File No. 113 - Emile Gaboriau (large screen ebook reader TXT) 📗

Aurora; and the presence of the Princess Korasoff, with her superb emeralds, which were reported to be the finest in the world.

In an instant the gallery became almost deserted. Only a few forlorn-looking people remained; mostly sulky husbands, and some melancholy youths looking awkward and unhappy in their gay fancy dresses.

The clown thought it a favorable opportunity for carrying out his project.

He abruptly left his corner, flourishing his switch, and beating his banner, and, crossing the gallery, seated himself in a chair between Mme. Fauvel and the door. As soon as the people had collected in a circle around him, he commenced to cough in an affected manner, like a stump orator about to make a speech.

Then he struck a comical attitude, standing up with his body twisted sideways, and his hat on one ear, and with great buffoonery and volubility made the following remarks:

“Ladies and gentlemen, this very morning I obtained a license from the authorities of this town. And what for? Why gentlemen, for the purpose of exhibiting to you a spectacle which has already won the admiration of the four quarters of the globe, and several universities besides. Inside of this booth, ladies, is about to commence the representation of a most remarkable drama, acted for the first time at Pekin, and translated into several languages by our most celebrated authors. Gentlemen, you can take your seats; the lamps are lighted, and the actors are changing their dress.”

Here he stopped speaking, and imitated to perfection the feats which mountebanks play upon horns and kettle-drums.

“Now, ladies and gentlemen,” he resumed, “you wish to know what I am doing outside, if the piece is to be performed under the tent. The fact is, gentlemen, that I wish to give you a foretaste of the agitations, sensations, emotions, palpitations, and other entertainments which you may enjoy by paying the small sum of ten sous. You see this superb picture? It represents eight of the most thrilling scenes in the drama. Ah, I see you begin to shudder already; and yet this is nothing compared to the play itself. This splendid picture gives you no more idea of the acting than a drop of water gives an idea of the sea, or a spark of fire of the sun. My picture, gentlemen, is merely to give you a foretaste of what is in the tent; as the steam oozing from a restaurant gives you a taste, or rather a smell, of what is within.”

“Do you know this clown?” asked an enormous Turk of a melancholy Punch.

“No, but he can imitate a trumpet splendidly.”

“Oh, very well indeed! But what is he driving at?”

The clown was endeavoring to attract the attention of Mme. Fauvel, who, since Raoul and Madeleine had left her, sat by herself in a mournful revery.

He succeeded in his object.

The showman’s shrill voice brought the banker’s wife back to a sense of reality; she started, and looked quickly about her, as if suddenly awakened from a troubled dream.

“Now, ladies, we are in China. The first picture on my canvas, here, in the left corner”—here he touched the top daub—“represents the celebrated Mandarin Li-Fo, in the bosom of his family. This pretty woman leaning over him is his wife; and these children playing on the carpet are the bonds of love between this happy pair. Do you not inhale the odor of sanctity and happiness emanating from this speaking picture, gentlemen?

“Mme. Li-Fo is the most virtuous of women, adoring her husband and idolizing her children. Being virtuous she is happy; for the wise Confucius says, ‘The ways of virtue are more pleasant than the ways of vice.’”

Mme. Fauvel had left her seat, and approached nearer to the clown.

“Do you see anything on the banner like what he is describing?” asked the melancholy Punch of his neighbor.

“No, not a thing. Do you?”

The fact is, that the daubs of paint on the canvas represented one thing as well as another, and the clown could call them whatever he pleased.

“Picture No. 2!” he cried, after a flourish of music. “This old lady, seated before a mirror tearing out her hair—especially the gray ones —you have seen before; do you recognize her? No, you do not. She is the fair mandarine of the first picture. I see the tears in your eyes, ladies and gentlemen. Ah! you have cause to weep; for she is no longer virtuous, and her happiness has departed with her virtue. Alas, it is a sad tale! One fatal day she met, on the streets of Pekin, a young ruffian, fiendish, but beautiful as an angel, and she loved him—the unfortunate woman loved him!”

The last words were uttered in the most tragic tone as he raised his clasped hands to heaven.

During this tirade he had whirled around, so that he found himself facing the banker’s wife, whose countenance he closely watched while he was speaking.

“You are surprised, gentlemen,” he continued; “I am not. The great Bilboquet has proved to us that the heart never grows old, and that the most vigorous wall-flowers flourish on old ruins. This unhappy woman is nearly fifty years old—fifty years old, and in love with a youth! Hence this heart-rending scene which should serve as a warning to us all.”

“Really!” grumbled a cook dressed in white satin, who had passed the evening in carrying around bills of fare, which no one read, “I thought he was going to amuse us.”

“But,” continued the clown, “you must go inside of the booth to witness the effects of the mandarine’s folly. At times a ray of reason penetrates her diseased brain, and then the sight of her anguish would soften a heart of stone. Enter, and for the small sum of ten sous you shall hear sobs such as the Odeon never echoed in its halcyon days. The unhappy woman has waked up to the absurdity and inanity of her blind passion; she confesses to herself that she is madly pursuing a phantom. She knows but too well that he, in the vigor and beauty of youth, cannot love a faded old woman like herself, who vainly makes pitiable efforts to retain the last remains of her once entrancing beauty. She feels that the sweet words he once whispered in her charmed ear were deceitful falsehoods. She knows that the day is near when she will be left alone, with nothing save his mantle in her hand.”

As the clown addressed this voluble description to the crowd before him, he narrowly watched the countenance of the banker’s wife.

But nothing he had said seemed to affect her. She leaned back in her arm-chair perfectly calm, and occasionally smiled at the tragic manner of the showman.

“Good heavens!” muttered the clown uneasily, “can I be on the wrong track?”

He saw that his circle of listeners was increased by the presence of the doge, M. de Clameran.

“The third picture,” he said, after a roll of drums, “depicts the old mandarine after she has dismissed that most annoying of guests— remorse—from her bosom. She promises herself that interest shall supply the place of love in chaining the too seductive youth to her side. It is with this object that she invests him with false honors and dignity, and introduces him to the chief mandarins of the capital of the Celestial Empire; then, since so handsome a youth must cut a fine figure in society, and as a fine figure cannot be cut without money, the lady must needs to sacrifice all of her possessions for his sake. Necklaces, rings, bracelets, diamonds, and pearls, all are surrendered. The monster carries all these jewels to the pawnbrokers on Tien-Tsi Street, and then has the cruelty to refuse her the tickets, so that she may have a chance of redeeming her treasures.”

The clown thought that at last he had hit the mark. Mme. Fauvel began to betray signs of agitation.

Once she made an attempt to rise from her chair; but it seemed as if her strength failed her, and she sank back, forced to listen to the end.

“Finally, ladies and gentlemen,” continued the clown, “the richly stored jewel-cases became empty. The day came when the mandarine had nothing more to give. It was then that the young scoundrel conceived the project of carrying off the jasper button belonging to the Mandarin Li-Fo—a splendid jewel of incalculable value, which, being the badge of his dignity, was kept in a granite chest, and guarded by three soldiers night and day. Ah! the mandarine resisted a long time! She knew the innocent soldiers would be accused and crucified, as is the custom in Pekin; and this thought restrained her. But her lover besought her so tenderly, that she finally yielded to his entreaties; and—the jasper button was stolen. The fourth picture represents the guilty couple stealthily creeping down the private stairway: see their frightened look—see—”

He abruptly stopped. Three or four of his auditors rushed to the assistance of Mme. Fauvel, who seemed about to faint; and at the same time he felt his arm roughly seized by someone behind him.

He turned around and faced De Clameran and Lagors, both of whom were pale with anger.

“What do you want, gentlemen?” he inquired politely.

“To speak to you,” they both answered.

“I am at your service.”

And he followed them to the end of the picture-gallery, near a window opening on a balcony.

Here they were unobserved except by the man in the Venetian cloak, whom the clown had so respectfully addressed as “M. the Count.”

The minuet having ended, the orchestras were resting, and the crowd began to rapidly fill the gallery.

The sudden faintness of Mme. Fauvel had passed off unnoticed save by a few, who attributed it to the heat of the room. M. Fauvel had been sent for; but when he came hurrying in, and found his wife composedly talking to Madeleine, his alarm was dissipated, and he returned to the card-tables.

Not having as much control over his temper as Raoul, M. de Clameran angrily said:

“In the first place, monsieur, I would like to know who you are.”

The clown determined to answer as if he thought the question were a jest, replied in the bantering tone of a buffoon:

“You want my passport, do you, my lord doge? I left it in the hands of the city authorities; it contains my name, age, profession, domicile, and every detail—”

With an angry gesture, M. de Clameran interrupted him.

“You have just committed a gross insult!”

“I, my lord doge?”

“Yes, you! What do you mean by telling this abominable story in this house?”

“Abominable! You may call it abominable; but I, who composed it, have a different opinion of it.”

“Enough, monsieur; you will at least have the courage to acknowledge that your performance was a vile insinuation against Mme. Fauvel?”

The clown stood with his head thrown back, and mouth wide open, as if astounded at what he heard.

But anyone who knew him would have seen his bright black eyes sparkling with malicious satisfaction.

“Bless my heart!” he cried, as if speaking to himself. “This is the strangest thing I ever heard of! How can my drama of the Mandarine Li-Fo have any reference to Mme. Fauvel, whom I don’t know from Adam or Eve? I can’t think how the resemblance–-unless–-but no, that is impossible.”

“Do you pretend,” said M. de Clameran, “to be ignorant of M. Fauvel’s misfortune?”

The clown looked very innocent, and asked:

“What misfortune?”

“The robbery of which M. Fauvel was the victim. It has been in everyone’s mouth, and you must have heard of it.”

“Ah, yes, yes; I remember. His cashier ran off with three hundred and fifty thousand francs. Pardieu! It is a thing