THE PRIVATE CIRCUS.
Whilst the acrobat was endeavouring to become a man of the world, the
man of the world was becoming an excellent acrobat. The “governing
classes” determined to have their Léotard. The gentleman quitted his
stall in the circus to ascend the pad and the trapeze. [p308]
Lieutenant Viaud—in literature Pierre Loti—was one of the first to
achieve this metamorphosis.
[Illustration]
Those who have read his novels with a little attention will know
the high value he places upon human beauty. _Azyadée_ particularly,
contains whole pages, infinitely curious, a little disquieting, very
pagan in their candour, in which [p309] gymnastics are extolled with
technical knowledge and lyric warmth.
M. Pierre Loti thinks, with the Platonics, that the body should be
formed and embellished with as much refinement as the intelligence.
Certain of the superiority of his mind, he wished that this cerebral
strength should be served by the muscles of an athlete, and worked
with indefatigable patience to correct in himself the weakness of
nature.
And he has really transformed his body by the practice of gymnastics.
Now, well set up, although of medium height, he produces an
impression of strength and agility. One feels that in him exists that
spring of elasticity which raises a body from the soil and wrests it
from the laws of gravitation.
And indeed, or so it has been said, Pierre Loti joined a troupe of
acrobats a few years ago, and appeared as a trapeze “novelty” in a
circus in the south of France. The Naval Ministry would have been
agitated by this whim....
Is this story true?
At all events it is probable, and it proves—and this is all that
concerns us—the high esteem which, at the present time, a gentleman
can feel for an art which the last generation decidedly ignored too
much.
The men of taste, even, who clearly perceived the picturesque side of
a circus, were not too numerous.
The collection of M. Louis is perhaps unique in the world.
Paul Ginisty, who has examined these treasures, has related his
impressions, with much ability and grace, in the _Dieu Bibelot_.
“Do you know,” he says, “the Montchanin Circus?” [p310]
[Illustration]
“You do not go into it through a large entrance, you need only knock
at the door of a charming little hôtel. You do not [p311] find in
it any of those odours usually noticed in hippique establishments,
because it contains neither arena, stables, nor horses. The title of
‘circus’ is simply the familiar name given to the collection of an
old amateur, who dwells in a calm quiet street in the Quartier de
Villiers, and who has really a passion for everything relating to
equestrian exhibitions. No one possesses as many traditions of circus
art as he does. He has not only known all those who for thirty or
thirty-five years have distinguished themselves in the arena; but
he has also lived with every dynasty of ring-masters, Hercules and
jugglers of the past. In fact, he has surrounded himself with an
infinitely curious collection of prints and documents of all ages
referring to the circus. It includes portraits of all the masters,
specimens of costumes, placards, programmes, and advertisements of
‘phenomena.’
“Some of these prints, drawings by Carle Vernet, engravings of
Grimaldi and Debucourt, are artistically interesting; others are
simply typical. There is not one corner of the hôtel without some of
these pleasing designs.”
Another lover of the circus, no longer content with collecting
portfolios full of beautiful equestrian placards, determined to
quietly live the healthy existence of a circus performer for his
own amusement. When first the public read in the paragraphs of the
society papers that Señor Molieros had built a circus, in his private
house, in which he was ring-master, and trained horses for the _haute
école_ and other performances, people said:
“It is simply a whim of a Spanish grandee.”
The truth is that Señor Molieros is really named Ernest Molier,
that he is a Manceau, and that possessing a large [p312] fortune,
he prefers spending it upon horses that he loves, rather than with
gamblers, who bore him.
[Illustration]
Not every one who asked for admittance to the small hôtel [p313]
in the Rue de Boulogne obtained it. Molier’s intrepidity led him to
prefer vicious horses, and difficulties only increased his eagerness
to conquer them. “He was never happier than when some dangerous
animal that no one had hitherto ventured to mount, would obey his
eyes and his lightest touch. Like Anthony he would have rather killed
the horse than allowed him to disobey!”[14]
Ernest Molier has often told me that he did not learn his profession
from books. You have seen too in the perusal of these monographs,
that the science of the circus is entirely traditional. But you
would never guess with how much suspicious jealousy the _banquiste_
defends the guardianship of his secrets. I have learnt by experience
how unwillingly he confides even a few items of his knowledge to
a writer, who can never be a rival; and from this I can imagine
how much he would distrust a horseman. Only Molier’s integrity and
military frankness enabled him to overcome this dislike.
Besides, Molier has the circus genius, and a man of genius can
dispense with masters.
In the Rue Blanche his stable overcrowded him. Air and space were
both lacking. In 1879 he therefore transported his luggage and
caravan to Rue Benouville, at the gate of the Bois. A house, fencing
hall and stables sprang from the soil as though built by magic. The
riding-school was ornamented with the decorations of the fête of the
Paris-Murcie and was converted into a regular circus. A few boxes
were added for the use of privileged spectators; no one then foresaw
the wonderful success obtained by the meetings in the Rue de [p314]
Benouville; the preparations were only made for the reception of
friends.
They came in crowds to visit the hospitable mansion.
[Illustration]
[Illustration]
The fencing hall was opened to them; they fenced, vaulted, practised
with the dumb-bells and mounted the trapeze. But Molier, faithful to
his passion, devoted himself to his horses. He trained _Arlequin_, a
dappled grey Russian horse, in the [p315] arts of the _haute école_,
which consist in performing the Spanish walk and trot, in galloping,
cantering, changing feet, balancing on the fore legs, as well as
on the hind quarters;[15] “and also _Blondin_, a superb Norman
chestnut, with a light mane and [p316] tail, a horse trained in the
_haute école_ almost in the same style as _Arlequin_.”
[Illustration]
Molier also trained equestrians for the pad and the _haute école_.
His first pupil was the pretty Mademoiselle de Trèves. [p317] He
placed her on a horse, and made her an exceptionally good rider,
capable of riding standing, on a bare-backed horse and of leaping
over barriers, in the best style of the _haute école_. Then followed
Mademoiselle Irma Viollat, one of the ornaments of the corps de
ballet. The master taught her to repeat on horseback all the dances
that she excelled in upon the stage.
[Illustration]
Insensibly a crowd of amateurs had gathered round Molier; and they
formed a complete company. At last Molier one day yielded to the
entreaties of his comrades and consented to give a performance in his
circus. [p318]
[Illustration]
It was quite understood that it was to be a private entertainment.
[p319]
[Illustration]
All Paris tried to get in.
Artists and society people broke open the doors. [p320]
They left the circus in great astonishment, and loudly proclaimed
their admiration.
Of course, the newspapers were full of it. The people who had been
left out were very severe. They declared it was a scandal. Noblemen
playing at acrobatics were an easy subject for abuse. “What do you
say? Messrs. Hubert de la Rochefoucauld, Martel, de Saint-Aldegonde,
de Maulde, de Visocq, de Sainte-Marie, Courtay, d’Arquevilliers and
de Pully had appeared in spangled tights?”
They recalled the Romans during the decadence, and M. Prudhomme
crossed his arms upon his breast in the attitude of the philosopher
of Couture.
Since then, men have realized that these acrobatic amusements were
only the artistic form, the blast of trumpets preceding the vanguard
of the revolution, which has just ended in the formation of the
Society of Physical Education.
Molier and his friends, who, with legitimate pride, remember that on
one occasion they presented the Duchesse d’Uzès with 50,000 francs
for the benefit of the Hospital for Incurables, claim, with some
reason, a share in influencing this national movement. They certainly
rendered bodily exercises fashionable once more, and this is a great
deal in a country where routine is the only queen that has never been
dethroned.
Moreover the warm applause which greeted the tirade of the Brettigny
in the _Révoltée_ last winter, proved to the acrobats of the Cirque
Molier that they had won their cause in the opinion of the public.
[Illustration: M. ERNEST MOLIER.]
You may remember the indignant tirade in which the gentleman acrobat
defends his favourite amusement against the witticisms of Madame
Herbeau: [p321]
“What do you want a man of our class to do at the present time?
Politics are prohibited. They are monopolized by other buffoons,
whose exercises are much more dangerous for the spectators and not so
amusing. The army? Well, it is a refuge for those who have courage,
and I have belonged [p322] to it. But there was too little to do in
time of peace. Literature? I should not know how to begin, and I
dare own that I would not deign to adopt it. Naturalism is too dull,
and dilettantism too sterile. I find it better to enjoy life than to
write about it. You say that I degrade my race? Nay, I revive it. You
know the language used by the rhetors and journalists in describing
the corrupt scions of the old aristocracy. Well, we will regenerate
this corrupt youth! We are strong, our muscles are like those of
the street porters, of our ancestors the Frank warriors, of the
companions of Charlemagne, who were only superb brutes.”[16]
[Illustration]
Molier and his friends have triumphed without noise, just as they
resisted the ill-humour of foolish grumblers without bluster.
During the last ten years this clever troupe of amateurs
has wonderfully increased. It now includes two new star
equestrians—Mademoiselle Blanche Lamidey and Miss Anna. You have
probably seen _Mazeppa_ performed in a circus, at least once in your
life, but, since Miss Ada Menken, you have never seen a very young
girl, thrown on her back, held by one foot only, her loosened hair
dragging in the sand, and in this dangerous position leaping with her
galloping horse an arrangement of several barriers.
[Illustration]
Nor since Jenny O’Brien left us for America have we ever seen a
woman ride standing upon two horses with as much dainty jauntiness,
self-possession and audacity as Miss Anna. And then how well she
dresses! Lovers of Florentine bronzes will never forget a certain
suit of grey tights, a harlequin’s [p324] costume, cut low and
heart shaped at the neck, with greaves of the same grey tint below
the knees.
[Illustration]
Molier has grouped a number of pretty women, actresses, [p325]
artists, and young men of the world round these two charming girls.
Amongst the ladies are Mesdemoiselles Lavigne and Desoder from the
Palais Royal, Mademoiselle Felicia Mallet, Mademoiselle Renée Maupin,
from the Opera, Jeanne Becker, Léa d’Asco, etc.;—amongst the men:
Messrs. Frédéric Vavasseur, Jules Ravaut, Arthus, Gerbaut, Adrien
Marie, Craffty, Goubie, Pantelli, J. Lewis-Brown. I must apologize to
those whom I forget to name.
[Illustration]
With these resources the performance of a pantomime was easily
arranged, and these spectacles are one of the chief [p326]
attractions of the entertainments given in the Rue Benouville. It was
here that Félicien Champsaur made the first trial of contemporary
pantomime by which he amuses us without introducing the form of
Pierrot or the bat of Harlequin.
[Illustration]
“Why,” he reflected, “should we show the fashionable people who
annually fill the boxes of the Molier, some old fairy story remounted
in a new form? Men of the present day with money and audacity
accomplish greater prodigies than the magicians of old.” [p327]
M. Champsaur resolved to show us his contemporaries at work—and this
is the plot of his pantomime—
The charming Mademoiselle Rivolta, from the Eden, appeared disguised
as a little Spring looking for her course. No one had thought of
using her to fill a lake, rush down a waterfall or turn a mill. She
therefore wandered about the Cirque Molier, shedding floods of tears.
Good Luck, who never likes to see pretty girls cry, led two
speculators in the same direction. They remark to each other:—
“Look! here’s a little Spring! And there’s no casino on the bank!”
“No race game!”
“No gambling house!”
“Cannot this little Spring cure some illness?”
“If not, she is the only one of her kind!”
To satisfy themselves on this point they then take Mademoiselle
Rivolta’s hand, lead her to the house of Madame Dezoder, a lady
doctor in the same neighbourhood, and knock at the door.
Armed with a goblet, Madame Dezoder tastes Mademoiselle Rivolta.
After carefully testing her, her gesture says “Pooh!”
“What does that matter?” replied the bankers. “We will bottle
Mademoiselle Rivolta and, with a good label, she will cure as well as
her companions.”
No sooner said than it was done. And since a godmother was required
for the new Spring launched upon the world, the bankers fetch
Fortune, Mademoiselle Renée Maupin, from the Opera! [p328]
Ah! what a delightful person!
I always liked Fortune instinctively, before I knew her; but since I
have seen her feet, figure, and eyes! . . . . .
[Illustration]
“You shall cure everything!” Fortune assured the Spring.
They placed the bottle in the doctor’s house and in it Mademoiselle
Rivolta, who looked like a saint in her shrine.
Then the procession of those wounded by Life (_Ereintés de la
Vie_)—this is the title of the pantomime—commences. [p329]
They are all invalided by love: first, a number of pretty girls who
have flirted too much; then all the gentlemen who have been wounded
by these flirtations.
Love himself comes to the Spring.
He is very ill.
His poor little wings hang down his back in a lamentable way.
“Douche him! Douche him!”
The child is dipped in the water and is drawn out transformed into a
Farnese Hercules, with enormous muscles which stand out in huge rolls
upon his arms from the shoulder to the elbow.
The entertainment closes by a procession accompanied by a blast of
trumpets, at the end of which appears the Golden Calf, led by Fortune
with a leash.
I have quoted this pantomime by M. Champsaur in preference to others
of more recent date which have been equally successful, because it
clearly indicates the nature of the entertainment given in the Cirque
Molier.
People see and perform in the Rue Benouville pieces that could not
be played or shown elsewhere; for here the audience and the actors
are all people of the same education, the same surroundings, who know
each other.
The doors have been more widely opened than they formerly were. But
they are still closely guarded, the members of the society intend to
amuse themselves as they please in their own circle, and to exclude
anything that offends them.
For instance, you will not find either at the rehearsals or at the
performances in the Rue Benouville in the boxes or behind the scenes,
the shadow of a professional actor. [p330]
[Illustration]
The door is closed against theatrical men.
What! even “Chose” and “Machin?” [p331]
Even for them.
The “cross” and the banner are both useless. _Monsieur le Sociétaire_
has vainly tried to force a door which is half open for the
_banquistes_ . . . . .
A voice has cried to him from the trapeze, “We are very sorry, sir!
But we have retained the prejudices of the comedians.”
[Illustration]
FOOTNOTES:
[14] Baron DE VAUX, _Les Hommes de Cheval_.
[15] Baron DE VAUX, _Les Hommes de Cheval_.
[16] JULES LEMAÎTRE, _Révoltée_, Act I., Sc. 3.
INDEX.
A
AGOUST, 34, 224, 293, 294, 295, 296
AGRENIEFF (d’), 200
ALLARD, 86
ALLEN, 20
ALPHONSE, 265–269
ALPHONSINE (Lady), 212
ANCIOU (Miss), 8
ARABELLE, 74
ARCHIMEDES, 113
ARQUEVILLIERS (d’), 320
ARTHUS, 325
_Artist_ (_der_), 7, 8
ASCO (Léa d’), 325
AURIOL, 13, 15, 246
B
BAILEY (J. A.), 17
BANVILLE (de), 3, 296
BARLOW, 20
BARNUM (P. T.), 10, 16–20, 261, 305
BAYARD (Émile), 100
BECKER (Jeanne), 325
BERBERIE, 172, 193
BERMONT, 81, 84, 85, 86
BERTINI (Suzanne), 74
BERTRAND, 86
BIDEL (François), 26, 27, 130, 143–146, 153–157
BIÉVILLE (Berthe), 74
BLANCHE (Ada), 215
BLONDIN, 216, 217
BONE (Colonel), 146
BONHEUR (Rosa), 144
BONNEFOIS (Melchior), 74, 76
BONNETTY, 127–131
BOULMIERS, 85
BRETONNIÈRE (Guy de la), ix
BRIOCHÉ, 86
BUCQUET, ix
BUFFALO-BILL, 10, 204–206
BUFFON (de), 126
BURGESS, 282
C
CALLIAS, 64
CARRABILLIAT, 42
CARVER (Dr.), 15
CEPHISSODOTE, 77
CHABLE, 41, 42
CHADWICK, 28
CHAM, 216, 217
CHAMPSAUR, 326–329
CHELLI (Emilio), 233
CHELLI (Erminia), 60, 232–240
CHUNG, 124–126
CLADEL (Léon), 140, 141
CLAM, 91, 92–96
COCHERIE, 89, 91
CODY (W. F.), 206
COQUELIN aîné, 91
COQUELIN cadet, 120
CORRADINI, 122
CORSO, 193
CORVI, 26, 117, 118, 120
COURTAY, 320
COUTURE, 118, 320
CRAFFTY, 325
CRAGGS, 300–305
D
DACIER (Mme), 195, 196
DARYL (Philippe), 160
DARWIN, 117
DEBURAU, 294
DELILLE, 23, 96, 100
DESODER, 327
DETAILLE (Edouard), 152
DOMINIQUE, 86
DUDLAY (Marguerite), 169–172
DALSÈME, vii
E
ELIJAH (Prophet), 106
ELLEVANTIÉMIE, 23
_Era_ (_The_), 4, 5, 6, 8, 253
ESEUDIER, vi
EXALTIER, 41
F
FATMA, 72
FOOTEET, 286
FORSBERG (Nils), 242
FRANÇOIS, (Monsieur), 60, 61, 62, 71
FRANCONI (Chs.), 168, 169
FRANCONI (Laurent), 168
FRANCONI (Victor), 13, 14, 162, 168
FRANKLOFF, 212
FRIEDLANDER, 20
G
GALLICI, 96
GAUTIER (Théophile), 131
GERBAUT, 325
GIBSON, 63
GINISTY (Paul), 309
GONCOURT (de), vii
GOUBIE, 325
GRIFFITHS, 122
H
HANLON-LEES, 292–296
HARRIS, 124
HAYDEN (Billy), 60, 121, 285, 288
HENGLER, 279
HERVIEU (Paul), 152, letter from, 152–157
HITZIG, 10
HOMER, 120
HOUCKE, 25, 194, 198–200
HOUDIN (Robert), 102
I
IBRAHIM (Lady), 219–221
J
JACKLEY (family), 12, 13
JOSEPH, 69, 70
JUMBO, 167
K
KINNER, 63
KIANG, 117
KOLTA (de), 102–105
KRAUSS (C.), 7
L
LA BRUYÈRE, 215
LA GRILLE, 86
LALANNE, 13
LAMIDEY (Blanche), 322
LAVIGNE, 325
LEDGER, 4
LEHNEN (Jacob), 62
LEMAÎTRE (Jules), 100, 105, 131, 322
LÉOPOLD, 296
LEOTARD, 15, 260, 207
LEOVILS, 281
LE ROUX (Hugues), Letter to 152–157
LÉVY (Chs.), 20
LÉVY (Émile), 20
LEWIS (Brown), 325
LILIANNE, 15
LINON (Rose), 74
LINSKY, 13
LIVET (G.), 238
LOCKHART (brothers), 15, 122
LOISSET (Clotilde), 160
LOISSET (Émilie), 160, 161, 162, 173, 238
LONDE (Albert), ix
LOTI (Pierre), 274, 275, 308, 309
LOUIS (Mr.), 309
LOYAL (Mr.), 120, 162–166, 181
LUTÈCE (Mdlle.), 73, 74
LYCURGUS, 77
M
MABILLE, 247
MAGILTON, 293
MALLET (Félicia), 325
MARIE (Adrien), 325
MARS (Mr.), 246
MARSEILLE, 75, 76
MARTEL, 320
MATHIEU, ix
MAULDE (de), 320
MAUPASSANT (de), 146
MAUPIN (Renée), 325, 327
MAURA (Franck), 225
MAURICE, 86
MENGAL, 32
MENKEN (Ada), 322
METRA, 35
MIDGETTS, 64
MIETTE, 114–116
MIREILLE, 75, 76
MITE (General), 64, 65
MOLIER (E.), 173, 175, 311–317, 320, 322, 324, 326
MOORE, 282
MOSCOU, 168–172
N
NELLA (Miss), 264, 265
_New York Mirror_, 6
NINE (La Petite), 64
NOUMA-HAVA, 138
O
OAKLEY (Annie), 206, 207
O’BRIEN, 180
OCEANA, 218, 219, 233
OCTAVE, 86
OHIA, 264, 265
P
PANTELLI, 325
PAQUERETTE,
PARAVICINI, 10
PARFAICT (frères), 85
PAULINA (princess), 65, 66, 67, 68, 69
PEZON (Adrien), 151
PEZON (J. B.), 138, 140–143, 150
PHILIPPE, 40, 57
PINAUDS, 296, 300
PINDAR, 194
PLUTARCH, 77, 122
PLUVINEL, 168
PRINCE, 181, 182
PULLI (de), 320
R
RAMY, 281
_Revue (le)_, 6, 7
RAVAUT (Jules), 325
REGAMEY, 294
RÉGENT, 172
RENAN (Ernest), 16, 105
RENARDS, 231
RENZ, 173
REVEST (J. B.), 26
RIGO, 55
RIVOLTA (Mlle.), 327, 328
ROCHEFOUCAULD (Hubert de la), 320
ROMANES (G. J.), 108
ROSINSKY, 10–13
ROSSI (Adèle), 177, 179
ROUSSEIL (Roselia), 147
RUGGIERI, 204
S
SACQUI, 215
SAINT-ALDEGONDE, 320
SAINTE-MARIE (de), 320
SAINT-SENOCK, ix
SALSBURY, 10, 35, 206
SARI, 12, 13
SELLE, 86
SÉVÉRUS, 224, 225
SHAKSPEARE, 278
SIRIUS, 117
SKOBELEFF, 200, 201, 204
SOPHOCLES, 196
SOUVARY, 63
STENEGRY, 73, 74
T
THÉO (Mme.), 76
THÉOCRITUS, 77
THOMAS, 200
U
_Union mutuelle_, 24, 26, 27, 28, 31
UZES (duchesse d’), 320
V
VAUX (baron de), 168
VAVASSEUR (F.), 325
VEGA (Antonio), 74
VÉRON (Pierre), 216
VIOLAT (Irma), 317
VIRGIL, 108
VISSOCQ (de), 320
VIVIEN, 23
VOLTA, 260–262
_Voyageur forain_, 23, 25, 26, 27, 30, 31
W
WALTER (J. H.), 249–256
WARNER, 10
WATTEAU, 278
WILD, 10
WORENZOFF, 74
WULFF, 10
Y
YOTSHITATRO, 225
YOUNG (Brigham), 12
YOUNG (Chs.), 124
RICHARD CLAY AND SONS, LIMITED, LONDON AND BUNGAY
TRANSCRIBER’S ENDNOTE
Original printed spelling and grammar is generally retained.
Footnotes were renumbered and moved from the ends of pages to the
ends of chapters. Illustrations were moved out of paragraphs to
between paragraphs. Ellipses look like the originals. The original
printed page numbers are indicated thus: "[p089]".
“Lemaitre” was changed to “Lemaître” in the two places it was
originally printed (in a footnote, and in the index). The entry
“Paquerette” in the index had no page number associated with it, and
neither “paquerette” nor “pâquerette” appear elsewhere in the book.
Page x, ERRATA: The error mentioned in the first note, regarding
“Vitellii”, has been corrected at page 78. The second note—‘Page 206,
line 3 from top, _for_ “Naet Salsbury”, _read_, “Nael Salsbury”’—is
wrong. Page 206 was actually printed with “Naet Salisbury”. In
this ebook, page 206 has been changed to read “Nael Salsbury”. The
original “Salisbury” was printed only once, while “Salsbury” was
printed in several places.
Page 63: “nouée was exhibited” was changed to “noués was exhibited”
Page 225: the word “Yotshitaro” is spelled “Yotshitatro” in the index.
Page 238: “Emilie Loisset” was changed to “Émilie Loisset”.
Page 262: “admirn g” was changed to “admiring”.
Page 274: “them selves” changed to “themselves”.
Page 331: the index entry “Bretonnière” probably refers to
“Brettonière” on page ix.
Page 334: the index entry “Jaclley” was changed to “Jackley”.
Page 335: the index entry “Linsky, 13” probably refers to “Linski”
on page 13. The entry “Mallet (Félicia)” doubtless refers to Felicia
Mallet on page 325.
Page 336: the index entry “Worenzoff, 74” might refer to “Worouzof”,
which occurred on page 75. The entry “Vissocq (de), 320” probably
refers to “Visocq”, as printed on page 320. The entry “Violat (Irma),
317” probably refers to “Viollat” on page 317.