Marie Antoinette and Her Son Part 5

And with great facility and lightness of touch, the queen began to play the base of the piece which had been arranged by the Count de Vaudreuil for four hands. But the longer she played, the more the laughter and the unrestrained gayety disappeared from the features of the queen. Her n.o.ble countenance a.s.sumed an expression of deep earnestness, her eye kindled with feeling, and the cheeks which before had become purple-red with the exercise of playing, now paled with deep inward emotion.

All at once, in the very midst of the grand and impa.s.sioned strains, Marie Antoinette stopped, and, under the strength of her feeling, rose from her seat.

"Only Gluck can have written this!" cried she. "This is the music, the divine music of my exalted master, my great teacher, Chevalier Gluck."

"You are right; your majesty is a great musician," cried Lord Vaudreuil, in amazement, "the ideal pupil of the genial maestro.

Yes, this music is Gluck's. It is the overture to his new opera of 'Alcestes,' which he sent me from Venice to submit to your majesty.

These tones shall speak for the master, and entreat for him the protection of the queen."

"You have not addressed the queen, but my own heart," said Marie Antoinette, with gentle, deeply moved voice. "It was a greeting from my home, a greeting from my teacher, who is at the same time the greatest composer of Europe. Oh, I am proud of calling myself his pupil. But Gluck needs no protection; it is much more we who need the protection which he affords us in giving us the works of his genius. I thank you, count," continued Marie Antoinette, turning to Vaudreuil with a pleasant smile.

"This is a great pleasure which you have prepared for me. But knowing, as I now do, that this is Gluck's music, I do not dare to play another note; for, to injure a note of his writing, seems to me like treason against the crown. I will practise this piece, and then some day we will play it to the whole court. And now, my honored guests, if it pleases you, we go to meet the king. Gentlemen, let each one choose his lady, for we do not want to go in state procession, but by different paths."

All the gentlemen present rushed toward the queen, each desirous to have the honor of waiting upon her. Marie Antoinette thanked them all with a pleasant smile, and took the arm of the eldest gentleman there, the Baron de Besenval.

"Come, baron," said she, "I know a new path, which none of these gentry have learned, and I am sure that we shall be the first to reach the place where the king is."

Resting on the arm of the baron, she left the saloon, and pa.s.sed out of the door opposite, upon the little terrace leading to the well- shaded park.

"We will go through the English garden. I have had them open a path through the thicket, which will lead us directly to our goal; while the others will all have to go through the Italian garden, and so make a circuit. But look, my lord, somebody is coming there--who is it?"

And the queen pointed to the tall, slim figure of a man who was just then striding along the terrace.

"Madame," answered the baron, "it is the Duke de Fronac."

"Alas!" murmured Marie Antoinette, "he is coming to lay new burdens upon us, and to put us in the way of meeting more disagreeable things."

"Would it be your wish that I should dismiss him? Do you give me power to tell him that you extend no audience to him here?"

"Oh! do not do so," sighed Marie Antoinette. "He, too, is one of my enemies, and we must proceed much more tenderly with our dear enemies than with our friends."

Just then the Duke de Fronac ascended the last terrace, and approached the queen with repeated bows, which she reciprocated with an earnest look and a gentle inclination of the head.

"Well, duke, is it I with whom the chief manager of the royal theatres wishes to speak?"

"Madame," answered the duke, "I am come to beg an audience of your majesty."

"You have it; and it is, as you see, a very imposing audience, for we stand in the throne room of G.o.d, and the canopy of Heaven arches over us. Now say, duke, what brings you to me?"

"Your majesty, I am come to file an accusation!"

"And of course against me?" asked the queen, with a haughty smile.

The duke pretended not to hear the question, and went on: "I am come to bring a charge and to claim my rights. His majesty has had the grace to appoint me manager-in-chief of all the royal theatres, and to give me their supreme control."

"Well, what has that to do with me?" asked the queen in her coldest way. " You have then your duties a.s.signed you, to he rightfully fulfilled, and to keep your theatres in order, as if they were troops under your care."

"But, your majesty, there is a theatre which seeks to free itself from my direction. And by virtue of my office and my trust I must stringently urge you that this new theatre royal be delivered into my charge."

"I do not understand you," said the queen, coolly. "Of what new theatre are you speaking, and where is it?"

"Your majesty, it is here in Trianon. Here operettas, comedies, and vaudevilles are played. The stage is furnished as all stages are; it is a permanent stage, and I can therefore ask that it be given over into my charge, for, I repeat it again, the king has appointed me director of all the collective theatres royal."

"But, duke," answered the queen with a somewhat more pliant tone, "you forget one thing, and that is, that the theatre in Trianon does not belong to the theatres of his majesty. It is my stage, and Trianon is my realm. Have you not read on the placards, which are at the entrance of Trianon, that it is the queen who gives laws here?

Do you not know that the king has given me this bit of ground that I may enjoy my freedom here, and have a place where the Queen of France may have a will of her own?"

"Your majesty," answered the duke with an expression of the profoundest deference, "I beg your pardon. I did not suppose that there was a place in France where the king is not the lord paramount, and where his commands are not imperative."

"You see, then, that you are mistaken. Here in Trianon I am king, and my commands are binding."

"That does not prevent, your majesty, the commands of the king having equal force," replied the duke, with vehemence. "And even if the Queen of France disowns these laws, yet others do not dare take the risk of following the example of the queen. For they remain, wherever they are, the subjects of the king. So even here in Trianon I am still the obedient subject of his majesty, and his commands and my duties are bound to be respected by me."

"My lord duke," cried the queen with fresh impatience, "you are free never to come to Trianon. I give you my full permission to that end, and thus you will be relieved from the possibility of ever coming into collision with your ever-delicate conscience and the commands of the king."

"But, your majesty, there is a theatre in Trianon!"

"Not this indefinite phrase, duke; there is a theatre in Trianon, but I the queen, the princess of the royal family, and the guests I invite, support a theatre in Trianon. Let me say this once for all: you cannot have the direction where we are the actors. Besides, I have had occasion several times to give you my views respecting Trianon. I have no court here. I live here as a private person. I am here but a land owner, and the pleasures and enjoyments which I provide here for myself and my friends shall never be supervised by any one but myself alone." [Footnote: The very words of the queen.-- See Goncourt, "Histoire de Marie Antoinette"]

"Your majesty," said the duke, with a cold smile, "it is no single person that supervises you; it is public opinion, and I think that this will speak on my side."

The duke bowed, and, without waiting for a sign from the queen to withdraw, he turned around and began to descend the terrace.

"He is a shameless man!" muttered the queen, with pale cheeks and flashing eyes, as she followed him with her looks.

"He is ambitious," whispered Besenval; "he implores your majesty in this way, and risks his life and his office, in the hope of being received into the court society."

"No, no," answered Marie Antoinette, eagerly; "there is nothing in me that attracts him. The king's aunts have set him against me, and this is a new way which their tender care has conjured up to irritate me, and make me sick.

Yet let us leave this, baron. Let us forget this folly, and only remember that we are in Trianon. See, we are now entering my dear English garden. Oh, look around you, baron, and then tell me is it not beautiful here, and have I not reason to be proud of what I have called here into being?"

While thus speaking, the queen advanced with eager, flying steps to the exquisite beds of flowers which beautifully variegated the surface of the English garden.

It was in very truth the creation of the queen, this English garden, and it formed a striking contrast to the solemn, stately hedges, the straight alleys, the regular flower beds, the carefully walled pools and brooks, which were habitual in the gardens of Versailles and Trianon. In the English garden every thing was cosy and natural. The waters foamed here, and there they gathered themselves together and stood still; here and there were plants which grew just where the wind had scattered the seed. Hundreds of the finest trees--willows, American oaks, acacias, firs--threw their shade abroad, and wrought a rich diversity in the colors of the foliage. The soil here rose into gentle hillocks, and there sank in depressions and natural gorges. All things seemed without order or system, and where art had done its work, there seemed to be the mere hand of free, unfettered Nature.

The farther the queen advanced with her companion into the garden, the more glowing became her countenance, and the more her eyes beamed with their accustomed fire.

"Is it not beautiful here?" asked she, of the baron, who was walking silently by her side.

"It is beautiful wherever your majesty is," answered he, with an almost too tender tone. But the queen did not notice it. Her heart was filled with an artless joy; she listened with suspended breath to the trilling song of the birds, warbling their glad hymns of praise out from the thickets of verdure. How could she have any thought of the idle suggestions of the voice of the baron, who had been chosen as her companion because of his forty-five years, and of his hair being tinged with gray?

"It seems to me, baron," she said, with a charming laugh, while looking at a bird which, its song just ended, soared from the bushes to the heavens--" it seems to me as if Nature wanted to send me a greeting, and deputed this bird to bring it to me. Ah," she went on to say, with quickly clouded brow, "it is really needful that I should at times hear the friendly notes and the sweet melodies of such a genuine welcome. I have suffered a great deal today, baron, and the welcome of this bird of Trianon was the balm of many a wound that I have received since yesterday."

"Your majesty was in Paris?" asked Besenval, hesitatingly, and with a searching glance of his cunning, dark eyes, directed to the sad countenance of Marie Antoinette.

"I was in Paris," answered she, with a flush of joy; "and the good Parisians welcomed the wife of the king and the mother of the children of France with a storm of enthusiasm."

"No, madame," replied the baron, reddening, "they welcomed with a storm of enthusiasm the most beautiful lady of France, the adored queen, the mother of all poor and suffering ones."

"And yet there was a dissonant note which mingled with all these jubilee tones," said the queen, thoughtfully. "While all were shouting, there came one voice which sounded to my ear like the song of the bird of misfortune. Believe me, Besenval, every thing is not as it ought to be. There is something in the air which fills me with anxiety and fear. I cannot drive it away; I feel that the sword of Damocles is hanging over my head, and that my hands are too weak to remove it."