Scaramouche: A Romance of the French Revolution, Rafael Sabatini [bookstand for reading txt] 📗
- Author: Rafael Sabatini
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But that night, after they had supped, it chanced that when Climene was about to retire, he and she were alone together in the room abovestairs that her father kept exclusively for his company. The Binet Troupe, you see, was rising in the world.
As Climene now rose to withdraw for the night, Scaramouche rose with her to light her candle. Holding it in her left hand, she offered him her right, a long, tapering, white hand at the end of a softly rounded arm that was bare to the elbow.
“Good-night, Scaramouche,” she said, but so softly, so tenderly, that he caught his breath, and stood conning her, his dark eyes aglow.
Thus a moment, then he took the tips of her fingers in his grasp, and bowing over the hand, pressed his lips upon it. Then he looked at her again. The intense femininity of her lured him on, invited him, surrendered to him. Her face was pale, there was a glitter in her eyes, a curious smile upon her parted lips, and under its fichu-menteur her bosom rose and fell to complete the betrayal of her.
By the hand he continued to hold, he drew her towards him. She came unresisting. He took the candle from her, and set it down on the sideboard by which she stood. The next moment her slight, lithe body was in his arms, and he was kissing her, murmuring her name as if it were a prayer.
“Am I cruel now?” she asked him, panting. He kissed her again for only answer. “You made me cruel because you would not see,” she told him next in a whisper.
And then the door opened, and M. Binet came in to have his paternal eyes regaled by this highly indecorous behaviour of his daughter.
He stood at gaze, whilst they quite leisurely, and in a self-possession too complete to be natural, detached each from the other.
“And what may be the meaning of this?” demanded M. Binet, bewildered and profoundly shocked.
“Does it require explaining?” asked Scaramouche. “Doesn’t it speak for itself—eloquently? It means that Climene and I have taken it into our heads to be married.”
“And doesn’t it matter what I may take into my head?”
“Of course. But you could have neither the bad taste nor the bad heart to offer any obstacle.”
“You take that for granted? Aye, that is your way, to be sure—to take things for granted. But my daughter is not to be taken for granted. I have very definite views for my daughter. You have done an unworthy thing, Scaramouche. You have betrayed my trust in you. I am very angry with you.”
He rolled forward with his ponderous yet curiously noiseless gait. Scaramouche turned to her, smiling, and handed her the candle.
“If you will leave us, Climene, I will ask your hand of your father in proper form.”
She vanished, a little fluttered, lovelier than ever in her mixture of confusion and timidity. Scaramouche closed the door and faced the enraged M. Binet, who had flung himself into an armchair at the head of the short table, faced him with the avowed purpose of asking for Climene’s hand in proper form. And this was how he did it:
“Father-in-law,” said he, “I congratulate you. This will certainly mean the Comedie Francaise for Climene, and that before long, and you shall shine in the glory she will reflect. As the father of Madame Scaramouche you may yet be famous.”
Binet, his face slowly empurpling, glared at him in speechless stupefaction. His rage was the more utter from his humiliating conviction that whatever he might say or do, this irresistible fellow would bend him to his will. At last speech came to him.
“You’re a damned corsair,” he cried, thickly, banging his ham-like fist upon the table. “A corsair! First you sail in and plunder me of half my legitimate gains; and now you want to carry off my daughter. But I’ll be damned if I’ll give her to a graceless, nameless scoundrel like you, for whom the gallows are waiting already.”
Scaramouche pulled the bell-rope, not at all discomposed. He smiled. There was a flush on his cheeks and a gleam in his eyes. He was very pleased with the world that night. He really owed a great debt to M. de Lesdiguieres.
“Binet,” said he, “forget for once that you are Pantaloon, and behave as a nice, amiable father-in-law should behave when he has secured a son-in-law of exceptionable merits. We are going to have a bottle of Burgundy at my expense, and it shall be the best bottle of Burgundy to be found in Redon. Compose yourself to do fitting honour to it. Excitations of the bile invariably impair the fine sensitiveness of the palate.”
CHAPTER VII. THE CONQUEST OF NANTES
The Binet Troupe opened in Nantes—as you may discover in surviving copies of the “Courrier Nantais”—on the Feast of the Purification with “Les Fourberies de Scaramouche.” But they did not come to Nantes as hitherto they had gone to little country villages and townships, unheralded and depending entirely upon the parade of their entrance to attract attention to themselves. Andre-Louis had borrowed from the business methods of the Comedie Francaise. Carrying matters with a high hand entirely in his own fashion, he had ordered at Redon the printing of playbills, and four days before the company’s descent upon Nantes, these bills were pasted outside the Theatre Feydau and elsewhere about the town, and had attracted—being still sufficiently unusual announcements at the time—considerable attention. He had entrusted the matter to one of the company’s latest recruits, an intelligent young man named Basque, sending him on ahead of the company for the purpose.
You may see for yourself one of these playbills in the Carnavalet Museum. It details the players by their stage names only, with the exception of M. Binet and his daughter, and leaving out of account that he who plays Trivelin in one piece appears as Tabarin in another, it makes the company appear to be at least half as numerous again as it really was. It announces that they will open with “Les Fourberies de Scaramouche,” to be followed by five other plays of which it gives the titles, and by others not named, which shall also be added should the patronage to be received in the distinguished and enlightened city of Nantes encourage the Binet Troupe to prolong its sojourn at the Theatre Feydau. It lays great stress upon the fact that this is a company of improvisers in the old Italian manner, the like of which has not been seen in France for half a century, and it exhorts the public of Nantes not to miss this opportunity of witnessing these distinguished mimes who are reviving for them the glories of the Comedie de l’Art. Their visit to Nantes—the announcement proceeds—is preliminary to their visit to Paris, where they intend to throw down the glove to the actors of the Comedie Francaise, and to show the world how superior is the art of the improviser to that of the
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