"CHANTONS, CELEBRONS NOTRE REINE."
The opera-house was full to overflowing. In the lowest tier were the
ladies of the aristocracy, their heads surmounted by those abominable
towers of Leonard's invention. Above them sat the less distinguished
spectators; and the parquet was thronged by poets, learned men,
students, and civil officers of various grades. Almost every class found
some representatives in that brilliant assemblage; and each one felt
keenly the privilege he enjoyed in being present on that particular
occasion. But it was not altogether for the sake of the music that all
Paris had flocked to the opera. The Parisians were less desirous to hear
"Iphigenia," than to see the emperor, who was to be there in company
with his sister.
Since his arrival in the capital, Joseph had been the theme of every
conversation. Every one had something to relate of his affability, his
condescension, or his goodness. His bon mots, too, were in every mouth;
and the Parisians, who at every epoch have been so addicted to wit, were
so much the more enraptured with the impromptu good things which fell
from Joseph's lips, that the Bourbons were entirely deficient in
sprightliness.
Every man had an anecdote to relate that concerned Joseph. Yesterday he
had visited the Hotel-Dieu. He had even asked for admission to the
apartments of the lying-in women, and upon being refused entrance by the
sisters, he had said, "Do let me see the first scene of human misery."
The sisters, struck by the words as well as by the noble bearing of the
stranger, had admitted him; and upon taking leave he had remarked to the
nun who accompanied him, "The sufferings which you witness in this room,
reconcile you without doubt to the vows you have made." It was only
after his departure that his rank was discovered, and this by means of
the gift he left in the hands of the prioress--a draft upon the imperial
exchequer of forty-eight thousand livres.
A few days previous, he had sought entrance to the "Jardin des Plantes;"
but the porter had refused to open the gates until a larger number of
visitors should arrive. So the emperor, instead of discovering himself,
took a seat under the trees and waited quietly until the people had
assembled. On his return, he had given eight louis d'ors to the porter;
and thus the latter had learned his majesty's rank.
Again--the emperor had called upon Buffon, announcing himself simply as
a traveller. Buffon who was indisposed, had gone forward to receive his
guest in a dressing-gown. His embarrassment, as he recognized his
imperial visitor, had been very great. But Joseph, laughing, said, "When
the scholar comes to visit his teacher, do you suppose that he troubles
himself about the professor's costume?"
That was not all. He was equally affable with artists. He talked daily
with the painters in the Louvre; and having paid a visit to the great
actor Le Kain, whom he had seen the night before in the character of a
Roman emperor, he found him like Buffon in a dressing-gown.
When Le Kain would have apologized, the emperor had said, "Surely
emperors need not be so fastidious one toward the other!"
"The emperor goes everywhere," cried a voice in the crowd. "Yesterday he
paid a visit to one of the tribunals and remained during the sitting. He
was recognized, and the president would have assigned him a seat among
the council, but the emperor declined and remained in a trellised-box
with the other spectators."
"How!" cried another voice, "the emperor sat in a little common
trellised-box?"
"Yes," replied the first speaker, "he was in one of those boxes called
lanterns. Even Marsorio and Pasquin had something to say on the
subject." [Foreword: Marsorio and Pasquin were the anonymous wits of the
people, the authors of all the epigrams and pasquinades which were
pasted about the streets and originated with--nobody. Marsorio and
Pasquin still exist in Rome.]
"What did they say? Tell us what said our good friends, Marsorio and
Pasquin."
"Here it is. I found it pasted on a corner of the Palais Royal and I
tore it down and put it in my pocket. Shall I read it?"
"Yes, yes," cried the multitude; and it was whispered among them that
this was Riquelmont, the author of the satires that were sung on the
Pont-Neuf, and were attributed to Marsorio and Pasquin.
"Now, gentlemen, listen!"
And with a loud voice, Riquelmont began to read:
"MANSORIO.--Grand miracle. Pasquin. Le soleil dans une lanterne!
PASQUIN.--Allons done, to me Hernes!
MANSORIO.-Pour to dire le vrai, tiens: Dioggne en vain Cherehait jadis
un homme, une lanterne a la main, Eh bien, a Paris ce matin Il l'eut
trouve dans la lanterne."
"Good, good!" cried the listeners, "the emperor is indeed a wonderful--"
Just then the bell for the curtain was heard, and the crowd pressed into
the parterre. Amid the profoundest stillness the opera began. Before the
first scene had ended, a slight rustling of chairs was heard in the
king's box, and all eyes were turned thither. The whole royal family,
with the exception of the king, were there; and in their midst,
loveliest of all, appeared the, young queen, brilliant with youth,
grace, and beauty as she bent her head, and, with bewitching smiles,
returned the greetings of her subjects.
The audience broke out into a storm of rapturous applause, and Marie
Antoinette, kissing her fair hand, took her seat and prepared to listen
to the music.
But the spectators were less interested in "Iphigenia" than in the
imperial box. Their eyes were continually seeking the emperor, who,
concealed behind the heavy velvet draperies, was absorbed in the
performance. At one stage of the representation, Iphigenia is led in
triumph through the Greek camp, while a chorus of Thessalians sing--
"Que d'attraits que de majeste; Que de graces l que de beaute! Chantons,
celebrons notre reine!"
The audience took the cue and transformed themselves into actors. Every
eye and every head turned to the royal box, and for the sea and time
every hand was raised to applaud. From boxes, galleries, and parquet,
the cry was, "Da capo, da capo! Again that chorus!"
The singer who represented Achilles comprehended that the enthusiasm of
the spectators was not for the music.
Enchanted with the idea, of being the mouthpiece of the people, he
stepped to the front of the stage, and raising his arm in the direction
of the royal box, he repeated the line,
"Chantons, celebrons notre reine!"
The heart of the young queen overflowed with excess of joy. She leaned
toward the emperor, and gently drawing him forward, the brother and
sister both acknowledged the graceful compliment. The emperor was
saluted with shouts, and the singers began for the second time,
"Chantons, celebrons notre reine!" The people, with one accord, rose
from their seats, and now, on every side, even from the stage, were
heard the cries of "Long live our queen! Long live the emperor!"
Marie Antoinette, leaning on her brother's arm, bent forward again, and,
for the third time, the singers, and with them the people sang,
"Chantons, eelebrons notre reine!"
This time, every occupant of the imperial box rose to return
acknowledgments, and the audience began for the fourth time,
"Chantons, celebrons notre reine!"
The queen was so overcome, that she could no longer restrain her tears.
She tried to incline her head, but her emotion overpowered her, and
covering her face with her handkerchief, she leaned upon the shoulder of
her brother, and wept.
The applause ceased. The emotion of Marie Antoinette had communicated
itself to her worshippers, and many an eye was dimmed with sympathetic
tears.
Suddenly, in the parterre, a tall, manly form arose from his seat, and,
pointing to the queen, recited the following couplet
"Si le peuple pout esperer Qu'il hui sera permis de rire, Ce n'est que
sons l'heureux empire Des princes qui savent pleurer."
This happy impromptu was enthusiastically received. Marie Antoinette had
dried her tears to listen, and as she prepared to leave the theatre, she
turned to her brother, and said
"Oh! that I could die now! Death would be welcome, for in this proud
moment I have emptied my cup of earthly joy!" [Footnote: "Memoires de
Weber," vol i., p. 45.--Memoires de Madame de Campan, vol. i., p. 127.
--Hubner, "Life of Joseph II," page 142.]