On the Heights Part 59

Three dull knocks were heard. They were the signal that the court had entered the pa.s.sage leading from the palace to the theater. Every eye, every opera-gla.s.s was directed to the royal box.

The queen entered, radiant with youthful beauty. The n.o.bles who occupied the first tier arose. She bowed graciously, and then sat down, and attentively read the playbill that was fastened to the front of the box. The king entered soon after and took the seat beside her. He, too, saluted the n.o.bles who were still standing, and who seated themselves at the same time he did, just as if they were part of himself.

The king reached back for his lorgnette, which was handed to him, and surveyed the audience, while the orchestra played the overture. Irma's wish was realized. Since the new intendant had come into power, there was music at the beginning of the play and during the _entr'actes_.

"Who's sitting behind the queen?"

"Countess von Wildenort."

She wore a single rose in her brown hair. She was exchanging a few complimentary remarks with Colonel Bronnen, and was smiling and showing her pearly teeth.

A young critic in the pit said to his neighbor:

"It is surely not without design that Countess Wildenort, like Emilia Galotti, wears only a single rose in her hair."

There was so much talking during the overture, that those who desired to listen to the music frequently hissed, but without avail; for it was not until the curtain rose that the audience became silent.

It is not until near the end of the first act of the play that there is any occasion for marked applause. The prince's haste and prejudice are shown in his readiness to sign the death-warrant, while the carriage waits for him. Old privy councilor Rota withdraws the doc.u.ment.

In order to mark the festal character of the evening's performance, the intendant had selected music by celebrated composers, for the _entr'actes_. The malicious maintained that this was only done in order to prevent discussion of the play, which had not been performed for many years. If this had really been the intention, the lively conversation, both in the royal box and among the rest of the audience, prevented its success.

In reply to a remark of the king's, the intendant said:

"The role of Rota, although insignificant, is quite a graceful one, and, in this, Lessing has proved himself the master. Another advantage is that the part can be played by a veteran."

The queen looked around in surprise--was this mere acting, instead of a living, thrilling fact?

They went on with the play. The scene between Appiani and Marinelli aroused tumultuous applause. The queen never once left her place, although it was her wont between the acts to retire to the _salon_ near her box; and Irma, as first maid of honor, was obliged to remain in attendance.

Between the third and fourth acts, the lord steward met Bronnen in the corridor and said: "If they would only get through with this confounded, democratic play. The sweet rabble down there may become demonstrative." The next act was the fourth, containing the scene between Orsina and Marinelli. The queen held her fan with a convulsive grasp. She saw and heard all that pa.s.sed on the stage while, with strained attention, she listened to the quickened breathing of Irma, who stood behind her. She longed to turn round suddenly and look into her face, but did not venture to do so. With one and the same glance, she saw the figures on the stage and watched her husband's countenance.

Her eyes and ears did double service. It was all she could do to control herself. The play went on. Orsina and Odoardo--if Irma were now to faint--What then? What had she done in having this piece performed?--Orsina hands the dagger to her father, and at last rises into a frenzy of fury. "If we, all of us," she cried, "this whole host of forsaken ones, were transformed into bacchantes and furies, with him in our possession, and were tearing him to pieces and rending the flesh from his limbs--yea, tearing out his vitals in order to find the heart which the traitor promised to each and yet gave to none! Ah, what a dance that would be! That would--"

If Irma should cry out!--The queen clutched the rail of the box with convulsive grasp. She felt as if she, herself, must cry out to the audience.

But all was as silent as before.

When the scene was over, the king, addressing Irma, in a careless tone, said: "Muller plays excellently, does she not?"

"Wonderfully, Your Majesty, although some parts were overacted. The pa.s.sage, 'I have nothing to pardon, because I have not been offended,'

she gave in too sharp a tone, and her voice seemed unnatural. The sentences of one who had been thus openly humiliated should be more like dagger thrusts; the words should prepare us for the sharp point of the dagger that follows them."

Irma's voice was firm and clear. The queen fanned herself, in order to cool her burning face and prevent herself from betraying her agitation.

One whose conscience reproved her could not have spoken thus. Her voice must have faltered and the terrible lesson of the play itself must have petrified her, thought the queen, as she turned toward Irma and nodded pleasantly.

I am stronger than I imagined, thought Irma to herself, smoothing her gloves. While she heard Odoardo's words, a mist had arisen before her eyes. If it had been her father--and it might have been he. A cry arose from her heart, but did not pa.s.s her lips; and now she was quiet and self-composed. The play progressed without interruption, and, when it was over, the audience were not content until they had twice called the Odoardo of the evening before the curtain. The king joined in the applause.

The court party returned to the palace, and retired to the queen's apartments for tea.

The queen was cheerful, as if she had escaped from some danger. For the first time in a long while her bearing was easy and vivacious. A dread load had been lifted from her heart. She was now free and vowed that she would never more think basely of any one; and, least of all, of her neighbor.

They were at tea, and the queen asked her husband: "And had you also never seen the play before?"

"Oh, yes. I saw it on my travels; I forget where it was." Turning toward the intendant, he added: "I think that the costume of the last century was very appropriate. When I saw the play before, it was in modern attire, which seemed quite out of place. In spite of its cla.s.sic character, the play has a thin crust of powder which one dare not blow away, lest the whole, both scene and action, become unnatural."

The intendant was delighted.

"How do you like the piece?" asked the king of Gunther.

"Your Majesty, it is one of our cla.s.sics."

"You're not always so orthodox."

"Nor am I in this case," replied Gunther; "I can safely say that I honor Lessing with all my heart and perhaps, indeed, with undue partiality. But in this play, Lessing had not yet arrived at the repose of freedom. It is the result of n.o.blest melancholy, and might be termed fragmentary and incomplete; for the account is not closed, and at the end there still remains an unfilled breach. This, however, arises from the fact that a great historical subject taken from the age of the Romans has been transferred to the cabinet and country-seat of a petty Italian prince."

"How do you mean?" enquired the king. Gunther went on to explain:

"In this play, there is a pathos of despair which reaches its climax in the final question: 'Is it not enough that princes are men? Must they also learn that their friends are demons in disguise?' One might a.s.sume that this discovery was a punishment that would cling to the prince for life. Henceforth, he must become a changed man. But this epigrammatic confession of his own weakness and of the baseness of those who environ him, does not seem to me a full expiation. A question, and such as this, at the close of a drama whose aim should be to leave us reconciled with eternal and unchanging law, can only be explained by the fact that the keynote of the whole play is sarcastic. He whom certain things will not deprive of his reason, has none to lose. The fault of the play--Lessing's love of truth would court the boldest investigation--the gap, as it were, lay in the fact that Lessing has transferred the act of Virginius from the Roman forum to the modern stage and has given us, instead of the infuriated citizen with knife in hand, the malcontent Colonel Galotti. The act of Virginius was the turning point that led to a great political catastrophe, after which came revolution and expiation. But in Lessing's play, the deed takes place at the end, and leads to no results. It closes with a question, as it were, or rather with an unresolved dissonance."

Although this explanation had, at first, been given in a somewhat acrimonious tone, it gave great satisfaction. It elevated the subject, and the painful impressions awakened by it, into the cool, serene atmosphere of criticism.

"What struck me as peculiar, in the play," said Irma, unable to remain silent, "was that I discovered two marriage stories in it."

"Marriage stories? and two of them?"

"Certainly. Emilia is the offspring of an unfortunate, or, to speak plainly, a bad marriage. Odoardo, with his rude virtue, and Claudia, so yielding, led each other a terrible life and, in the end, parted without scandal. He remained on his estate, while she took the daughter to the city, in order that she might there receive the finishing touches. Emilia was obliged to devote much of her time to the piano.

Papa Appiani was, in a moral sense, always on stilts. Madame Claudia was worldly-minded and fond of society. The fruit of this marriage was Emilia, and her marriage with Appiani would have been just like that of her parents."

"Cleverly expounded," said the king, and, encouraged by his praise, Irma continued:

"Emilia's grandmother may have said: 'I am unhappy, but I would like my daughter Claudia to be happy with good Odoardo, who was then but a captain. And in turn, mother Claudia said: 'I am not happy, but my daughter shall be'; and, at a later day, Emilia would have said: 'I am not happy, but my daughter, etc., etc.' It's an everlasting round of misery and resignation. Who is this Mr. Appiani? A splenetic counselor to the emba.s.sy, who is out of employ, and merely marries for the sake of the worthy man whom he thus makes his father-in-law, and who, after marriage, would preach to his wife just as Odoardo had done before him, and with just as much effect. Appiani was worth a charge of powder, or even two, as Marinelli thought. Why had he no eye for the toilette of his betrothed? The very next winter, Emilia would have died of _ennui_ in the country, or, becoming transformed in spirit, would have founded an infant school on her estate. If Emilia could sing, her melodies would have been like those of Mozart's Zerlina. Masetto Appiani felt that he would not suit, and, although he could not tell why, had good reasons for feeling so bad before the betrothal. Appiani ought to have married a widow with seven children. The man's heart was tender by nature. Had he quarreled with his wife, he would have said, as he did after his dispute with Marinelli; 'Ah, that did me good. It stirred up my blood and now I feel like a new and better man.' Emilia loves the prince and, therefore, fears him. He who becomes her husband by virtue of the marriage contract, has never possessed her love. I would have chosen Appiani for a parliamentary delegate, but not for a husband.

Such a man should either remain unmarried, or else take unto himself a wife who founds soup-kitchens; not an Emilia, who is enough of a coquette to know what becomes her."

Irma's cheeks glowed while she thus spoke. She felt as if riding o'er forest and field on a wild courser. She had begun in bitterness and, yielding to imagination, she went on boldly and fearlessly. She had lost all fear and felt a conscious pride in her sway over life itself and all that surrounded her.

The evening which had threatened dire storms had brought refreshing breezes and a purified atmosphere.

The queen breathed freely once more, and felt happy in the midst of this circle of good and gifted people.

Immediately after the play, Baum had hurried to Walpurga and told her: "Oh, what a play we've had. I wonder they allow them to play anything so free. There's a prince who's just about to marry a princess, and has an old love who's still good-looking. He wants to get rid of her and, in the mean while, tries to procure a new one who is very beautiful and whose marriage is to take place that very day. He has a chamberlain who is his friend, but whom he treats quite roughly if he doesn't bring him what he wants on the instant. He treats him as an inferior and calls him a fool one moment, and embraces him the next. So the chamberlain manages to have the bridegroom shot dead and the bride carried away.

But, all at once, the old love comes and meets the father of Emilia Galotti and sets him on, and the father stabs his daughter, and she drops down dead."

"And what becomes of the prince and the chamberlain?" asked Walpurga.

"I don't know."

"Tell me once more," said Walpurga; "what was the bride's name?"