Читать книгу The Mysteries of London (Vol. 1-4) - George W. M. Reynolds - Страница 125

Her form became all suppleness and lightness; her powers of relaxation and abandonment of limb were prodigious. When attired in the delicate drapery of the ballet, nothing could be more beautiful—nothing more sylph-like, than the elastic airiness of her rich and rounded figure. The grace of her attitudes—the charm of her dance—the arrangement of that drapery, which revealed or exhibited the exquisite contours of her form—the classic loveliness of her countenance—the admirable symmetry of her limbs—and the brilliant whiteness of her skin, formed a whole so attractive, so ravishing, that even the envy of her sister-figurantes was subdued by a sentiment of uncontrollable admiration.

In obedience to a suggestion from the manager, Ellen agreed to adopt a well-sounding name. She accordingly styled herself Miss Selina Fitzherbert. She then learned that at least two-thirds of the gentlemen and ladies constituting the theatrical company, had changed their original patronymics into convenient pseudonyms. Thus Timothy Jones had become Gerald Montgomery; William Wilkins was announced as William Plantagenet; Simon Snuffles adopted the more aristocratic nomenclature of Emeric Gordon; Benjamin Glasscock was changed into Horatio Mortimer; Betsy Podkins was distinguished as Lucinda Hartington; Mary Smicks was displaced by Clara Maberly; Jane Storks was commuted into Jacintha Runnymede; and so on.

In her relations with the gentlemen and ladies of the corps, Ellen (for we shall continue to call her by her real name) found herself in a new world. Every thing with her present associates might be summed up in the word—egotism. To hear them talk, one would have imagined that they were so many princes and princesses in disguise, who had graciously condescended to honour the public by appearing upon the stage. The gentlemen were all descended (according to their own accounts) from the best and most ancient families in the country; the ladies had all brothers, or cousins, or uncles highly placed in the army or navy;—and if any one ventured to express surprise that so many well-connected individuals should be compelled to adopt the stage as a profession, the answer was invariably the same—

"I entered on this career through preference, and have quarrelled with all my friends in consequence. Oh! if I chose," would be added, with a toss of the head, "I might have any thing done for me; I might ride in my carriage; but I am determined to stick to the stage."

Poor creatures! this innocent little vanity was a species of reward, a sort of set-off, for long hours of toil, the miseries of a precarious existence, the moments of bitter anguish produced by the coldness of an audience, and all the thousand causes of sorrow, vexation, and distress which embitter the lives of the actor and actress.

With all their little faults, Ellen found the members of the theatrical company good-natured creatures, ever ready to assist each other, hospitable and generous to a fault. In their gay moments, they were sprightly, full of anecdote, and remarkably entertaining. Many of them were clever, and exhibited much sound judgment in their remarks and critical observations upon new dramas and popular works.

At length the evening arrived when Ellen was to make her first appearance upon the stage in public. The house was well attended; and the audience was thrown into a remarkably good humour by the various performances which preceded the ballet. Ellen was in excellent spirits, and full of confidence. As she surveyed herself in the glass in her little dressing-room a few moments before she appeared, a smile of triumph played upon her lips, and lent fire to her eyes. She was indeed ravishingly beautiful.

Her success was complete. The loveliness of her person at once produced an impression in her favour; and when she executed some of the most difficult measures of the Ballonné school, the enthusiasm of the audience knew no bounds. The eyes of the ancient libertines, aided by opera-glasses and lorgnettes, devoured the charms of that beautiful girl;—the young men followed every motion, every gesture, with rapturous attention;—the triumph of the debutante was complete.

There was something so graceful and yet so voluptuous in her style of dancing—something so bewitching in her attitudes and so captivating in her manner, that she could not have failed to please. And then she had so well studied all those positions which set off her symmetrical form to its best advantage—she had paid such unwearied attention to those measures that were chiefly calculated to invoke attention to her well-rounded, and yet light and elastic limbs—she had so particularly practised those pauses which afforded her an opportunity of making the most of her fine person, that her dancing excited pleasure in every sense—delighting the eye, producing an effect as of a musical and harmonious feeling in the mind, and exciting in the breasts of the male portion of the spectators passions of rapture and desire.

She literally wantoned in the gay and voluptuous dance; at one moment all rapidity, grace, and airiness; at another suddenly falling into a pause expressive of a soft and languishing fatigue;—then again becoming all energy, activity, and animation—representing, in all its phases, the soul—the spirit—the very poetry of the dance!

At length the toils of her first performance ended. There was not a dissenting voice, when she was called for before the curtain. And then, as she came forward, led by the manager, flowers fell around her—and handkerchiefs were waved by fair hands—and a thousand enthusiastic voices proclaimed her success. Her hopes were gratified—her aspirations were fulfilled:—she had achieved a brilliant triumph!