THE COUNTESS OF
RUDOLSTADT
A SEQUEL TO "CONSUELO."
By GEORGE SAND,
AUTHOR OF "CONSUELO," ETC., ETC.
TRANSLATED FROM THE FRENCH
By FAYETTE ROBINSON
LONDON:
WALTER SCOTT, LIMITED,
PATERNOSTER SQUARE
THE COUNTESS OF RUDOLSTADT
TABLE OF CONTENTS
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
TRANSCRIBER'S NOTE
CHAPTER VI
CHAPTER VII
CHAPTER VIII
CHAPTER IX
CHAPTER X
CHAPTER XI
CHAPTER XII
CHAPTER XIII
CHAPTER XIV
CHAPTER XV
CHAPTER XVI
CHAPTER XVII
CHAPTER XVIII
CHAPTER XIX
CHAPTER XX
CHAPTER XXI
CHAPTER XXII
CHAPTER XXIII
CHAPTER XXIV
CHAPTER XXV
CHAPTER XXVI
CHAPTER XXVII
CHAPTER XXVIII
CHAPTER XXIX
CHAPTER XXX
CHAPTER XXXI
CHAPTER XXXII
CHAPTER XXXIII
CHAPTER XXXIV
CHAPTER XXXV
CHAPTER XXXVI
CHAPTER XXXVII
CHAPTER XXXVIII
CHAPTER XXXIX
CHAPTER XL
CHAPTER XLI
EPILOGUE
CHAPTER I
The Italian Opera-house at Berlin had been built early in the reign of
Frederick the Great, and was then one of the most beautiful in Europe.
There was no charge for admission--all the actors being paid by the
king. To be admitted, however, it was necessary to have a ticket, every
box having its regular occupant. The princes and princesses of the royal
family, the diplomatic corps, the illustrious travellers, the academy,
the generals, the royal household, the _employés_ and friends of the
king, monopolized the house. No one could complain of this, for theatre
and actors, all belonged to the king. There was open to the people of
the good city of Berlin, a small portion of the _parterre_, the greater
part of which was filled up by the military, each company and regiment
having a right to send a certain number of men. Instead of the joyous,
impressionable and sensitive Parisian public, the artists had a pit full
of heroes six feet high, as Voltaire called them, the greater number of
whom brought their wives on their backs. The aggregate was brutal
enough, strongly perfumed with tobacco and brandy, knowing nothing of
music, and neither admiring, hissing, nor applauding except in obedience
to orders. In consequence of the perpetual motion, however, there was a
great deal of noise.
Just behind these gentlemen there were two rows of boxes, the spectators
in which neither saw nor heard. They were obliged, though, to be
constantly present at the representations his majesty was graciously
willing to provide for them. The king was present at every performance.
In this way he contrived to maintain a military supervision of the many
members of his family, and to control the swarms of courtiers around
him. This habit he had inherited from his father, who, in a miserable
frame building, occupied by wretched German buffoons, used to while away
every winter evening, regardless of rain. The king used to sleep through
the performance and the showers. This domestic tyranny, Frederick had
undergone, suffering under it all the while; and when he became himself
the possessor of power, rigidly enforced it, as well as many more
despotic and cruel customs, the excellence of which he recognised as
soon as he became the only person in the kingdom not obliged to submit
to them.
No one dared to complain. The house was majestic and all the operatic
appointments luxurious. The king almost always overlooked the orchestra,
keeping his lorgnette in battery on the stage, and setting the example
of perpetual applause.
All know how Voltaire, during the early years of his installation at
Berlin, applauded the courtly splendor of the northern Solomon.
Disdained by Louis XV, neglected by Madame de Pompadour, who had been
his protectress, persecuted by the Jesuits, and hissed at the Theatre
Français, in a moment of disappointed pride, he came to look for
honors, a reward, and appointment of chamberlain and _grand cordon_, and
the intimacy of a great king, by far more complimentary to him than the
rest of his new acquisitions. Like a spoiled child, the great Voltaire
pouted at all France and fancied he could mortify his countrymen. At
that time, intoxicated by his newly-acquired glory, he wrote to his
friends that Berlin was a more pleasant place than Versailles, that the
opera of _Phaeton_ was the most magnificent spectacle imaginable, and
that the _prima donna_ had the finest voice in all Europe.
At the time that we resume the thread of our story (and we will set our
readers' minds at rest by saying that a year had passed since we saw
Consuelo), winter displayed all its rigor at Berlin, and the great king
had began to exhibit himself in his true aspect. Voltaire had begun to
see his illusion in relation to Berlin. He sat in his box, between
D'Argens and La Mettrie, not even pretending to love music, to which he
was no more awake than he was to true poetry. His health was bad, and he
regretted sadly the thankless crowds of Paris, the excitability, the
obstinacy of which had been so bitter to him, and the contact with which
had so overpowered him, that he determined never to expose himself to it
again, although he continued to think and toil ceaselessly for it.
On this occasion the spectacle was excellent. It was the middle of the
carnival; all the royal family, even those members who had moved into
other parts of Germany, was collected in Berlin. The _Titus_ of
Metastasio and Hasse was being performed, and the two leading members of
the Italian troupe, Porporina and Porporino, were cast in the principal
parts.
If our readers will make a slight exertion of memory they will recall
that these two dramatic personages were not husband and wife as their
names might seem to indicate. The first was Signor Uberti, an excellent
contralto. The second was the zingarella Consuelo, like the first a
pupil of the Professor Porpora, who, according to the Italian custom in
vogue at that time, had permitted them to assume his glorious name.
It must be confessed, that Porporina did not sing in Prussia with the
power she had in other places exhibited. While the limpid contralto of
the male singer swelled without any indication of delay, and protected
by the consciousness of success and power--that too fortified by the
possession of an invariable salary of fifteen thousand livres for two
months' labor--the poor zingarella, more romantic and perhaps more
disinterested, and certainly less used to the northern ices and a public
of Prussian corporals was under the influence of an excitement and sang
with that perfect and conscious method which affords criticism no hold,
but which is altogether insufficient to excite enthusiasm.
The fervor of the dramatic artist and of the audience, cannot dispense
with each other. Now, under the glorious reign of Frederick, there was
no enthusiasm at Berlin. Regularity, obedience, and what in the
eighteenth century--at Frederick's court especially--was known as
_Reason_, were the only virtues recognized in this atmosphere, measured
and weighed in the hand of the king. In every assembly over which he
presided, no one hissed or sighed, without his permission. Amid all the
crowd, there was but one spectator able to give vent to his impressions,
and that was the king. He constituted the public; and though a good
musician and fond of music, all his tastes were subjected to so cold a
logic, that when his opera-glass was attached to every gesture, the
vocal inflections of the singer's voice, far from being stimulated, were
entirely paralyzed.
The singer was forced to submit to this painful fascination. The
slightest inspiration, the slightest portion of enthusiasm, would
probably have offended both the king and court, while artistic and
difficult passages, executed with irreproachable mechanism, delighted
the king, the court, and Voltaire. Voltaire said, as all know, "Italian
music is far better than French, because it is more ornate, and _a
difficulty overcome is something at least._" This was Voltaire's idea of
art. He might have answered, had he been asked if he liked music, as a
certain fop of our own days did--"It does not exactly annoy me."
All went off perfectly well, and the finale was being reached. The king
was satisfied, and turned to his chapel-master from time to time, to
express his approbation by a nod. He was preparing even to applaud
Porporina, at the conclusion of the cavatina which he always did in
person and judiciously, when, by some strange caprice, Porporina, in the
midst of a brilliant rondeau, which she had never failed, stopped short,
turned her haggard eyes towards a corner of the hall, clasped her hands,
and crying "Oh my God!" fell at full length on the stage. Porporino bore
her behind the stage, and a tempest of questions, thoughts,
commentaries, swept through the house. In the interim the king spoke to
the tenor, amid the noise which drowned his voice, "Well, what is this?"
said he, in a brief, imperious tone. "Conciolini, hasten to find out."
After a few seconds the latter returned, and bowing respectfully before
the top of the railing on which the king leaned his elbow, replied,
"Sire, the Signora Porporina is senseless, and they are afraid she will
he unable to continue the opera."
"Ah!" said he, shrugging his shoulders. "Give her a glass of water. Get
her some essence, and finish as soon as possible."
The tenor, who had no disposition to offend the king and expose himself
to his bad humor in public, went again behind the scenes quietly, and
the king began to talk quickly to the leader of the orchestra and
musicians; the public being much more interested in what the king said
and did than in poor Porporina, made rare efforts to catch the words
that fell from the monarch's lips.
The Baron von Poelnitz, grand chamberlain and director of amusements,
soon came to tell the king of Consuelo's condition. In Berlin nothing
passed off with the solemnity imposed by an independent and powerful
public. The king was everything, and the spectacle was his and for him.
No one was surprised to see him thus become the principal actor of this
unforeseen interlude.
"Well, let us see, baron," said he, loud enough to be heard by a part of
the orchestra; "will this soon be over? Have you no doctor behind there?
You should have one always."
"Sire, the doctor is there. He is unwilling to bleed the lady, lest he
should weaken and prevent her from playing her part. He will be forced
to do so, though, unless she recovers from her fainting fit."
"Then she is sick, and not feigning?"
"Sire, to me she seems very sick."
"Then let down the curtain, and we will go. But wait; let Porporino sing
something to console us, so that we may be enabled to go home without a
catastrophe."
Porporino obeyed, and sang two pieces deliciously. The king applauded,
the public followed his example, and the performance was over. A minute
afterwards, the court and people were going out, the king stood on the
stage, and caused himself to be led to the dressing-room of the _prima
donna._
The public does not sympathize with an actress, taken sick on the stage,
as it should. Adored as the idol may be, there is so much selfishness
among the _dilettani_, that they are much annoyed at the loss of
pleasure, than by the suffering and anguish of the victim. Some
_sensible_ women deplored, as was then said, the catastrophe of the
evening--
"Poor thing! She had a cold, and when she came to make her trill, found
it out, and became sick, rather than fail."
"I think she did not pretend," said a much more sensible woman; "people
do not fall so hard, when they are not really sick."
"Ah, who knows?" said the first; "a great actress falls just as she
pleases, and is not afraid of hurting herself. They do it so well."
"What possessed Porpora to make such a scene?" said, in another part of
the room, whence the _la mode_ was going out, La Mettrie to the Marquis
D'Argens. "Has her lover beaten her?"
"Do not speak thus of a virtuous and charming girl," said the marquis.
"She has no lover. If she had, she has not been abused by him, unless,
indeed, he be the basest off men."
"Excuse me, marquis. I forgot that I was speaking to the champion of all
actresses. By the by, how is Mademoiselle Cochois?"
* * * * * * * *
"Poor thing!" just at that moment said the Princess Amelia of Prussia,
the king's sister, and canoness of Quedlimburgh, to her usual confidant,
the beautiful Countess Von Kleist, as she was returning to the palace.
"Did you observe my brother's agitation?"
"No, madame," said Madame de Maupertuis, gouvernante of the princess, an
excellent but simple and absent-minded person; "I did not."
"Eh? I did not speak to you," said the princess, with the brusque and
decided tone which sometimes made her so like Frederick. "Do you ever
see anything? Look you here. Count those stars for a while. I have
something to say to Von Kleist I do not wish you to hear."
Madame de Maupertuis closed her ears conscientiously, and the princess,
leaning towards the countess, who sat opposite to her, said:
"Say what you please, it seems to me that for the first time, perhaps
for fifteen or twenty years since I have been capable of observation,
the king is in love."
"So your royal highness said last year about Barberini; yet his majesty
never dreamed of her."
"Never? You are mistaken, my child. The young Chancellor Coccei married
her, and my brother thought so much of the matter that he was in a rage
more violent than any he had ever known before for three days."
"Your highness knows that his majesty cannot bear unequal matches."
"Yes; love matches are called unequal. That is a great phrase; just as
empty as all those are which rule the world and enslave individuals."
The princess uttered a deep sigh, and, as was her wont, rapidly changing
her humor, said, with irony and impatience to her gouvernante,
"Maupertuis, you are listening to us, and not counting the stars, as I
bade you. What is the use of being the wife of a great philosopher, if
you listen to the chattering of two such madcaps as we are?--Yes, I
say," said she, again speaking to her favorite, "the king did love that
Barberini. I have good reason to know that, after the performance, he
used, with Jordon and Chazols, to take his tea frequently in her room,
and that she went more than once to sup at _Sans Souci_, which, until
her time, was never the fashion at Potsdam. Do you wish me to speak more
plainly? She lived there for weeks, and, it may be, for months. You see
I know what is going on well enough, and that my brother's mysterious
airs do not impose on me."
"Since your royal highness is so well informed, I need not say that for
state reasons, the king sometimes wishes persons to think he is not so
austere as he is represented, though, in fact--"
"Though in fact my brother never really loved any woman, not even his
wife. Well, I have no faith in this virtue, or rather in this coldness.
He has always been a hypocrite. You cannot make me think La Barberini
always remained in his palace merely to seem to be his mistress. She is
beautiful as an angel, intellectual as a devil, educated, and speaks, I
know not how many languages."
"She is virtuous; she adores her husband."
"And her husband adores her the more because their marriage was unequal.
Will you answer me, Von Kleist? I suspect you, my noble widow, of being
in love with some page or bachelor?"
"Would your highness like to see such an unequal union as that of a king
and an actress?"
"Ah, with Porporina, the thing would not be so terrible. There is on the
stage, as at court, a perfect hierarchy. You know that is a whim and
disease of the human heart. A singer must have more self-respect than a
dancing-girl, and Porporina, they say, has more accomplishments and
knows more languages even than La Barberini. My brother has a passion
for speaking tongues he does not understand. Music, too, he seems very
fond of, you see, and that is another point of contact with the _prima
donna._ She too, goes to Potsdam and has the rooms in the new _Sans
Souci_ the Barberini used to occupy, and sings at the king's private
concerts. Is not this enough to make my conjectures probable?"
"Your highness seeks in vain to discover any weakness in our great
prince. All passes too openly and aboveboard for love to have anything
to do with it."
"Love! Certainly not. He knows nothing about that. There is, however, a
certain charm--a kind of intrigue; everybody, you must confess, says
that."
"No one says so, madame. All say that to relax his mind, the king laughs
at the chatter and listens to the songs of a pretty actress. After a
quarter of an hour thus passed, he says, 'Enough for to-day. If I want
you to-morrow, I will send for you.'"
"This is not gallant. If that is the way he courted Coccei's wife, I am
not amazed that she did not listen to him. Do they say whether this
Porporina is as stern as she was?"
"They say she is modest, well-behaved, timid, and sad."
"Well, that is the best way to please the king. Perhaps she is shrewd.
If it were possible, and one could trust her--"
"Trust no one, madame, not even Madame de Maupertuis, who is now so fast
asleep, I beg you."
"Let her snore away. Awake or asleep she is always the same. But, Von
Kleist, I would wish to know this Porporina, and see if anything can be
done with her. I regret that I refused, when the king proposed to
accompany her to my rooms, to receive her. You know I had a prejudice
against her."
"An unjust one. It was impossible--"
"Ah, God's will be done. Chagrin and fear have had such influence over
me for the last year, that all secondary cares are effaced. I wish to
see that girl. Who knows if she may not win from the king what we have
vainly asked for? That idea has been in my mind for some days, and I
have thought of nothing else. Seeing Frederick thus excited and uneasy
about her, I was confirmed in the idea that I would find in her a gate
of safety."
"Be careful, your highness. There is great danger."
"That is what you always say. I am more distrustful, yet more prudent
than you. We must think of this matter. Now, my dear gouvernante wake
up! We are at the palace."