Читать книгу Empress Josephine (Historical Novel) - L. Muhlbach - Страница 11

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The dark clouds which hung yet over the future of Napoleon Bonaparte, the lieutenant of artillery, were gathering in heavier and heavier masses over all France, and already were overshadowing the throne of the lilies.

Marie Antoinette had already abandoned the paradise of innocency in Trianon, and when she came there now it was to weep in silence, to cast away the mask from her face, and under the garb of the proud, imperious, ambitious queen to exhibit the pallid, anxious countenance of the woman.

Alas! they were passed away, those days of festivity, those innocent joys of Trianon; the royal farmer’s wife had no more the heart to carry the spindle, to gather eggs from the hens’ nests, and to perform with her friends the joyous idyls of a pastoral life.

The queen had procured for herself a few years of freedom and license by banishing from Versailles and from the Tuileries the burdensome Madame Etiquette, who hitherto had watched over every step of a Queen of France, but in her place Madame Politique had entered into the palace, and Marie Antoinette could not drive her away as she had done with Madame Etiquette.

For Madame Politique came into the queen’s apartments, ushered in by a powerful and irresistible suite. The failure of the crops throughout the land, want, the cries of distress from a famishing people, the disordered finances of the state—such was the suite which accompanied Politique before the queen; pamphlets, pasquinades, sarcastic songs on Marie Antoinette, whom no more the people called their queen, but already the foreigner, L’Autrichienne—such were the gifts which Politique brought for the queen.

The beautiful and innocent days of Trianon were gone, no longer could Marie Antoinette forget that she was a queen! The burden of her lofty position pressed upon her always; and, if now and then she sought to adorn her head with roses, her crown pressed their thorns with deeper pain into her brow.

Unfortunate queen! Even the circle of friends she had gathered round her person only urged her on more and more into the circle which politics had traced around her. In her innocency and thoughtlessness of heart she imagined that, to a queen as to any other woman, it might be allowed to have about her friends and confidants, to enjoy the pleasures of society, and to amuse one another! But now she had to learn that a queen dare not have confidants, friends, or social circles!

Her friends, in whose disinterestedness she had trusted, approached her with demands, with prayers; they claimed power, influence, and distinctions; they all wanted to rule through the queen; they all wanted through her to impose laws to king and state; they wanted to name and to depose ministers; they wanted their friendship to be rewarded with embassies, ministerial offices, decorations, and titles.

And when Marie Antoinette refused compliance with their wishes, her beautiful friends, the Duchesses de Polignac, wept, and her friends, Messieurs Vesenval, Vaudreuil, Coigny, and Polignac, dared be angry and murmur at her.

But when Marie Antoinette consented—when she used her influence with the king, to satisfy the wishes of her friends, and to make ministers of her facon—then the queen’s enemies, with loud, mad-dog cry, lifted up the voice and complained and clamored that it was no more the king but the queen who reigned; that she was the one who precipitated the nation into wretchedness and want; that she gave millions to her friends, whilst the people were perishing with hunger; that she sent millions to her brother, the Emperor of Austria, whilst the country was only able to pay the interest of her enormous debt; that she, in unrestrained appetite and licentiousness, lived only for pleasure and festivities, whilst France was depressed under misery and want.

And the queen’s enemies were mightier, more numerous, and more loyal one to another than the queen’s friends, who were ever ready to pass into the camp of her foes as soon as Marie Antoinette gratified not their wishes and would not satisfy their political claims.

At the head of these enemies was the king’s brother, the Count de Provence, who never forgave the queen for being an Austrian princess; there were also the king’s aunts, who could never forgive her that the king loved her, that by means of this love to his wife they should lose the influence which these aunts, and especially Madame Adelaide, had before exercised over him; there was the Duke d’Orleans, who had to revenge himself for the disgust and dislike which Marie Antoinette publicly expressed against this vicious and wild prince; there was the Cardinal Prince de Rohan, whose criminal passion the queen had repelled with contemptuous disgust, and who had paid for this passion one million francs, with imprisonment, shame, and ridicule. For this passion for the queen had blinded the cardinal, and made him believe in the possibility of a return. In his blindness he had placed confidence in the whisperings and false promises of the insidious intriguer Madame de la Motte-Valois, who, in the queen’s name, asked from him a loan of a million for the purchase of a jewelled ornament which highly pleased the queen, and which she, notwithstanding her exhausted coffers, was resolved to possess.

Yes, love had blinded Cardinal de Rohan, and with blind eyes he had accepted as letters from the queen those which Madame de la Motte brought him; and he could not see that the person who gave him a rendezvous in the gardens of Versailles was not the queen, but only a common, vicious woman, who had been clothed in the queen’s garments.

The queen had been travestied into a wench, and the highest ecclesiastical dignitary of the land was the one who took this wench for his queen, was the one who, with a rendezvous, a kiss on the hand, and a rose, was rewarded for the million he had given to the jeweller for a necklace of diamonds!

It is true, the deception was discovered; it is true, it was Marie Antoinette herself who asked for a strict investigation, who with tears of anger required from her consort that this horrible intrigue which had been woven round her person should be investigated and judged publicly before the Parliament; that the Cardinal de Rohan should be punished for the criminal insult offered by him to the queen, since he thought her capable of granting him a rendezvous, of exchanging with him letters of tender passion, and of accepting gifts from him!

But the Parliament, which recognized the guilt of Madame de la Motte, which ordered her to be whipped, branded, and driven out of the country as an impostor and a thief, the Parliament declared the Cardinal de Rohan innocent; all punishments were removed from him, and he was re-established in all his dignities and rights. And the people, who in enormous masses had besieged the Parliament buildings, welcomed this decision of the judges with loud demonstrations and shouts of joy, and carried the cardinal in triumph through the streets, and honored and glorified him as a martyr and a saint.

This triumph of the cardinal was an affecting defeat to the queen; it was the first awful testimony, spoken loudly and openly, by the popular sentiment.

Hitherto her enemies had worked against her quietly, and in the darkness of night; but now, in open day, they dared launch against her their terrible accusations, and represent her imprudence as a crime, her errors as shameful and premeditated wickedness. No one believed in the queen’s innocency in this necklace transaction; and whereas Cardinal de Rohan had been made a martyr, whereas Parliament had declared him innocent, the queen consequently must be the guilty one, to whose cupidity the cardinal and the unfortunate Madame de la Motte and also the beautiful D’Olivia, who in this horrible farce had played the part of the queen, had been sacrificed.

The name, the character, the reputation of the queen, had been trodden down in the dust, and the Count de Provence, who himself composed sarcastic songs and pasquinades against his royal sister-in-law, and had copies of them circulated through the court, reflected not that in calumniating the queen and exposing her to the scorn and ridicule of the world he thereby shook the throne itself, and imperilled the awe and respect which the people should have had for the monarchy. And all the other mighty dignitaries and foes of Marie Antoinette did not calculate that in exciting the storm of calumny against the Queen of France, they also attacked the king and the aristocracy, and tore down the barrier which hitherto had stood between the people and the nobility.

Hitherto pamphlets and sarcastic songs only had been directed against the queen; but now, in the year 1787, all France was to re-echo a pamphlet launched against the nobility and the whole aristocracy.

This pamphlet was “The Wedding of Figaro,” by Beaumarchais. The habits of the aristocracy, of the higher classes, were in this drama castigated and thrown to the scorn, ridicule, and laughter of all France. Every thing which the people hitherto had held sacred, was laughed at in this drama; all the laws of manners, of rank, of morality, were scorned at, hissed at; and, under this hissing, appeared in full view and with fearful veracity the rotten and poisoned condition of the so-called upper classes of society.

It was in vain that the censor declared the publication illegal, and prohibited the representation of “The Wedding of Figaro.” The opposition took advantage of this measure, and since it could not be published, hundreds of copies were circulated; and, if it could not be represented, its reading was listened to. It soon became fashionable to attend at the readings of “Figaro’s Wedding” and to possess a copy of the drama. Even in the queen’s social circle, in the circle of the Polignacs, this dangerous drama was patronized, and even the queen was requested to use her influence upon the king for its representation.

This general clamor, this tempest of the public opinion, excited even the king’s curiosity; and as everybody attended the readings of Beaumarchais’ drama, the crowned heads had also to bow to the fashion. Madame de Campan had to read before the king and the queen this renowned “Wedding of Figaro,” so that the king might give his decision. The good-natured countenance of the king darkened more and more, and during Figaro’s monologue, in which the different institutions of the state are ridiculed, especially when, with words full of poison and scorn, the author alludes to state-prisons, the king rose angrily from his seat.

“It is a contemptible thing,” cried he, vehemently. “The Bastile must be destroyed before the representation of this piece would not appear as a dangerous inconsequence. This man ridicules every thing which in a state ought to be esteemed and respected.”

“This piece will not then be represented?” asked Marie Antoinette, at the close of the reading.

“No, certainly not!” exclaimed Louis, “you can be convinced of it; this piece will not be represented.”

But the clamor, the longings for this representation were more and more loudly expressed, and more and more pressing. It was in vain that the king by his decree forbade its already-announced representation in the theatre of the menus plaisirs. Beaumarchais cried aloud to the murmuring audience, who complained very loudly against this tyranny, against this oppression of the king, the consoling words: “Well, sirs, the king desires that my drama be not represented here, but I swear that it will be represented, perhaps even in the chancel of Notre Dame.”

It was soon apparent that Beaumarchais’ words and the wishes of the public opinion were stronger than the words and the wishes of the king and of his highest officers. The king himself felt it and acknowledged it soon; he shrugged his shoulders compassionately when the chancellor of the seal, adhering still to his opposition, would by no means consent to the performance of the drama.

“You will see,” said Louis, with his own soft, good-natured smile—“you will see that Beaumarchais’ credit is better than that of the great-seal bearer.”21

The king’s prophecy was correct—Beaumarchais had more credit than the chancellor! His powerful patrons in high places, and all those who made opposition to the king and queen, and at their head the Count de Provence, banded together to have this piece publicly represented. The king’s consent was elicited from him by the assurance made public that Beaumarchais had stricken out of his drama all the offensive and captious parts, and that it was now a mere innocent and somewhat tedious piece.

The king gave his consent, and “The Wedding of Figaro” was represented at the Theatre Francais.

The effect of this drama on the public was a thing unheard of; so enthusiastic that Beaumarchais himself laughingly said: “There is something yet more foolhardy than my piece, and that is, its result”—that the renowned actress Sophie Arnold, in allusion to this, that the opponents of this drama had prophesied that it would fall through, exclaimed: “The piece will fall through to-day more than fifty times one after another!”

But even this prophecy of the actress did not reach the full result, and the sixtieth representation was as crowded as the first. All Paris wanted to see it, so as to hiss the government, the nobility, clergy, morality. There was a rush from the provinces to Paris for the sake of attending the representation of “Figaro’s Wedding;” and even those who hitherto had opposed the performance, pressed forward to see it.

One day Beaumarchais received a letter from the Duke de Villequier, asking of him as a favor to give up for that evening his trellised box in behalf of some ladies of the court, who desired to see “Figaro” without being seen.

Beaumarchais answered: “My lord duke, I have no respect for ladies who desire to see a performance which they consider improper, and who wish to see it under cover. I cannot stoop to such fancies. I have given my piece to the public to amuse and not to instruct them, not to procure to tamed wenches (begueules mitigees) the satisfaction of thinking well of the piece in a small trellised box, and then to say all manner of evil against it in public. The pleasure of vice and the honors of virtue, that is what the prudery of our age demands. My piece is not double-faced. It must be accepted or repelled. I salute you, my lord duke, and keep my box.”22

All Paris chuckled over this letter, which was circulated in hundreds of copies, as the drama itself had circulated at first. Every one was convinced that it was the queen who wanted to attend the representation of “Figaro” in the trellised box; for it, was well known that the queen, angry at monsieur for having been present with all his suite at a representation in the box reserved for the court, had openly declared: “Could she come to the conclusion of seeing this drama, she would only see it through a small trellised box, and that without any ceremony.”

In laughing at the letter of Beaumarchais, the ridicule was directed against the queen, who had been refused in so shameful a manner. But Marie Antoinette did not wish to be laughed at. She still hoped to overcome her enemies, and to win the public sentiment. She requested an investigation, she insisted that the Duke de Villequier should openly acknowledge for whom among the ladies of the court he had asked for the box; that Beaumarchais should publicly confess that he had not dared suppose his words were directed against the queen.

The whole matter was brought to an end by an arbitrary decree. Beaumarchais was compelled publicly to acknowledge that his famous letter was directed neither to a duke nor to a peer, but to one of his friends, whose strange request he had thus answered in the first flush of anger. But it is evident no one believed in this explanation, and every one felt pleasure in referring to the queen the expression of “begueule mitigee.”

Paris, which for a whole winter had laughed at a theatrical piece, and was satiated with it, was now to assist at the first scene of a drama whose tragical power and force were to tear France asunder, and whose continuance was to be marked by blood and tears.

This important drama, whose opening followed closely Beaumarchais’ drama, exhibited its first scene at Versailles at the opening of the States-General on the 5th of May, 1789. All Paris, all France watched this event as the rise of a new sun, of a new era which was to break upon France and bring her happiness, salvation, and strength. A new, an unsuspected power entered with it upon the scene, the Tiers Etat; the third class was, at the opening of the States-General, solemnly recognized as a third power, alongside of the nobility and clergy. With the third class, the people and the yeomen entered into the king’s palace; one-half of the people were to make the laws instead of having to submit to them.

It was Marie Antoinette who had endeavored with all her influence on the king that the third class, hitherto barely recognized, barely tolerated, should appear in a two-fold stronger representation at the States-General; it was the queen also who had requested Necker’s recall. Unfortunate woman, who bowed both pride and will to the wishes of public opinion, who yet hoped to succeed in winning again the people’s love, since she endeavored to meet the wishes of the people!

But this love had turned away from her forever; and whatever Marie Antoinette might now do to exhibit her candid wishes, her devotedness was not trusted in by the people, who looked upon her as an enemy, no longer Queen of France, but simply an Austrian.

Even on this day of universal joy, on the day of the opening of the States-General, there was no desire to hide from the queen the hatred felt against her, but there was the resolve to show her that France, even in her hour of happiness, ceased not to make opposition to her.

The opening of the States-General was to be preceded in Versailles by divine service. In solemn procession the deputies arrived; and the people who had streamed from Paris and from the whole region round about, and who in compact masses filled the immense square in front of the palace, and the whole street leading to the Church of St. Louis, received the deputies with loud, unbroken shouts, and met the princes and the king with applause. But no sooner was the queen in sight, than the people remained dumb; and then, after this appalling pause, which petrified the heart of the queen, the women with their true instinct of hatred began to cry out, “Long live the Duke d’Orleans! Long live the people’s friend, the good Duke d’Orleans!”

The name of the duke thus derisively thrown in the face of the queen—for it was well known that she hated him, that she had forbidden him to enter into her apartments—this name at this hour, thrown at her by the people, struck the queen’s heart as the blow of a dagger; a deathly pallor overspread her cheeks, and nearly fainting she had to throw herself into the arms of the Princess de Lamballe, so as not to sink down.23

With the opening of the States-General, as already said, began the first act of the great drama which France was going to represent before the eyes of Europe terrified and horrified: with the opening of the States-General the revolution had begun. Every one felt it; every one knew it; the first man who had the courage to express it was Mirabeau—Mirabeau, the deputy of the Third Estate, the count who was at enmity with all those of his rank, who had solemnly parted with them to devote himself to the people’s service and to liberty!

On the day of the opening, as he entered the hall in which the States-General were convened, he gazed with scrutinizing and flaming eyes on the representatives of the nobility, on those brilliant and proud lords who, though his equals in rank, were now his inveterate enemies. A proud, disdainful smile fluttered athwart his lips, which ordinarily were pressed together with a sarcastic and contemptuous expression. He then crossed the hall with the bearing of a conqueror, and took his seat upon those benches from which was launched the thunderbolt which was to dash to pieces the throne of the lilies.

A long-tried friend, who was also a friend of the government and of the nobility, had seen this look of hatred and anger which Mirabeau had cast upon the gallery of the aristocrats; he now approached Mirabeau to salute him, and perhaps to pave a way of reconciliation between the prodigal Count de Mirabeau and his associates in rank.

“Think,” said he, “my friend, that society is not to be won by threats, but by flatteries; that, when once injured, it is difficult to effect a reconciliation. You have been unjust toward society, and if you look for forgiveness you must not be obstinate, but you must stoop to ask for pardon.”

Mirabeau had listened with impatience, but at the word “pardon,” his anger broke with terrible force. He sprang up, stamped violently on the floor with his feet; his hair which, like a lion’s mane, mantled his head, seemed to bristle up, his little eyes darted flashes, and his lips were blanched and trembling, and with a thundering voice he exclaimed: “I am not here to implore pardon for myself, but that others should sue for mercy.”

Was Mirabeau himself willing to grant pardon? Had he come with a reconciling heart into this assembly, where people and king were to measure their rights one against the other?

As the good King Louis this day entered the hall, in all the pomp of his royal dignity, to welcome the States-General with a solemn address, Mirabeau’s eyes were fixed on him: “Behold the victim,” said he.24

From this day the struggle began—the struggle of the monarchy against the revolution, of the liberal party against the reaction, the struggle of the people against the aristocracy, against every thing which hitherto had been legitimate, welcomed, and sacred!

A new day had broken in, and the prophetic mind of the queen understood that with it came the storm which was to scatter into fragments her happiness and her peace.