with a broken spirit to that profession of which she was still the ornament and the pride.
The animating principle of her career was her daughter, whom she educated with a solicitude which the most virtuous mother could not surpass. To preserve her from the stage, and to secure for her an independence, were the objects of her mother’s life; but nature whispered to her, that the days of that life were already numbered. The exertions of her profession had alarmingly developed an inherent tendency to pulmonary disease. Anxious that her child should not be left without some protector, Stella yielded to the repeated solicitations of one who from the first had been her silent admirer, and she married Villebecque, a clever actor, and an enterprising man who meant to be something more. Their union was not of long duration, though it was happy on the side of Villebecque, and serene on that of his wife. Stella was recalled from this world, where she had known much triumph and more suffering; and where she had exercised many virtues, which elsewhere, though not here, may perhaps be accepted as some palliation of one great error.
Villebecque acted becomingly to the young charge which Stella had bequeathed to him. He was himself, as we have intimated, a man of enterprise, a restless spirit, not content to move for ever in the sphere in which he was born. Vicissitudes are the lot of such aspirants. Villebecque became manager of a small theatre, and made money. If Villebecque without a sou had been a schemer, Villebecque with a small capital was the very Chevalier Law of theatrical managers. He took a larger theatre, and even that succeeded. Soon he was recognised as the lessee of more than one, and still he prospered. Villebecque began to dabble in opera-houses. He enthroned himself at Paris; his envoys were heard of at Milan and Naples, at Berlin and St. Petersburg. His controversies with the Conservatoire at Paris ranked among state papers. Villebecque rolled in chariots and drove cabriolets; Villebecque gave refined suppers to great nobles, who were honoured by the invitation; Villebecque wore a red ribbon in the button-hole of his frock, and more than one cross in his gala dress.
All this time the daughter of Stella increased in years and stature, and we must add in goodness: a mild, soft-hearted girl, as yet with no decided character, but one who loved calmness and seemed little fitted for the circle in which she found herself. In that circle, however, she ever experienced kindness and consideration. No enterprise however hazardous, no management however complicated, no schemes however vast, ever for a moment induced Villebecque to forget ‘La Petite.’ If only for one breathless instant, hardly a day elapsed but he saw her; she was his companion in all his rapid movements, and he studied every comfort and convenience that could relieve her delicate frame in some degree from the inconvenience and exhaustion of travel. He was proud to surround her with luxury and refinement; to supply her with the most celebrated masters; to gratify every wish that she could express.
But all this time Villebecque was dancing on a volcano. The catastrophe which inevitably occurs in the career of all great speculators, and especially theatrical ones, arrived to him. Flushed with his prosperity, and confident in his constant success, nothing would satisfy him but universal empire. He had established his despotism at Paris, his dynasties at Naples and at Milan; but the North was not to him, and he was determined to appropriate it. Berlin fell before a successful campaign, though a costly one; but St. Petersburg and London still remained. Resolute and reckless, nothing deterred Villebecque. One season all the opera-houses in Europe obeyed his nod, and at the end of it he was ruined. The crash was utter, universal, overwhelming; and under ordinary circumstances a French bed and a brasier of charcoal alone remained for Villebecque, who was equal to the occasion. But the thought of La Petite and the remembrance of his promise to Stella deterred him from the deed. He reviewed his position in a spirit becoming a practical philosopher. Was he worse off than before he commenced his career? Yes, because he was older; though to be sure he had his compensating reminiscences. But was he too old to do anything? At forty-five the game was not altogether up; and in a large theatre, not too much lighted, and with the artifices of a dramatic toilet, he might still be able successfully to reassume those characters of coxcombs and muscadins, in which he was once so celebrated. Luxury had perhaps a little too much enlarged his waist, but diet and rehearsals would set all right.
Villebecque in their adversity broke to La Petite, that the time had unfortunately arrived when it would be wise for her to consider the most effectual means for turning her talents and accomplishments to account. He himself suggested the stage, to which otherwise there were doubtless objections, because her occupation in any other pursuit would necessarily separate them; but he impartially placed before her the relative advantages and disadvantages of every course which seemed to lie open to them, and left the preferable one to her own decision. La Petite, who had wept very much over Villebecque’s misfortunes, and often assured him that she cared for them only for his sake, decided for the stage, solely because it would secure their not being parted; and yet, as she often assured him, she feared she had no predisposition for the career.
Villebecque had now not only to fill his own parts at the theatre at which he had obtained an engagement, but he had also to be the instructor of his ward. It was a life of toil; an addition of labour and effort that need scarcely have been made to the exciting exertion of performance, and the dull exercise of rehearsal; but he bore it all without a murmur; with a self-command and a gentle perseverance which the finest temper in the world could hardly account for; certainly not when we remember that its possessor, who had to make all these exertions and endure all this wearisome toil, had just experienced the most shattering vicissitudes of fortune, and been hurled from the possession of absolute power and illimitable self-gratification.
Lord Eskdale, who was always doing kind things to actors and actresses, had a great regard for Villebecque, with whom he had often supped. He had often been kind, too, to La Petite. Lord Eskdale had a plan for putting Villebecque, as he termed it, ‘on his legs again.’ It was to establish him with a French Company in London at some pretty theatre; Lord Eskdale to take a private box and to make all his friends do the same. Villebecque, who was as sanguine as he was good-tempered, was ravished by this friendly scheme. He immediately believed that he should recover his great fortunes as rapidly as he had lost them. He foresaw in La Petite a genius as distinguished as that of her mother, although as yet not developed, and he was boundless in his expressions of gratitude to his patron. And indeed of all friends, a friend in need is the most delightful. Lord Eskdale had the talent of being a friend in need. Perhaps it was because he knew so many worthless persons. But it often happens that worthless persons are merely people who are worth nothing.
Lord Monmouth having written to Mr. Rigby of his intention to reside for some months at Coningsby, and having mentioned that he wished a troop of French comedians to be engaged for the summer, Mr. Rigby had immediately consulted Lord Eskdale on the subject, as the best current authority. Thinking this a good opportunity of giving a turn to poor Villebecque, and that it might serve as a capital introduction to their scheme of the London company, Lord Eskdale obtained for him the engagement.
Villebecque and his little troop had now been a month at Coningsby, and had hitherto performed three times a-week. Lord Monmouth was content; his guests much gratified; the company, on the whole, much approved of. It was, indeed, considering its limited numbers, a capital company. There was a young lady who played the old woman’s parts, nothing could be more garrulous and venerable; and a lady of maturer years who performed the heroines, gay and graceful as May. Villebecque himself was a celebrity in characters of airy insolence and careless frolic. Their old man, indeed, was rather hard, but handy; could take anything either in the high serious, or the low droll. Their sentimental lover was rather too much bewigged, and spoke too much to the audience, a fault rare with the French; but this hero had a vague idea that he was ultimately destined to run off with a princess.
In this wise, affairs had gone on for a month; very well, but not too well. The enterprising genius of Villebecque, once more a manager, prompted him to action. He felt an itching desire to announce a novelty. He fancied Lord Monmouth had yawned once or twice when the heroine came on. Villebecque wanted to make a coup. It was clear that La Petite must sooner or later begin. Could she find a more favourable audience, or a more fitting occasion, than were now offered? True it was she had a great repugnance to come out; but it certainly seemed more to her advantage that she should make her first appearance at a private theatre than at a public one; supported by all the encouraging patronage of Coningsby Castle, than subjected to all the cynical criticism of the stalls of St. James’.
These views and various considerations were urged and represented by Villebecque to La Petite, with all the practised powers of plausibility of which so much experience as a manager had made him master. La Petite looked infinitely distressed, but yielded, as she ever did. And the night of Coningsby’s arrival at the Castle was to witness in its private theatre the first appearance of MADEMOISELLE FLORA.
CHAPTER VIII
The guests re-assembled in the great saloon before they repaired to the theatre. A lady on the arm of the Russian Prince bestowed on Coningsby a haughty, but not ungracious bow; which he returned, unconscious of the person to whom he bent. She was, however, a striking person; not beautiful, her face, indeed, at the first glance was almost repulsive, yet it ever attracted a second gaze. A remarkable pallor distinguished her; her features had neither regularity nor expression; neither were her eyes fine; but her brow impressed you with an idea of power of no ordinary character or capacity. Her figure was as fine and commanding as her face was void of charm. Juno, in the full bloom of her immortality, could have presented nothing more majestic. Coningsby watched her as she swept along like a resistless Fate.
Servants now went round and presented to each of the guests a billet of the performance. It announced in striking characters the début of Mademoiselle Flora. A principal servant, bearing branch lights, came forward and bowed to the Marquess. Lord Monmouth went immediately to the Grand-duke, and notified to his Imperial Highness that the comedy was ready. The Grand-duke offered his arm to the Ambassadress; the rest were following; Coningsby was called; Madame Colonna wished him to be her beau.
It was a pretty theatre; had been rapidly rubbed up and renovated here and there; the painting just touched; a little gilding on a cornice. There were no boxes, but the ground-floor, which gradually ascended, was carpeted and covered with arm-chairs, and the back of the theatre with a new and rich curtain of green velvet.
They are all seated; a great artist performs on the violin, accompanied by another great artist on the piano. The lights rise; somebody evidently crosses the stage behind the curtain. They are disposing the scene. In a moment the curtain will rise also.
‘Have you seen Lucretia?’ said the Princess to Coningsby. ‘She is so anxious to resume her acquaintance with you.’
But before he could answer the bell rang, and the curtain rose.
The old man, who had a droll part to-night, came forward and maintained a conversation with his housekeeper; not bad. The young woman who played the grave matron performed with great finish. She was a favourite, and was ever applauded. The second scene came; a saloon tastefully furnished; a table with flowers, arranged with grace; birds in cages, a lap-dog on a cushion; some books. The audience were pleased; especially the ladies; they like to recognise signs of bon ton in the details of the scene. A rather awful pause, and Mademoiselle Flora enters. She was greeted with even vehement approbation. Her agitation is extreme; she curtseys and bows her head, as if to hide her face. The face was pleasing, and pretty enough, soft and engaging. Her figure slight and rather graceful. Nothing could be more perfect than her costume; purely white, but the fashion consummate; a single rose her only ornament. All admitted that her hair was arranged to admiration.
At length she spoke; her voice trembled, but she had a good elocution, though her organ wanted force. The gentlemen looked at each other, and nodded approbation. There was something so unobtrusive in her mien, that she instantly became a favourite with the ladies. The scene was not long, but it was successful.
Flora did not appear in the next scene. In the fourth and final one of the act, she had to make a grand display. It was a love-scene, and rather of an impassioned character; Villebecque was her suitor. He entered first on the stage. Never had he looked so well, or performed with more spirit. You would not have given him five-and-twenty years; he seemed redolent of youth. His dress, too, was admirable. He had studied the most distinguished of his audience for the occasion, and had outdone them all. The fact is, he had been assisted a little by a great connoisseur, a celebrated French nobleman, Count D’O–y, who had been one of the guests. The thing was perfect; and Lord Monmouth took a pinch of snuff, and tapped approbation on the top of his box.
Flora now re-appeared, received with renewed approbation. It did not seem, however, that in the interval she had gained courage; she looked agitated. She spoke, she proceeded with her part; it became impassioned. She had to speak of her feelings; to tell the secrets of her heart; to confess that she loved another; her emotion was exquisitely performed, the mournful tenderness of her tones thrilling. There was, throughout the audience, a dead silence; all were absorbed in their admiration of the unrivalled artist; all felt a new genius had visited the stage; but while they were fascinated by the actress, the woman was in torture. The emotion was the disturbance of her own soul; the mournful tenderness of her tones thrilled from the heart: suddenly she clasped her hands with all the exhaustion of woe; an expression of agony flitted over her countenance; and she burst into tears. Villebecque rushed forward, and carried, rather than led, her from the stage; the audience looking at each other, some of them suspecting that this movement was a part of the scene.
‘She has talent,’ said Lord Monmouth to the Russian Ambassadress, ‘but wants practice. Villebecque should send her for a time to the provinces.’
At length M. Villebecque came forward to express his deep regret that the sudden and severe indisposition of Mlle. Flora rendered it impossible for the company to proceed with the piece; but that the curtain would descend to rise again for the second and last piece announced.
All this accordingly took place. The experienced performer who acted the heroines now came forward and disported most jocundly. The failure of Flora had given fresh animation to her perpetual liveliness. She seemed the very soul of elegant frolic. In the last scene she figured in male attire; and in air, fashion, and youth, beat Villebecque out of the field. She looked younger than Coningsby when he went up to his grandpapa.
The comedy was over, the curtain fell; the audience, much amused, chattered brilliant criticism, and quitted the theatre to repair to the saloon, where they were to be diverted tonight with Russian dances. Nobody thought of the unhappy Flora; not a single message to console her in her grief, to compliment her on what she had done, to encourage her future. And yet it was a season for a word of kindness; so, at least, thought one of the audience, as he lingered behind the hurrying crowd, absorbed in their coming amusements.
Coningsby had sat very near the stage; he had observed, with great advantage and attention, the countenance and movements of Flora from the beginning. He was fully persuaded that her woe was genuine and profound. He had felt his eyes moist when she wept. He recoiled from the cruelty and the callousness that, without the slightest symptom of sympathy, could leave a young girl who had been labouring for their amusement, and who was suffering for her trial.
He got on the stage, ran behind the scenes, and asked for Mlle. Flora. They pointed to a door; he requested permission to enter. Flora was sitting at a table, with her face resting on her hands. Villebecque was there, resting on the edge of the tall fender, and still in the dress in which he had performed in the last piece.
‘I took the liberty,’ said Coningsby, ‘of inquiring after Mlle. Flora;’ and then advancing to her, who had raised her head, he added, ‘I am sure my grandfather must feel much indebted to you, Mademoiselle, for making such exertions when you were suffering under so much indisposition.’
‘This is very amiable of you, sir,’ said the young lady, looking at him with earnestness.
‘Mademoiselle has too much sensibility,’ said Villebecque, making an observation by way of diversion.
‘And yet that must be the soul of fine acting,’ said Coningsby; ‘I look forward, all look forward, with great interest to the next occasion on which you will favour us.’
‘Never!’ said La Petite, in a plaintive tone; ‘oh, I hope, never!’
‘Mademoiselle is not aware at this moment,’ said Coningsby, ‘how much her talent is appreciated. I assure you, sir,’ he added, turning to Villebecque, ‘I heard but one opinion, but one expression of gratification at her feeling and her fine taste.’
‘The talent is hereditary,’ said Villebecque.
‘Indeed you have reason to say so,’ said Coningsby.
‘Pardon; I was not thinking of myself. My child reminded me so much of another this evening. But that is nothing. I am glad you are here, sir, to reassure Mademoiselle.’
‘I came only to congratulate her, and to lament, for our sakes as well as her own, her indisposition.’
‘It is not indisposition,’ said La Petite, in a low tone, with her eyes cast down.
‘Mademoiselle cannot overcome the nervousness incidental to a first appearance,’ said Villebecque.
‘A last appearance,’ said La Petite: ‘yes, it must be the last.’ She rose gently, she approached Villebecque, she laid her head on his breast, and placed her arms round his neck, ‘My father, my best father, yes, say it is the last.’
‘You are the mistress of your lot, Flora,’ said Villebecque; ‘but with such a distinguished talent—’
‘No, no, no; no talent. You are wrong, my father. I know myself. I am not of those to whom nature gives talents. I am born only for still life. I have no taste except for privacy. The convent is more suited to me than the stage.’
‘But you hear what this gentleman says,’ said Villebecque, returning her embrace. ‘He tells you that his grandfather, my Lord Marquess, I believe, sir, that every one, that—’
‘Oh, no, no, no!’ said Flora, shaking her head. ‘He comes here because he is generous, because he is a gentleman; and he wished to soothe the soul that he knew was suffering. Thank him, my father, thank him for me and before me, and promise in his presence that the stage and your daughter have parted for ever.’
‘Nay, Mademoiselle,’ said Coningsby, advancing and venturing to take her hand, a soft hand, ‘make no such resolutions to-night. M. Villebecque can have no other thought or object but your happiness; and, believe me, ‘tis not I only, but all, who appreciate, and, if they were here, must respect you.’
‘I prefer respect to admiration,’ said Flora; ‘but I fear that respect is not the appanage of such as I am.’
‘All must respect those who respect themselves,’ said Coningsby. ‘Adieu, Mademoiselle; I trust to-morrow to hear that you are yourself.’ He bowed to Villebecque and retired.
In the meantime affairs in the drawing-room assumed a very different character from those behind the scenes. Coningsby returned to brilliancy, groups apparently gushing with light-heartedness, universal content, and Russian dances!
‘And you too, do you dance the Russian dances, Mr. Coningsby?’ said Madame Colonna.
‘I cannot dance at all,’ said Coningsby, beginning a little to lose his pride in the want of an accomplishment which at Eton he had thought it spirited to despise.
‘Ah! you cannot dance the Russian dances! Lucretia shall teach you,’ said the Princess; ‘nothing will please her so much.’
On the present occasion the ladies were not so experienced in the entertainment as the gentlemen; but there was amusement in being instructed. To be disciplined by a Grand-duke or a Russian Princess was all very well; but what even good-tempered Lady Gaythorp could not pardon was, that a certain Mrs. Guy Flouncey, whom they were all of them trying to put down and to keep down, on this, as almost on every other occasion, proved herself a more finished performer than even the Russians themselves.
Lord Monmouth had picked up the Guy Flounceys during a Roman winter. They were people of some position in society. Mr. Guy Flouncey was a man of good estate, a sportsman, proud of his pretty wife. Mrs. Guy Flouncey was even very pretty, dressed in a style of ultra fashion. However, she could sing, dance, act, ride, and talk, and all well; and was mistress of the art of flirtation. She had amused the Marquess abroad, and had taken care to call at Monmouth House the instant the Morning Post apprised her he had arrived in England; the consequence was an invitation to Coningsby. She came with a wardrobe which, in point of variety, fancy, and fashion, never was surpassed. Morning and evening, every day a new dress equally striking; and a riding habit that was the talk and wonder of the whole neighbourhood. Mrs. Guy Flouncey created far more sensation in the borough when she rode down the High Street, than what the good people called the real Princesses.
At first the fine ladies never noticed her, or only stared at her over their shoulders; everywhere sounded, in suppressed whispers, the fatal question, ‘Who is she?’ After dinner they formed always into polite groups, from which Mrs. Guy Flouncey was invariably excluded; and if ever the Princess Colonna, impelled partly by goodnature, and partly from having known her on the Continent, did kindly sit by her, Lady St. Julians, or some dame equally benevolent, was sure, by an adroit appeal to Her Highness on some point which could not be decided without moving, to withdraw her from her pretty and persecuted companion.
It was, indeed, rather difficult work the first few days for Mrs. Guy Flouncey, especially immediately after dinner. It is not soothing to one’s self-love to find oneself sitting alone, pretending to look at prints, in a fine drawing-room, full of fine people who don’t speak to you. But Mrs. Guy Flouncey, after having taken Coningsby Castle by storm, was not to be driven out of its drawing-room by the tactics even of a Lady St. Julians. Experience convinced her that all that was required was a little patience. Mrs. Guy had confidence in herself, her quickness, her ever ready accomplishments, and her practised powers of attraction. And she was right. She was always sure of an ally the moment the gentlemen appeared. The cavalier who had sat next to her at dinner was only too happy to meet her again. More than once, too, she had caught her noble host, though a whole garrison was ever on the watch to prevent her, and he was greatly amused, and showed that he was greatly amused by her society. Then she suggested plans to him to divert his guests. In a country-house the suggestive mind is inestimable. Somehow or other, before a week passed, Mrs. Guy Flouncey seemed the soul of everything, was always surrounded by a cluster of admirers, and with what are called ‘the best men’ ever ready to ride with her, dance with her, act with her, or fall at her feet. The fine ladies found it absolutely necessary to thaw: they began to ask her questions after dinner. Mrs. Guy Flouncey only wanted an opening. She was an adroit flatterer, with a temper imperturbable, and gifted with a ceaseless energy of conferring slight obligations. She lent them patterns for new fashions, in all which mysteries she was very versant; and what with some gentle glozing and some gay gossip, sugar for their tongues and salt for their tails, she contrived pretty well to catch them all.
