Thursday 27 April 2023

Thursday's Serial: "Threads of Grey and Gold” by Myrtle Reed (in English) - IV

DECORATION DAY

The trees bow their heads in sorrow,

While their giant branches wave,

With the requiems of the forest,

To the dead in a soldier’s grave.

 

The pitying rain falls softly,

In grief for a nation’s brave,

Who died ’neath the scourge of treason

And rest in a lonely grave.

 

So, under the willow and cypress

We lay our dead away,

And cover their graves with blossoms,

But the debt we never can pay.

 

All nature is bathed in tears,

On our sad Memorial day,

When we crown the valour of heroes

With flowers from the garments of May.

 

 

THE ROMANCE OF THE LIFE OF LINCOLN

By the slow passing of years humanity attains what is called the “historical perspective,” but it is still a mooted question as to how many years are necessary.

We think of Lincoln as a great leader, and it is difficult to imagine him as a lover. He was at the helm of “the Ship of State” in the most fearful storm it ever passed through; he struck off the shackles of a fettered people, and was crowned with martyrdom; yet in spite of his greatness, he loved like other men.

There is no record for Lincoln’s earlier years of the boyish love which comes to many men in their school days. The great passion of his life came to him in manhood but with no whit of its sweetness gone. Sweet Anne Rutledge! There are those who remember her well, and to this day in speaking of her, their eyes fill with tears. A lady who knew her says: “Miss Rutledge had auburn hair, blue eyes, and a fair complexion. She was pretty, rather slender, and good-hearted, beloved by all who knew her.”

Before Lincoln loved her, she had a sad experience with another man. About the time that he came to New Salem, a young man named John McNeil drifted in from one of the Eastern States. He worked hard, was plucky and industrious, and soon accumulated a little property. He met Anne Rutledge when she was but seventeen and still in school, and he began to pay her especial attention which at last culminated in their engagement.

He was about going back to New York for a visit and leaving he told Anne that his name was not McNeil, but McNamar—that he had changed his name so that his dependent family might not follow him and settle down upon him before he was able to support them. Now that he was in a position to aid his parents, brothers, and sisters, he was going back to do it and upon his return would make Anne his wife.

For a long time she did not hear from him at all, and gossip was rife in New Salem. His letters became more formal and less frequent and finally ceased altogether. The girl’s proud spirit compelled her to hold her head high amid the impertinent questions of the neighbors.

Lincoln had heard of the strange conduct of McNeil and concluding that there was now no tie between Miss Rutledge and her quondam lover, he began his own siege in earnest. Anne consented at last to marry him provided he gave her time to write to McNamar and obtain a release from the pledge which she felt was still binding upon her.

She wrote, but there was no answer and at last she definitely accepted Lincoln.

It was necessary for him to complete his law studies, and after that, he said, “Nothing on God’s footstool shall keep us apart.”

He worked happily but a sore conflict seemed to be raging in Anne’s tender heart and conscience, and finally the strain told upon her to such an extent that when she was attacked by a fever, she had little strength to resist it.

The summer waned and Anne’s life ebbed with it. At the very end of her illness, when all visitors were forbidden, she insisted upon seeing Lincoln. He went to her—and closed the door between them and the world. It was his last hour with her. When he came out, his face was white with the agony of parting.

A few days later, she died and Lincoln was almost insane with grief. He walked for hours in the woods, refused to eat, would speak to no one, and there settled upon him that profound melancholy which came back, time and again, during the after years. To one friend he said: “I cannot bear to think that the rain and storms will beat upon her grave.”

When the days were dark and stormy he was constantly watched, as his friends feared he would take his own life. Finally, he was persuaded to go away to the house of a friend who lived at some distance, and here he remained until he was ready to face the world again.

A few weeks after Anne’s burial, McNamar returned to New Salem. On his arrival he met Lincoln at the post-office and both were sorely distressed. He made no explanation of his absence, and shortly seemed to forget about Miss Rutledge, but her grave was in Lincoln’s heart until the bullet of the assassin struck him down.

In October of 1833, Lincoln met Miss Mary Owens, and admired her though not extravagantly. From all accounts, she was an unusual woman. She was tall, full in figure, with blue eyes and dark hair; she was well educated and quite popular in the little community. She was away for a time, but returned to New Salem in 1836, and Lincoln at once began to call upon her, enjoying her wit and beauty. At that time she was about twenty-eight years old.

One day Miss Owens was out walking with a lady friend and when they came to the foot of a steep hill, Lincoln joined them. He walked behind with Miss Owens, and talked with her, quite oblivious to the fact that her friend was carrying a heavy baby. When they reached the summit, Miss Owens said laughingly: “You would not make a good husband, Abe.”

They sat on the fence and a wordy discussion followed. Both were angry when they parted, and the breach was not healed for some time. It was poor policy to quarrel, since some time before he had proposed to Miss Owens, and she had asked for time in which to consider it before giving a final answer. His letters to her are not what one would call “love-letters.” One begins in this way:

“Mary:—I have been sick ever since my arrival, or I should have written sooner. It is but little difference, however, as I have very little even yet to write. And more, the longer I can avoid the mortification of looking in the post-office for your letter, and not finding it, the better. You see I am mad about that old letter yet. I don’t like very well to risk you again. I’ll try you once more, anyhow.”

The remainder of the letter deals with political matters and is signed simply “Your Friend Lincoln.”

In another letter written the following year he says to her:

“I am often thinking about what we said of your coming to live at Springfield. I am afraid you would not be satisfied. There is a great deal of flourishing about in carriages here, which it would be your doom to see without sharing it. You would have to be poor without the means of hiding your poverty. Do you believe you could bear that patiently?

“Whatever woman may cast her lot with mine, should any ever do so, it is my intention to do all in my power to make her happy and contented; and there is nothing I can imagine that would make me more unhappy than to fail in the effort.

“I know I should be much happier with you than the way I am, provided I saw no signs of discontent in you. What you have said to me may have been in the way of jest, or I may have misunderstood it.

“If so, then let it be forgotten; if otherwise I much wish you would think seriously before you decide. For my part, I have already decided.

“What I have said I will most positively abide by, provided you wish it. My opinion is that you would better not do it. You have not been accustomed to hardship, and it may be more severe than you now imagine.

“I know you are capable of thinking correctly upon any subject and if you deliberate maturely upon this before you decide, then I am willing to abide by your decision.”

Matters went on in this way for about three months; then they met again, seemingly without making any progress. On the day they parted, Lincoln wrote her another letter, evidently to make his own position clear and put the burden of decision upon her.

“If you feel yourself in any degree bound to me [he said], I am now willing to release you, provided you wish it; while, on the other hand, I am willing and even anxious, to bind you faster, if I can be convinced that it will in any considerable degree add to your happiness. This, indeed, is the whole question with me. Nothing would make me more miserable than to believe you miserable—nothing more happy than to know you were so.”

In spite of his evident sincerity, it is not surprising to learn that a little later, Miss Owens definitely refused him. In April, of the following year, Lincoln wrote to his friend, Mrs. L. H. Browning, giving a full account of this grotesque courtship:

“I finally was forced to give it up [he wrote] at which I very unexpectedly found myself mortified almost beyond endurance.

“I was mortified it seemed to me in a hundred different ways. My vanity was deeply wounded by the reflection that I had so long been too stupid to discover her intentions, and at the same time never doubting that I understood them perfectly; and also, that she, whom I had taught myself to believe nobody else would have, had actually rejected me, with all my fancied greatness.

“And then to cap the whole, I then, for the first time, began to suspect that I was really a little in love with her. But let it all go. I’ll try and outlive it. Others have been made fools of by the girls; but this can never with truth be said of me. I most emphatically in this instance made a fool of myself. I have now come to the conclusion never again to think of marrying, and for this reason I can never be satisfied with any one who would be blockhead enough to have me!”

The gist of the matter seems to be that at heart Lincoln hesitated at matrimony, as other men have done, both before and since his time. In his letter to Mrs. Browning he speaks of his efforts to “put off the evil day for a time, which I really dreaded as much, perhaps more, than an Irishman does the halter!”

But in 1839 Miss Mary Todd came to live with her sister, Mrs. Ninian Edwards, at Springfield. She was in her twenty-first year, and is described as “of average height and compactly built.” She had a well-rounded face, rich dark brown hair, and bluish grey eyes. No picture of her fails to show the full, well-developed chin, which, more than any other feature is an evidence of determination. She was strong, proud, passionate, gifted with a keen sense of the ridiculous, well educated, and swayed only by her own imperious will.

Lincoln was attracted at once, and strangely enough, Stephen A. Douglas crossed his wooing. For a time the two men were rivals, the pursuit waxing more furious day by day. Some one asked Miss Todd which of them she intended to marry, and she answered laughingly: “The one who has the best chance of becoming President!”

She is said, however, to have refused the “Little Giant” on account of his lax morality and after that the coast was clear for Lincoln. Miss Todd’s sister tells us that “he was charmed by Mary’s wit and fascinated by her quick sagacity, her will, her nature, and culture.” “I have happened in the room,” she says, “where they were sitting, often and often, and Mary led the conversation. Lincoln would listen, and gaze on her as if drawn by some superior power—irresistibly so; he listened, but scarcely ever said a word.”

The affair naturally culminated in an engagement, and the course of love was running smoothly, when a distracting element appeared in the shape of Miss Matilda Edwards, the sister of Mrs. Edwards’s husband. She was young and fair, and Lincoln was pleased with her appearance. For a time he tried to go on as before, but his feelings were too strong to be concealed. Mr. Edwards endeavoured to get his sister to marry Lincoln’s friend, Speed, but she refused both Speed and Douglas.

It is said that Lincoln once went to Miss Todd’s house, intending to break the engagement, but his real love proved too strong to allow him to do it.

His friend, Speed, thus describes the conclusion of this episode. “Well, old fellow,” I said, “did you do as you intended?”

“Yes, I did,” responded Lincoln thoughtfully, “and when I told Mary I did not love her, she, wringing her hands, said something about the deceiver being himself deceived.”

 “What else did you say?”

“To tell you the truth, Speed, it was too much for me. I found the tears trickling down my own cheeks. I caught her in my arms and kissed her.”

“And that’s how you broke the engagement. Your conduct was tantamount to a renewal of it!”

And indeed this was true, and the lovers again considered the time of marriage.

There is a story by Herndon to the effect that a wedding was arranged for the first day of January, 1841, and then when the hour came Lincoln did not appear, and was found wandering alone in the woods plunged in the deepest melancholy—a melancholy bordering upon insanity.

This story, however, has no foundation; in fact, most competent witnesses agree that no such marriage date was fixed, although some date may have been considered.

It is certain, however, that the relations between Lincoln and Miss Todd were broken off for a time. He did go to Kentucky for a while, but this trip certainly was not due to insanity. Lincoln was never so mindless as some of his biographers would have us believe, and the breaking of the engagement was due to perfectly natural causes—the difference in temperament of the lovers, and Lincoln’s inclination to procrastinate. After a time the strained relations gradually improved. They met occasionally in the parlor of a friend, Mrs. Francis, and it was through Miss Todd that the duel with Shields came about.

She wielded a ready and a sarcastic pen, and safely hidden behind a pseudonym and the promise of the editor, she wrote a series of satirical articles for the local paper, entitled: “Letters from Lost Townships.” In one of these she touched up Mr. Shields, the Auditor of State, to such good purpose that believing that Lincoln had written the article, he challenged him to a duel. Lincoln accepted the challenge and chose “cavalry broadswords” as the weapons, but the intervention of friends prevented any fighting, although he always spoke of the affair as his “duel.”

As a result of this altercation with Shields, Miss Todd and the future President came again into close friendship, and a marriage was decided upon.

The license was secured, the minister sent for, and on November 4, 1842, they became man and wife.

It is not surprising that more or less unhappiness obtained in their married life, for Mrs. Lincoln was a woman of strong character, proud, fiery, and determined. Her husband was subject to strange moods and impulses, and the great task which God had committed to him made him less amenable to family cares.

That married life which began at the Globe Tavern was destined to end at the White House, after years of vicissitude and serious national trouble. Children were born unto them, and all but the eldest died. Great responsibilities were laid upon Lincoln and even though he met them bravely it was inevitable that his family should also suffer.

Upon the face of the Commander-in-chief rested nearly always a mighty sadness, except when it was occasionally illumined by his wonderful smile, or when the light of his sublime faith banished the clouds.

Storm and stress, suffering and heartache, reverses and defeat were the portion of the Leader, and when Victory at last perched upon the National standard, her beautiful feet were all drabbled in blood, and the most terrible war on the world’s records passed down into history. In the hour of triumph, with his great purpose nobly fulfilled, death came to the great Captain.

The United Republic is his monument, and that rugged, yet gracious figure, hallowed by martyrdom, stands before the eyes of his countrymen forever serene and calm, while his memory lingers like a benediction in the hearts of both friend and foe.

 

 

SILENT THANKSGIVING

She is standing alone by the window—

A woman, faded and old,

But the wrinkled face was lovely once,

And the silvered hair was gold.

As out in the darkness, the snow-flakes

Are falling so softly and slow,

Her thoughts fly back to the summer of life,

And the scenes of long ago.

 

Before the dim eyes, a picture comes,

She has seen it again and again;

The tears steal over the faded cheeks,

And the lips that quiver with pain,

For she hears once more the trumpet call

And sees the battle array

As they march to the hills with gleaming swords—

Can she ever forget that day?

 

She has given her boy to the land she loves,

How hard it had been to part!

And to-night she stands at the window alone,

With a new-made grave in her heart.

And yet, it’s the day of Thanksgiving—

But her child, her darling was slain

By the shot and shell of the rebel guns—

Can she ever be thankful again?

 

She thinks once more of his fair young face,

And the cannon’s murderous roll,

While hatred springs in her passionate heart,

And bitterness into her soul.

Then out of the death-like stillness

There comes a battle-cry—

The song that led those marching feet

To conquer, or to die.

 

“Yes, rally round the flag, boys!”

With tears she hears the song,

And her thoughts go back to the boys in blue,

That army, brave and strong—

Then Peace creeps in amid the pain.

The dead are as dear as the living,

And back of the song is the silence,

And back of the silence—Thanksgiving.

 

 

IN THE FLASH OF A JEWEL

Certain barbaric instincts in the human race seem to be ineradicable. It is but a step from the painted savage, gorgeous in his beads and wampum, to my lady of fashion, who wears a tiara upon her stately head, chains and collars of precious stones at her throat, bracelets on her white arms, and innumerable rings upon her dainty fingers. Wise men may decry the baleful fascination of jewels, but, none the less, the jeweller’s window continues to draw the crowd.

Like brilliant moths that appear only at night, jewels are tabooed in the day hours. Dame Fashion sternly condemns gems in the day time as evidence of hopelessly bad taste. No jewels are permitted in any ostentatious way, and yet a woman may, even in good society, wear a few thousand dollars’ worth of precious stones, without seeming to be overdressed, provided the occasion is appropriate, as in the case of functions held in darkened rooms.

In the evening when shoulders are bared and light feet tread fantastic measures in a ball room, which is literally a bower of roses, there seems to be no limit as regards jewels. In such an assembly a woman may, without appearing overdressed, adorn herself with diamonds amounting to a small fortune.

During a season of grand opera in Chicago, a beautiful white-haired woman sat in the same box night after night without attracting particular attention, except as a woman of acknowledged beauty. At a glance it might be thought that her dress, although elegant, was rather simple, but an enterprising reporter discovered that her gown of rare old lace, with the pattern picked out here and there with chip diamonds, had cost over fifty-five thousand dollars. The tiara, collar, and few rings she wore, swelled the grand total to more than three hundred thousand dollars.

Diamonds, rubies, sapphires, emeralds, pearls, and opals—these precious stones have played a tremendous part in the world’s history. Empires have been bartered for jewels, and for a string of pearls many a woman has sold her soul. It is said that pearls mean tears, yet they are favourite gifts for brides, and no maiden fears to wear them on her way up the aisle where her bridegroom waits.

A French writer claims that if it be true that the oyster can be forced to make as many pearls as may be required of it, the jewel will become so common that my lady will no longer care to decorate herself with its pale splendour. Whether or not this will ever be the case, it is certain that few gems have played a more conspicuous part in history than this.

Not only have we Cleopatra’s reckless draught, but there is also a story of a noble Roman who dissolved in vinegar and drank a pearl worth a million sesterces, which had adorned the ear of the woman he loved. But the cold-hearted chemist declares that an acid which could dissolve a pearl would also dissolve the person who swallowed it, so those two legends must vanish with many others that have shrivelled up under the searching gaze of science.

There is another interesting story about the destruction of a pearl. During the reign of Elizabeth, a haughty Spanish ambassador was boasting at the Court of England of the great riches of his king. Sir Thomas Gresham, wishing to get even with the bragging Castilian, replied that some of Elizabeth’s subjects would spend as much at one meal as Philip’s whole kingdom could produce in a day! To prove this statement, Sir Thomas invited the Spaniard to dine with him, and having ground up a costly Eastern pearl the Englishman coolly swallowed it.

Going back to the dimness of early times, we find that many of the ancients preferred green gems to all other stones. The emerald was thought to have many virtues. It kept evil spirits at a distance, it restored failing sight, it could unearth mysteries, and when it turned yellow its owner knew to a certainty that the woman he loved was false to him.

The ruby flashes through all Oriental romances. This stone banished sadness and sin. A serpent with a ruby in its mouth was considered an appropriate betrothal ring.

The most interesting ruby of history is set in the royal diadem of England. It is called the Black Prince’s ruby. In the days when the Moors ruled Granada, when both the men and the women of that race sparkled with gems, and even the ivory covers of their books were sometimes set with precious stones, the Spanish king, Don Pedro the Cruel, obtained this stone from a Moorish prince whom he had caused to be murdered.

It was given by Don Pedro to the Black Prince, and half a century later it glowed on the helmet of that most picturesque of England’s kings, Henry V, at the battle of Agincourt.

The Scotchman, Sir James Melville, saw this jewel during his famous visit to the Court of Elizabeth, when the Queen showed him some of the treasures in her cabinet, the most valued of these being the portrait of Leicester.

“She showed me a fair ruby like a great racket ball,” he says. “I desired she would send to my queen either this or the Earl of Leicester’s picture.” But Elizabeth cherished both the ruby and the portrait, so she sent Marie Stuart a diamond instead.

Poets have lavished their fancies upon the origin of the opal, but no one seems to know why it is considered unlucky. Women who laugh at superstitions of all kinds are afraid to wear an opal, and a certain jeweller at the head of one of the largest establishments in a great city has carried his fear to such a length that he will not keep one in his establishment—not only this, but it is said that he has even been known to throw an opal ring out of the window. The offending stone had been presented to his daughter, but this fact was not allowed to weigh against his superstition. It is understood when he entertains that none of his guests will wear opals, and this wish is faithfully respected.

The story goes that the opal was discovered at the same time that kissing was invented. A young shepherd on the hills of Greece found a pretty pebble one day, and wishing to give it to a beautiful shepherdess who stood near him, he let her take it from his lips with hers, as the hands of neither of them were clean.

Many a battle royal has been waged for the possession of a diamond, and several famous diamonds are known by name throughout the world. Among these are the Orloff, the Koh-i-noor, the Regent, the Real Paragon, and the Sanci, besides the enormous stone which was sent to King Edward from South Africa. This has been cut but not yet named.

The Orloff is perhaps the most brilliant of all the famous group. Tradition says that it was once one of the eyes of an Indian idol and was supposed to have been the origin of all light. A French grenadier of Pondicherry deserted his regiment, adopted the religion and manners of the Brahmans, worshipped at the shrine of the idol whose eyes were light itself, stole the brightest one, and escaped.

A sea captain bought it from him for ten thousand dollars and sold it to a Jew for sixty thousand dollars. An Armenian named Shafras bought it from the Jew, and after a time Count Orloff paid $382,500 for this and a title of Russian nobility.

He presented the wonderful refractor of light to the Empress Catherine who complimented Orloff by naming it after him. This magnificent stone, which weighs one hundred and ninety-five carats, now forms the apex of the Russian crown.

The Real Paragon was in 1861 the property of the Rajah of Mattan. It was then uncut and weighed three hundred and seven carats. The Governor of Batavia was very anxious to bring it to Europe. He offered the Rajah one hundred and fifty thousand dollars and two warships with their guns and ammunition, but the offer was contemptuously refused. Very little is known of its history. It is now owned by the Government of Portugal and is pledged as security for a very large sum of money.

It has been said that one could carry the Koh-i-noor in one end of a silk purse and balance it in the other end with a gold eagle and a gold dollar, and never feel the difference in weight, while the value of the gem in gold could not be transported in less than four dray loads!

Tradition says that Karna, King of Anga, owned it three thousand years ago. The King of Lahore, one of the Indies, heard that the King of Cabul, one of the lesser princes, had in his possession the largest and purest diamond in the world. Lahore invited Cabul to visit him, and when he had him in his power, demanded the treasure. Cabul, however, had suspected treachery, and brought an imitation of the Koh-i-noor. He of course expostulated, but finally surrendered the supposed diamond.

The lapidary who was employed to mount it pronounced it a piece of crystal, whereupon the royal old thief sent soldiers who ransacked the palace of the King of Cabul from top to bottom, in vain. At last, however, after a long search, a servant betrayed his master, and the gem was found in a pile of ashes.

After the annexation of the Punjab in 1849, the Koh-i-noor was given up to the British, and at a meeting of the Punjab Board was handed to John (afterward Lord) Lawrence who placed it in his waistcoat pocket and forgot the treasure. While at a public meeting some time later, he suddenly remembered it, hurried home and asked his servant if he had seen a small box which he had left in his waistcoat pocket.

“Yes, sahib,” the man replied; “I found it, and put in your drawer.”

 “Bring it here,” said Lawrence, and the servant produced it.

“Now,” said his master, “open it and see what it contains.”

The old native obeyed, and after removing the folds of linen, he said: “There is nothing here but a piece of glass.”

“Good,” said Lawrence, with a sigh of relief, “you can leave it with me.”

The Sanci diamond belonged to Charles the Bold, Duke of Burgundy, who wore it in his hat at the battle of Nancy, where he fell. A Swiss soldier found it and sold it for a gulden to a clergyman of Baltimore. It passed into the possession of Anton, King of Portugal, who was obliged to sell it, the price being a million francs.

It shortly afterward became the property of a Frenchman named Sanci, whose descendant being sent as an ambassador, was required by the King to give the diamond as a pledge. The servant carrying it to the King was attacked by robbers on the way and murdered, not, however, until he had swallowed the diamond. His master, feeling sure of his faithfulness, caused the body to be opened and found the gem in his stomach. This gem came into the possession of the Crown of England, and James II carried it with him to France in 1688.

From James it passed to his friend and patron, Louis XIV, and to his descendants, until the Duchess of Berry at the Restoration sold it to the Demidoffs for six hundred and twenty-five thousand francs.

It was worth a million and a half of francs when Prince Paul Demidoff wore it in his hat at a great fancy ball given in honour of Count Walewski, the Minister of Napoleon III—and lost it during the ball! Everybody was wild with excitement when the loss was announced—everybody but Prince Paul Demidoff. After an hour’s search the Sanci was found under a chair.

After more than two centuries, “the Regent is,” as Saint-Simon described it in 1717, “a brilliant, inestimable and unique.” Its density is rather higher than that of the usual diamond, and it weighs upwards of one hundred and thirty carats. This stone was found in India by a slave, who, to conceal it, made a wound in his leg and wrapped the gem in the bandages. Reaching the coast, he intrusted himself and his secret to an English captain, who took the gem, threw the slave overboard, and sold his ill-gotten gains to a native merchant for five thousand dollars.

It afterwards passed into the hands of Pitt, Governor of St. George, who sold it in 1717 to the Duke of Orleans, then Regent of France, for $675,000. Before the end of the eighteenth century the stone had more than trebled in worth, and we can only wonder what it ought to bring now with its “perfect whiteness, its regular form, and its absolute freedom from stain or flaw!”

The collection belonging to the Sultan of Turkey, which is probably the finest in the world, dates prior to the discovery of America, and undoubtedly came from Asia. One Turkish pasha alone left to the Empire at his death, seven table-cloths embroidered with diamonds, and bushels of fine pearls.

In the war with Russia, in 1778, Turkey borrowed $30,000,000 from the Ottoman Bank on the security of the crown jewels. The cashier of the bank was admitted to the treasure-chamber and was told to help himself until he had enough to secure his advances.

“I selected enough,” he says, “to secure the bank against loss in any event, but the removal of the gems I took made no appreciable gap in the accumulation.”

In the imperial treasury of the Sultan, the first room is the richest in notable objects. The most conspicuous of these is a great throne or divan of beaten gold, occupying the entire centre of the room, and set with precious stones: pearls, rubies, and emeralds, thousands of them, covering the entire surface in a geometrical mosaic pattern. This specimen of barbaric magnificence was part of the spoils of war taken from one of the shahs of Persia.

Much more interesting and beautiful, however, is another canopied throne or divan, placed in the upper story of the same building. This is a genuine work of old Turkish art which dates from some time during the second half of the sixteenth century. It is a raised square seat, on which the Sultan sat cross-legged. At each angle there rises a square vertical shaft supporting a canopy, with a minaret or pinnacle surmounted by a rich gold and jewelled finial. The entire height of the throne is nine or ten feet. The materials are precious woods, ebony, sandal-wood, etc., with shell, mother-of-pearl, silver, and gold.

The entire piece is decorated inside and out with a branching floriated design in mother-of-pearl marquetry, in the style of the fine early Persian painted tiles, and the centre of each of the principal leaves and flowers is set with splendid cabochon gems, fine balass rubies, emeralds, sapphires, and pearls.

Pendant from the roof of the canopy, and in a position which would be directly over the head of the Sultan, is a golden cord, on which is hung a large heart-shaped ornament of gold, chased and perforated with floriated work, and beneath it hangs a huge uncut emerald of fine colour, but of triangular shape, four inches in diameter, and an inch and a half thick.

Richly decorated arms and armour form a conspicuous feature of the contents of all three of these rooms. The most notable work in this class in the first apartment is a splendid suit of mixed chain and plate mail, wonderfully damascened and jewelled, worn by Sultan Murad IV, in 1638, at the taking of Bagdad.

Near to it is a scimetar, probably a part of the panoply of the same monarch. Both the hilt and the greater part of the broad scabbard of this weapon are incrusted with large table diamonds, forming checkerwork, all the square stones being regularly and symmetrically cut, of exactly the same size—upward of half an inch across. There are many other sumptuous works of art which are similarly adorned.

Rightfully first among the world’s splendid coronets stands the State Crown of England. It was made in 1838 with jewels taken from old crowns and others furnished by command of the Queen.

It consists of diamonds, pearls, rubies, sapphires, and emeralds, set in silver and gold. It has a crimson velvet cap with ermine border; it is lined with white silk and weighs about forty ounces. The lower part of the band above the ermine border consists of a row of one hundred and ninety-nine pearls, and the upper part of this band has one hundred and twelve pearls, between which, in the front of the crown, is a large sapphire which was purchased for it by George IV.

At the back is a sapphire of smaller size and six others, three on each side, between which are eight emeralds. Above and below the sapphires are fourteen diamonds, and around the eight emeralds are one hundred and twenty-eight diamonds. Between the emeralds and sapphires are sixteen ornaments, containing one hundred and sixty diamonds. Above the band are eight sapphires, surmounted by eight diamonds, between which are eight festoons, consisting of one hundred and forty-eight diamonds.

In the front of the crown and in the centre of a diamond Maltese cross is the famous ruby of the Black Prince. Around this ruby to form the cross are seventy-five brilliant diamonds. Three other Maltese crosses, forming the two sides and back of the crown, have emerald centres, and each contains between one and two hundred brilliant diamonds. Between the four Maltese crosses are four ornaments in the form of the French fleur-de-lis, with four rubies in the centre, and surrounded by rose diamonds.

From the Maltese crosses issue four imperial arches, composed of oak leaves and acorns embellished with hundreds of magnificent jewels. From the upper part of the arches are suspended four large pendant pear-shaped pearls, with rose diamond caps. Above the arch stands the mound, thickly set with brilliants. The cross on the summit has a rose cut sapphire in the centre, surrounded by diamonds.

A gem is said to represent “condensed wealth,” and it is also condensed history. The blood of a ruby, the faint moonlight lustre of a pearl, the green glow of an emerald, and the dazzling white light of a diamond—in what unfailing magic lies their charm? Tiny bits of crystal as they appear to be—even the Orloff diamond could be concealed in a child’s hand—yet kings and queens have played for stakes like these. Battle and murder have been done for them, honour bartered and kingdoms lost, but the old magic beauty never fades, and to-day, as always, sin and beauty, side, by side, are mirrored in the flash of a jewel.

Wednesday 26 April 2023

Good Reading: "The Boy Who Wanted to Learn Witchcraft" by Ludwig Bechstein (translated into English)

 

There was once a boy who had heard so much about witchcraft that he wanted to learn it. But those he asked about it said they did not know it and did not want to know it either. The boy went alone into a dark forest and called out loud several times, "Who will teach me the craft of witches?" An echo sounded back from deep within the forest, "Witches . . . witches."

After a while came an old, little woman crawling through the bushes. She had not one tooth left in her mouth, and her eyes were awfully red. Her back was bent, her hair was white and in tangles that moved friskly in the wind. Her voice sounded like the white bird that cries, "Come, come!" And that was just what she said as she beckoned him to follow her and learn witchcraft.

The boy followed, and she led him deeper and deeper into the forest. At last they came to a marshy bog where there were alder trees and a ramshacle old cottage. The cottage walls were made of peat, with moss pressed into the space between some of pieces of peat. The roof was thatched with reeds. Inside the cottage was a pretty young girl, Liz. The old woman did not say whether it was her daughter or her granddaughter or who she was. There were three large toads there too. In the cauldron that hung over the hearth was a dark broth with meat bones from a hare or something in it.

The woman put one of the toads outside the door to keep watch. The second toad was sent up in the attic to prepare a bed for the boy, the third toad was placed on the table to give light. This toad did its best, but although its green eyes glowed somewhat, it was less than the light of a glowworm.

Then the old woman and Liz ate their supper out of the cauldron, and offered some of the broth to the boy, but he could not touch it. He excused himself and said he was very tired and needed to sleep, so the old woman told him a straw bed was ready for him upstairs. He soon fell asleep on the bed, thinking that next morning he would start learning witchcraft, and that it would be very nice if Liz would give him lessons.

But downstairs the old witch whispered to the girl: "Another prisoner - Wake me up very early tomorrow morning, before the sun rises, for then we will deal with him further, all the way to the pot of broth."

Now they both went to bed, but Liz could not sleep, for she felt so sorry for the handsome boy that the witch wanted to kill while he was asleep. She got up from her bed and stood beside his, gazing at him. He looked like a sleeping angel. Liz detested that she had to serve the old witch who had stolen her from her parents long ago, when she was a little child. The witch had carried her off into the forest. There Liz had learned witchcraft, she too, so she knew how to fly through the air; become invisible; and change her shape as she wanted.

As she stood beside his bed and looked at him, she came to feel so deeply for him that she wanted to save him from the old witch if she could. So she woke him gently, and whispered, "Get up, dear, and follow me! Only death is in store for you here!"

"Won't I learn witchcraft here?" asked the boy, Fredrick.

"It would be better for you never to learn it," answered Liz. "In any case, you do not have time for it here andnow. Escape as fast as you can, and I will come along with you!"

"With you I will do it," said the boy, "I do not want to stay with the nasty old woman and the three toads."

"Come, then!" said Liz and quietly opened the cottage door after she had checked that the old woman was asleep. It was in the middle of the night, and some hours until early morning. While the old witch was asleep, Liz and Fredrick could slip away unnoticed. As Liz walked over the threshold she spat on it for some reason, and then they both ran away.

When they opened and closed the door to the cottage, the door made a little noise. The old woman woke up and called, "Liz! Get up! I think it will be day soon!"

Liz had put a spell on the spittle on the threshold, and the spittle answered the witch, "I'm up already!"

The old woman laid down again, as the fleeing couple hurried away from the cottage as fast as their legs could carry them. But the old woman could not go to sleep again, and some time later she called again, "Liz, is the fire on the hearth burning?"

The spittle on the threshold answered, "No. I have not blown up the fire."

The old woman stayed in bed a little longer while the boy and girl ran farther and farther away from the hut. Meanwhile the sun rose, and the old woman who had dozed off at that time, woke up and got out of bed, calling for Liz, "The sun is rising and you never woke me! Where are you?"

The witch got no answer, for by this time the sun had dried the spittle on the threshold. The witch hurried to find her, first inside the house and then outside. The boy was gone and Liz was gone also. The cottage was not swept and there was no wood burning on the hearth. The old woman got angry, grasped a broomstick and ran out of the house. Well outside, she struck at the door with the broomstick, and the house became invisible. And when she stepped on a puffball, a cloud of spores rose. Then she sat down on her broomstick and travelled through the air in that cloud. From above she could see the footprints of the fleeing couple, and speeded in their direction.

But Liz kept looking around and behind her shoulders, for she knew what the old witch was capable of doing. She said to Fredrick: "Do you see that brown cloud high in the sky behind us? It is the witch. Now it is no use running further, for she will catch up with us soon. I will have to try to outwit her. I will change into a sloe, and you will be a berry on the bush." In the wink of an eye Liz was a sloe with many berries, and the berry furthest down on the bush ws Fredrick.

The flying got thirsty, and when she saw the sloe she said to herself, "The air is so dry today. But here is a fine sloe! I will fly down to it and have some berries!" This she did. She plucked one berry after another until just one berry was left, and that berry was Fredrick. The old woman reached for the last berry many times, but there were so many thorns around it, and they pricked her thin fingers. She did not give up anyway.

But while she kept groping for the last berry among the thorns, it fell off and rolled downwards in the grass. Suddenly the sloe bush changed into a lake and the berre fell into the lake and became a duck. It was all through the magic that Liz had learned from the old woman. Then the old witch threw one of her slippers up in the air, and the slipper changed into a bird of prey that swooped down on the duck. But the duck dived quickly, and as soon as the beak of the bird of prey touched the water, it was hit by a wave that suddenly rose, dragged it down into the deep and drowned it. And then the duck came up again to the surface water-

The furious witch threw her second slipper into the water, and this slipper turned into a crocodile that swam after the duck to eat him. In response the duck flew into the air and settled again in another place in the lake, but the water around the crocodile's jaws turned into stone, so that the crocodile became too heavy to swim, sank and drowned too.

Now the old witch lay down at the water's edge. She wanted to drink up the water, for without it, the duck would not have a chance to escape but turn into a boy again. But the water the old woman drank turned to fire inside her, and she burst with a loud clap.

The duck changed into a boy again, and the fire turned back into Liz. They walked hand in hand to the house where the boy lived, and stayed there until they were grown up. Then they got married and lived happily together.

Tuesday 25 April 2023

Tuesday's Serial: “Le Fantôme de l'Opéra” By Gaston Leroux (in French) - I

AVANT-PROPOS - Où l'auteur de ce singulier ouvrage raconte au lecteur comment il fut conduit à acquérir la certitude que le fantôme de l'Opéra a réellement existé

Le fantôme de l'Opéra a existé. Ce ne fut point, comme on l'a cru longtemps, une inspiration d'artistes, une superstition de directeurs, la création falote des cervelles excitées de ces demoiselles du corps de ballet, de leurs mères, des ouvreuses, des employés du vestiaire et de la concierge.

Oui, il a existé, en chair et en os, bien qu'il se donnât toutes les apparences d'un vrai fantôme, c'est-à-dire d'une ombre.

J'avais été frappé dès l'abord que je commençai de compulser les archives de l'Académie nationale de musique par la coïncidence surprenante des phénomènes attribués au fantôme, et du plus mystérieux, du plus fantastique des drames et je devais bientôt être conduit à cette idée que l'on pourrait peut-être rationnellement expliquer celui-ci par celui-là. Les événements ne datent guère que d'une trentaine d'années et il ne serait point difficile de trouver encore aujourd'hui, au foyer même de la danse, des vieillards fort respectables, dont on ne saurait mettre la parole en doute, qui se souviennent comme si la chose datait d'hier, des conditions mystérieuses et tragiques qui accompagnèrent l'enlèvement de Christine Daaé, la disparition du vicomte de Chagny et la mort de son frère aîné le comte Philippe, dont le corps fut trouvé sur la berge du lac qui s'étend dans les dessous de l'Opéra, du côté de la rue Scribe. Mais aucun de ces témoins n'avait cru jusqu'à ce jour devoir mêler à cette affreuse aventure le personnage plutôt légendaire du fantôme de l'Opéra.

La vérité fut lente à pénétrer mon esprit troublé par une enquête qui se heurtait à chaque instant à des événements qu'à première vue on pouvait juger extra-terrestres, et, plus d'une fois, je fus tout près d'abandonner une besogne où je m'exténuais à poursuivre,—sans la saisir jamais,—une vaine image. Enfin, j'eus la preuve que mes pressentiments ne m'avaient point trompé et je fus récompensé de tous mes efforts le jour où j'acquis la certitude que le fantôme de l'Opéra avait été plus qu'une ombre.

Ce jour-là, j'avais passé de longues heures en compagnie des «Mémoires d'un directeur», œuvre légère de ce trop sceptique Moncharmin qui ne comprit rien, pendant son passage à l'Opéra, à la conduite ténébreuse du fantôme, et qui s'en gaussa tant qu'il put, dans le moment même qu'il était la première victime de la curieuse opération financière qui se passait à l'intérieur de «l'enveloppe magique».

Désespéré, je venais de quitter la bibliothèque quand je rencontrai le charmant administrateur de notre Académie nationale, qui bavardait sur un palier avec un petit vieillard vif et coquet, auquel il me présenta allègrement. M. l'administrateur était au courant de mes recherches et savait avec quelle impatience j'avais en vain tenté de découvrir la retraite du juge d'instruction de la fameuse affaire Chagny, M. Faure. On ne savait ce qu'il était devenu, mort ou vivant; et voilà que, de retour du Canada, où il venait de passer quinze ans, sa première démarche à Paris avait été pour venir chercher un fauteuil de faveur au secrétariat de l'Opéra. Ce petit vieillard était M. Faure lui-même.

Nous passâmes une bonne partie de la soirée ensemble et il me raconta toute l'affaire Chagny telle qu'il l'avait comprise jadis. Il avait dû conclure, faute de preuves, à la folie du vicomte et à la mort accidentelle du frère aîné, mais il restait persuadé qu'un drame terrible s'était passé entre les deux frères à propos de Christine Daaé. Il ne sut me dire ce qu'était devenue Christine, ni le vicomte. Bien entendu, quand je lui parlai du fantôme, il ne fit qu'en rire. Lui aussi avait été mis au courant des singulières manifestations qui semblaient alors attester l'existence d'un être exceptionnel ayant élu domicile dans un des coins les plus mystérieux de l'Opéra et il avait connu l'histoire de «l'enveloppe», mais il n'avait vu dans tout cela rien qui pût retenir l'attention d'un magistrat chargé d'instruire l'affaire Chagny, et c'est tout juste s'il avait écouté quelques instants la déposition d'un témoin qui s'était spontanément présenté pour affirmer qu'il avait eu l'occasion de rencontrer le fantôme. Ce personnage—le témoin—n'était autre que celui que le Tout-Paris appelait «le Persan» et qui était bien connu de tous les abonnés de l'Opéra. Le juge l'avait pris pour un illuminé.

Vous pensez si je fus prodigieusement intéressé par cette histoire du Persan. Je voulus retrouver, s'il en était temps encore, ce précieux et original témoin. Ma bonne fortune reprenant le dessus, je parvins à le découvrir dans son petit appartement de la rue de Rivoli, qu'il n'avait point quitté depuis l'époque et où il allait mourir cinq mois après ma visite.

Tout d'abord, je me méfiai; mais quand le Persan m'eut raconté, avec une candeur d'enfant, tout ce qu'il savait personnellement du fantôme et qu'il m'eut remis en toute propriété les preuves de son existence et surtout l'étrange correspondance de Christine Daaé, correspondance qui éclairait d'un jour si éblouissant son effrayant destin, il ne me fut plus possible de douter! Non! non! Le fantôme n'était pas un mythe!

Je sais bien que l'on m'a répondu que toute cette correspondance n'était peut-être point authentique et qu'elle pouvait avoir été fabriquée de toutes pièces par un homme, dont l'imagination avait été certainement nourrie des contes les plus séduisants, mais il m'a été possible, heureusement, de trouver de l'écriture de Christine en dehors du fameux paquet de lettres et, par conséquent, de me livrer à une étude comparative qui a levé toutes mes hésitations.

Je me suis également documenté sur le Persan et ainsi j'ai apprécié en lui un honnête homme incapable d'inventer une machination qui eût pu égarer la justice.

C'est l'avis du reste des plus grandes personnalités qui ont été mêlées de près ou de loin à l'affaire Chagny, qui ont été les amis de la famille et auxquelles j'ai exposé tous mes documents et devant lesquelles j'ai déroulé toutes mes déductions. J'ai reçu de ce côté les plus nobles encouragements et je me permettrai de reproduire à ce sujet quelques lignes qui m'ont été adressées par le général D...

 

«Monsieur,

 

«Je ne saurais trop vous inciter à publier les résultats de votre enquête. Je me rappelle parfaitement que quelques semaines avant la disparition de la grande cantatrice Christine Daaé et le drame qui a mis en deuil tout le faubourg Saint-Germain, on parlait beaucoup, au foyer de la danse, du fantôme, et je crois bien que l'on n'a cessé de s'en entretenir qu'à la suite de cette affaire qui occupait tous les esprits; mais s'il est possible, comme je le pense après vous avoir entendu, d'expliquer le drame par le fantôme, je vous en prie, Monsieur, reparlez-nous du fantôme. Si mystérieux que celui-ci puisse tout d'abord apparaître, il sera toujours plus explicable que cette sombre histoire où des gens malintentionnés ont voulu voir se déchirer jusqu'à la mort deux frères qui s'adorèrent toute leur vie...

 

«Croyez bien, etc...»

 

Enfin, mon dossier en mains, j'avais parcouru à nouveau le vaste domaine du fantôme, le formidable monument dont il avait fait son empire, et tout ce que mes yeux avaient vu, tout ce que mon esprit avait découvert corroborait admirablement les documents du Persan, quand une trouvaille merveilleuse vint couronner d'une façon définitive mes travaux.

On se rappelle que dernièrement, en creusant le sous-sol de l'Opéra, pour y enterrer les voix phonographiées des artistes, le pic des ouvriers a mis à nu un cadavre; or, j'ai eu tout de suite la preuve que ce cadavre était celui du Fantôme de l'Opéra! J'ai fait toucher cette preuve, de la main, à l'administrateur lui-même, et maintenant, il m'est indifférent que les journaux racontent qu'on a trouvé là une victime de la Commune.

Les malheureux qui ont été massacrés, lors de la Commune, dans les caves de l'Opéra, ne sont point enterrés de ce côté; je dirai où l'on peut retrouver leurs squelettes, bien loin de cette crypte immense où l'on avait accumulé, pendant le siège, toutes sortes de provisions de bouche. J'ai été mis sur cette trace en recherchant justement les restes du fantôme de l'Opéra, que je n'aurais pas retrouvés sans ce hasard inouï de l'ensevelissement des voix vivantes!

Mais nous reparlerons de ce cadavre et de ce qu'il convient d'en faire; maintenant, il m'importe de terminer ce très nécessaire avant-propos en remerciant les trop modestes comparses qui, tel M. le commissaire de police Mifroid (jadis appelé aux premières constatations lors de la disparition de Christine Daaé), tels encore M. l'ancien secrétaire Rémy, M. l'ancien administrateur Mercier, M. l'ancien chef de chant Gabriel, et plus particulièrement Mme la baronne de Castelot-Barbezac, qui fut autrefois «la petite Meg» (et qui n'en rougit pas), la plus charmante étoile de notre admirable corps de ballet, la fille aînée de l'honorable Mme Giry—ancienne ouvreuse décédée de la loge du Fantôme—me furent du plus utile secours et grâce auxquels je vais pouvoir, avec le lecteur, revivre, dans leurs plus petits détails, ces heures de pur amour et d'effroi[1].

 

[1]Je serais un ingrat si je ne remerciais également sur le seuil de cette effroyable et véridique histoire, la direction actuelle de l'Opéra, qui s'est prêtée si aimablement à toutes mes investigations, et en particulier M. Messager; aussi le très sympathique administrateur M. Gabion et le très aimable architecte attaché à la bonne conservation du monument, qui n'a point hésité à me prêter les ouvrages de Charles Garnier, bien qu'il fût à peu près sûr que je ne les lui rendrais point. Enfin, il me reste à reconnaître publiquement la générosité de mon ami et ancien collaborateur M. J.-L. Croze, qui m'a permis de puiser dans son admirable bibliothèque théâtrale et de lui emprunter des éditions uniques auxquelles il tenait beaucoup.—G. L.

 

 

I - EST-CE LE FANTÔME?

Ce soir-là, qui était celui où MM. Debienne et Poligny, les directeurs démissionnaires de l'Opéra, donnaient leur dernière soirée de gala, à l'occasion de leur départ, la loge de la Sorelli, un des premiers sujets de la danse, était subitement envahie par une demi-douzaine de ces demoiselles du corps de ballet qui remontaient de scène après avoir «dansé» Polyeucte. Elles s'y précipitèrent dans une grande confusion, les unes faisant entendre des rires excessifs et peu naturels, et les autres des cris de terreur.

La Sorelli, qui désirait être seule un instant pour «repasser» le compliment qu'elle devait prononcer tout à l'heure au foyer devant MM. Debienne et Poligny, avait vu avec méchante humeur toute cette foule étourdie se ruer derrière elle. Elle se retourna vers ses camarades et s'inquiéta d'un aussi tumultueux émoi. Ce fut la petite Jammes,—le nez cher à Grévin, des yeux de myosotis, des joues de roses, une gorge de lys,—qui en donna la raison en trois mots, d'une voix tremblante qu'étouffait l'angoisse:

—C'est le fantôme!

Et elle ferma la porte à clef. La loge de la Sorelli était d'une élégance officielle et banale. Une psyché, un divan, une toilette et des armoires en formaient le mobilier nécessaire. Quelques gravures sur les murs, souvenirs de la mère, qui avait connu les beaux jours de l'ancien Opéra de la rue Le Peletier. Des portraits de Vestris, de Gardel, de Dupont, de Bigottini. Cette loge paraissait un palais aux gamines du corps de ballet, qui étaient logées dans des chambres communes, où elles passaient leur temps à chanter, à se disputer, à battre les coiffeurs et les habilleuses et à se payer des petits verres de cassis ou de bière ou même de rhum jusqu'au coup de cloche de l'avertisseur.

La Sorelli était très superstitieuse. En entendant la petite Jammes parler du fantôme, elle frissonna et dit:

—Petite bête!

Et comme elle était la première, à croire aux fantômes en général et à celui de l'Opéra en particulier, elle voulut tout de suite être renseignée.

—Vous l'avez vu? interrogea-t-elle.

—Comme je vous vois! répliqua en gémissant la petite Jammes, qui, ne tenant plus sur ses jambes, se laissa tomber sur une chaise.

Et aussitôt la petite Giry,—des jeux pruneaux, des cheveux d'encre, un teint de bistre, sa pauvre petite peau sur ses pauvres petits os,—ajouta:

—Si c'est lui, il est bien laid!

—Oh! oui, fit le chœur des danseuses.

Et elles parlèrent toutes ensemble. Le fantôme leur était apparu sous les espèces d'un monsieur en habit noir qui s'était dressé tout à coup devant elles, dans le couloir, sans qu'on pût savoir d'où il venait. Son apparition avait été si subite qu'on eût pu croire qu'il sortait de la muraille.

—Bah! fit l'une d'elles qui avait à peu près conservé son sang-froid, vous voyez le fantôme partout.

Et c'est vrai que, depuis quelques mois, il n'était question à l'Opéra que de ce fantôme en habit noir qui se promenait comme une ombre, du haut en bas du bâtiment, qui n'adressait la parole à personne, à qui personne n'osait parler et qui s'évanouissait, du reste, aussitôt qu'on l'avait vu, sans qu'on pût savoir par où ni comment. Il ne faisait pas de bruit en marchant, ainsi qu'il sied à un vrai fantôme. On avait commencé par en rire et par se moquer de ce revenant habillé comme un homme du monde ou comme un croque-mort, mais la légende du fantôme avait bientôt pris des proportions colossales dans le corps de ballet. Toutes prétendaient avoir rencontré plus ou moins cet être extra-naturel et avoir été victimes de ses maléfices. Et celles qui en riaient le plus fort n'étaient point les plus rassurées. Quand il ne se laissait point voir, il signalait sa présence ou son passage par des événements drolatiques ou funestes dont la superstition quasi générale le rendait responsable. Avait-on à déplorer un accident, une camarade avait-elle fait une niche à l'une de ces demoiselles du corps du ballet, une houppette à poudre de riz était-elle perdue? Tout était de la faute du fantôme, du fantôme de l'Opéra!

Au fond, qui l'avait vu? On peut rencontrer tant d'habits noirs à l'Opéra qui ne sont pas des fantômes. Mais celui-là avait une spécialité que n'ont point tous les habits noirs. Il habillait un squelette.

Du moins, ces demoiselles le disaient.

Et il avait, naturellement, une tête de mort.

Tout cela était-il sérieux? La vérité est que l'imagination du squelette était née de la description qu'avait faite du fantôme, Joseph Buquet, chef machiniste, qui, lui, l'avait réellement vu. Il s'était heurté,—on ne saurait dire «nez à nez», car le fantôme n'en avait pas,—avec le mystérieux personnage dans le petit escalier qui, près de la rampe, descend directement aux «dessous». Il avait eu le temps de l'apercevoir une seconde,—car le fantôme s'était enfui,—et avait conservé un souvenir ineffaçable de cette vision.

Et voici ce que Joseph Buquet a dit du fantôme à qui voulait l'entendre:

«Il est d'une prodigieuse maigreur et son habit noir flotte sur une charpente squelettique. Ses yeux sont si profonds qu'on ne distingue pas bien les prunelles immobiles. On ne voit, en somme, que deux grands trous noirs comme aux crânes des morts. Sa peau, qui est tendue sur l'ossature comme une peau de tambour, n'est point blanche, mais vilainement jaune; son nez est si peu de chose qu'il est invisible de profil, et l'absence de ce nez est une chose horrible à voir. Trois ou quatre longues mèches brunes sur le front et derrière les oreilles font office de chevelure.»

En vain Joseph Buquet avait-il poursuivi cette étrange apparition. Elle avait disparu comme par magie et il n'avait pu retrouver sa trace.

Ce chef machiniste était un homme sérieux, rangé, d'une imagination lente, et il était sobre. Sa parole fut écoutée avec stupeur et intérêt, et aussitôt il se trouva des gens pour raconter qu'eux aussi avaient rencontré un habit noir avec une tête de mort.

Les personnes sensées qui eurent vent de cette histoire affirmèrent d'abord que Joseph Buquet avait été victime d'une plaisanterie d'un de ses subordonnés. Et puis, il se produisit coup sur coup des incidents si curieux et si inexplicables que les plus malins commencèrent à se tourmenter.

Un lieutenant de pompiers, c'est brave! Ça ne craint rien, ça ne craint surtout pas le feu!

Eh bien! le lieutenant de pompiers en question[2], qui s'en était allé faire un tour de surveillance dans les dessous et qui s'était aventuré, paraît-il, un peu plus loin que de coutume, était soudain réapparu sur le plateau, pâle, effaré, tremblant, les yeux hors des orbites, et s'était quasi évanoui dans les bras de la noble mère de la petite Jammes. Et pourquoi? Parce qu'il avait vu s'avancer vers lui, à hauteur de tête, mais sans corps, une tête de feu! Et je le répète, un lieutenant de pompiers, ça ne craint pas le feu.

Ce lieutenant de pompiers s'appelait Papin.

Le corps de ballet fut consterné. D'abord cette tête de feu ne répondait nullement à la description qu'avait donnée du fantôme Joseph Buquet. On questionna bien le pompier, on interrogea à nouveau le chef machiniste, à la suite de quoi ces demoiselles furent persuadées que le fantôme avait plusieurs têtes dont il changeait comme il voulait? Naturellement, elles imaginèrent aussitôt qu'elles couraient les plus grands dangers. Du moment qu'un lieutenant de pompiers n'hésitait pas à s'évanouir, coryphées et rats pouvaient invoquer bien des excuses à la terreur qui les faisait se sauver de toutes leurs petites pattes quand elles passaient devant quelque trou obscur d'un corridor mal éclairé.

Si bien que, pour protéger dans la mesure du possible le monument voué à d'aussi horribles maléfices, la Sorelli elle-même, entourée de toutes les danseuses et suivie même de toute la marmaille des petites classes en maillot, avait,—au lendemain de l'histoire du lieutenant de pompiers,—sur la table qui se trouve dans le vestibule du concierge, du côté de la cour de l'administration, déposé un fer à cheval que quiconque pénétrant dans l'Opéra, à un autre titre que celui de spectateur, devait toucher avant de mettre le pied sur la première marche de l'escalier. Et cela sous peine de devenir la proie de la puissance occulte qui s'était emparée du bâtiment, des caves au grenier!

Ce fer à cheval comme toute cette histoire, du reste,—hélas!—je ne l'ai point inventé, et l'on peut encore aujourd'hui le voir sur la table du vestibule, devant la loge du concierge, quand on entre dans l'Opéra par la cour de l'administration.

Voilà qui donne assez rapidement un aperçu de l'état d'âme de ces demoiselles, le soir où nous pénétrons avec elles dans la loge de la Sorelli.

—C'est le fantôme! s'était donc écriée la petite Jammes.

Et l'inquiétude des danseuses n'avait fait que grandir. Maintenant, un angoissant silence régnait dans la loge. On n'entendait plus que le bruit des respirations haletantes. Enfin, Jammes s'étant jetée avec les marques d'un sincère effroi jusque dans le coin le plus reculé de la muraille, murmura ce seul mot:

—Écoutez!

Il semblait, en effet, à tout le monde qu'un frôlement se faisait entendre derrière la porte. Aucun bruit de pas. On eût dit d'une soie légère qui glissait sur le panneau. Puis, plus rien. La Sorelli tenta de se montrer moins pusillanime que ses compagnes. Elle s'avança vers la porte, et demanda d'une voix blanche:

—Qui est là?

Mais personne ne lui répondit.

Alors, sentant sur elle tous les yeux qui épiaient ses moindres gestes, elle se força à être brave et dit très fort:

—Il y a quelqu'un derrière la porte?

—Oh! oui! Oui! certainement, il y a quelqu'un derrière la porte! répéta ce petit pruneau sec de Meg Giry, qui retint héroïquement la Sorelli par sa jupe de gaze... Surtout, n'ouvrez pas! Mon Dieu, n'ouvrez pas!

Mais la Sorelli, armée d'un stylet qui ne la quittait jamais, osa tourner la clef dans la serrure, et ouvrir la porte, pendant que les danseuses reculaient jusque dans le cabinet de toilette et que Meg Giry soupirait:

—Maman! maman!

La Sorelli regarda dans le couloir, courageusement. Il était désert; un papillon de feu, dans sa prison de verre, jetait une lueur rouge et louche au sein des ténèbres ambiantes, sans parvenir à les dissiper. Et la danseuse referma vivement la porte avec un gros soupir.

—Non, dit-elle, il n'y a personne!

—Et pourtant, nous l'avons bien vu! affirma encore Jammes en reprenant à petits pas craintifs sa place auprès de la Sorelli. Il doit être quelque part, par là, à rôder. Moi, je ne retourne point m'habiller. Nous devrions descendre toutes au foyer, ensemble, tout de suite, pour le «compliment», et nous remonterions ensemble.

Là-dessus, l'enfant toucha pieusement le petit doigt de corail qui était destiné à la conjurer du mauvais sort. Et la Sorelli dessina, à la dérobée, du bout de l'ongle rose de son pouce droit, une croix de Saint-André sur la bague en bois qui cerclait l'annulaire de sa main gauche.

 

«La Sorelli, a écrit un chroniqueur célèbre, est une danseuse grande, belle, au visage grave et voluptueux, à la taille aussi souple qu'une branche de saule; on dit communément d'elle que c'est «une belle créature». Ses cheveux blonds et purs comme l'or couronnent un front mat au-dessous duquel s'enchâssent deux yeux d'émeraude. Sa tête se balance mollement comme une aigrette sur un cou long, élégant et fier. Quand elle danse, elle a un certain mouvement de hanches indescriptible, qui donne à tout son corps un frissonnement d'ineffable langueur. Quand elle lève les bras et se penche pour commencer une pirouette, accusant ainsi tout le dessin du corsage, et que l'inclinaison du corps fait saillir la hanche de cette délicieuse femme, il paraît que c'est un tableau à se brûler la cervelle.»

 

En fait de cervelle, il paraît avéré qu'elle n'en eut guère. On ne le lui reprochait point.

Elle dit encore aux petites danseuses:

—Mes enfants, il faut vous «remettre»!... Le fantôme? Personne ne l'a peut-être-jamais vu!...

—Si! si! Nous l'avons vu!... nous l'avons vu tout à l'heure! reprirent les petites. Il avait la tête de mort et son habit, comme le soir où il est apparu à Joseph Buquet!

—Et Gabriel aussi l'a vu! fit Jammes... pas plus tard qu'hier! hier dans l'après-midi... en plein jour...

—Gabriel, le maître de chant?

—Mais oui... Comment! vous ne savez pas ça?

—Et il avait son habit, en plein jour?

—Qui ça? Gabriel?

—Mais non! Le fantôme?

—Bien sûr, qu'il avait son habit! affirma Jammes. C'est Gabriel lui-même qui me l'a dit... C'est même à ça qu'il l'a reconnu. Et voici comment ça s'est passé. Gabriel se trouvait dans le bureau du régisseur. Tout à coup, la porte s'est ouverte. C'était le Persan qui entrait. Vous savez si le Persan a le «mauvais œil».

—Oh! oui! répondirent en chœur les petites danseuses qui, aussitôt qu'elles eurent évoqué l'image du Persan, firent des cornes au Destin avec leur index et leur auriculaire allongés, cependant que le médium et l'annulaire étaient repliés sur la paume et retenus par le pouce.

—... Et si Gabriel est superstitieux! continua Jammes, cependant il est toujours poli et quand il voit le Persan, il se contente de mettre tranquillement sa main dans sa poche et de toucher ses clefs... Eh bien! aussitôt que la porte s'est ouverte devant le Persan, Gabriel ne fit qu'un bond du fauteuil où il était assis jusqu'à la serrure de l'armoire, pour toucher du fer! Dans ce mouvement, il déchira à un clou tout un pan de son paletot. En se pressant pour sortir, il alla donner du front contre une patère et se fit une bosse énorme; puis, en reculant brusquement, il s'écorcha le bras au paravent, près du piano; il voulut s'appuyer au piano, mais si malheureusement que le couvercle lui retomba sur les mains et lui écrasa les doigts; il bondit comme un fou hors du bureau et enfin prit si mal son temps en descendant l'escalier qu'il dégringola sur les reins toutes les marches du premier étage. Je passais justement à ce moment-là avec maman. Nous nous sommes précipitées pour le relever. Il était tout meurtri et avait du sang plein la figure, que ça nous en faisait peur. Mais tout de suite il s'est mis à nous sourire et à s'écrier: «Merci, mon Dieu! d'en être quitte pour si peu!» Alors, nous l'avons interrogé et il nous a raconté toute sa peur. Elle lui était venue de ce qu'il avait aperçu, derrière le Persan, le fantôme! le fantôme avec la tête de mort, comme l'a décrit Joseph Buquet.

Un murmure effaré salua la fin de cette histoire au bout de laquelle Jammes arriva tout essoufflée, tant elle l'avait narrée vite, vite, comme si elle était poursuivie par le fantôme. Et puis, il y eut encore un silence qu'interrompit, à mi-voix, la petite Giry, pendant que, très émue, la Sorelli se polissait les ongles.

—Joseph Buquet ferait mieux de se taire, énonça le pruneau.

—Pourquoi donc qu'il se tairait? lui demanda-t-on.

—C'est l'avis de m'man... répliqua Meg, tout à fait à voix basse, cette fois-ci, et en regardant autour d'elle comme si elle avait peur d'être entendue d'autres oreilles que de celles qui se trouvaient là.

—Et pourquoi que c'est l'avis de ta mère?

—Chut! M'man dit que le fantôme n'aime pas qu'on l'ennuie!

—Et pourquoi qu'elle dit ça, ta mère?

—Parce que... Parce que... rien...

Cette réticence savante eut le don d'exaspérer la curiosité de ces demoiselles, qui se pressèrent autour de la petite Giry et la supplièrent de s'expliquer. Elles étaient là, coude à coude, penchées dans un même mouvement de prière et d'effroi. Elles se communiquaient leur peur, y prenant un plaisir aigu qui les glaçait.

—J'ai juré de ne rien dire! fit encore Meg, dans un souffle.

Mais elles ne lui laissèrent point de repos et elles promirent si bien le secret que Meg, qui brûlait de désir de raconter ce qu'elle savait, commença, les yeux fixés sur la porte:

—Voilà... c'est à cause de la loge...

—Quelle loge?

—La loge du fantôme!

—Le fantôme a une loge?

À cette idée que le fantôme avait sa loge, les danseuses ne purent contenir la joie funeste de leur stupéfaction. Elles poussèrent de petits soupirs. Elles dirent:

—Oh! mon Dieu! raconte... raconte...

—Plus bas! commanda Meg. C'est la première loge, numéro 5, vous savez bien, la première loge à côté de l'avant-scène de gauche.

—Pas possible!

—C'est comme je vous le dis... C'est m'man qui en est l'ouvreuse... Mais vous me jurez bien de ne rien raconter?

—Mais oui, va!...

—Eh bien! c'est la loge du fantôme... Personne n'y est venu depuis plus d'un mois, excepté le fantôme, bien entendu, et on a donné l'ordre à l'administration de ne plus jamais la louer...

—Et c'est vrai que le fantôme y vient?

—Mais oui...

—Il y vient donc quelqu'un?

—Mais non!... Le fantôme y vient et il n'y a personne.

Les petites danseuses se regardèrent. Si le fantôme venait dans la loge, on devait le voir, puisqu'il avait un habit noir et une tête de mort. C'est ce qu'elles firent comprendre à Meg, mais celle-ci leur répliqua:

—Justement! On ne voit pas le fantôme! Et il n'a ni habit ni tête!... Tout ce qu'on a raconté sur sa tête de mort et sur sa tête de feu, c'est des blagues! Il n'a rien du tout... On l'entend seulement quand il est dans la loge. M'man ne l'a jamais vu, mais elle l'a entendu. M'man le sait bien, puisque c'est elle qui lui donne le programme!

La Sorelli crut devoir intervenir:

—Petite Giry, tu te moques de nous.

Alors, la petite Giry se prit à pleurer.

—J'aurais mieux fait de me taire... si m'man savait jamais ça!... mais pour sûr que Joseph Buquet a tort de s'occuper de choses qui ne le regardent pas... ça lui portera malheur... m'man le disait encore hier soir...

À ce moment, on entendit des pas puissants et pressés dans le couloir et une voix essoufflée qui criait:

—Cécile! Cécile! es-tu là?

—C'est la voix de maman! fit Jammes. Qu'y a-t-il?

Et elle ouvrit la porte. Une honorable dame, taillée comme un grenadier poméranien, s'engouffra dans la loge et se laissa tomber en gémissant dans un fauteuil. Ses yeux roulaient, affolés, éclairant lugubrement sa face de brique cuite.

—Quel malheur! fit-elle!... Quel malheur!

—Quoi? Quoi?

—Joseph Buquet...

—Eh bien! Joseph Buquet...

—Joseph Buquet est mort!

La loge s'emplit d'exclamations, de protestations étonnées, de demandes d'explications effarées...

—Oui... on vient de le trouver pendu dans le troisième dessous!... Mais le plus terrible, continua haletante, la pauvre honorable dame, le plus terrible est que les machinistes qui ont trouvé son corps, prétendent que l'on entendait autour du cadavre comme un bruit qui ressemblait au chant des morts!

—C'est le fantôme! laissa échapper, comme malgré elle, la petite Giry, mais elle se reprit immédiatement, ses poings à la bouche: non!... non!... je n'ai rien dit!... je n'ai rien dit!...

Autour d'elle, toutes ses compagnes, terrorisées, répétaient à voix basse:

—Pour sûr! C'est le fantôme!...

La Sorelli était pâle...

—Jamais je ne pourrai dire mon compliment, fit-elle.

La maman de Jammes donna son avis en vidant un petit verre de liqueur qui traînait sur une table: il devait y avoir du fantôme là-dessous...

La vérité est qu'on n'a jamais bien su comment était mort Joseph Buquet. L'enquête, sommaire, ne donna aucun résultat, en dehors du suicide naturel. Dans les Mémoires d'un Directeur, M. Moncharmin, qui était l'un des deux directeurs, succédant à MM. Debienne et Poligny, rapporte ainsi l'incident du pendu:

 

«Un fâcheux accident vint troubler la petite fête que MM. Debienne et Poligny se donnaient pour célébrer leur départ. J'étais dans le bureau de la direction quand je vis entrer tout à coup Mercier—l'administrateur.—Il était affolé en m'apprenant qu'on venait de découvrir, pendu dans le troisième dessous de la scène, entre une ferme et un décor du Roi de Lahore, le corps d'un machiniste. Je m'écriai: Allons le décrocher! Le temps que je mis à dégringoler l'escalier et à descendre l'échelle du portant, le pendu n'avait déjà plus sa corde!»

 

Voilà donc un événement que M. Moncharmin trouve naturel. Un homme est pendu au bout d'une corde, on va le décrocher, la corde a disparu. Oh! M. Moncharmin a trouvé une explication bien simple. Écoutez-le: C'était l'heure de la danse, et coryphées et rats avaient bien vite pris leurs précautions contre le mauvais œil. Un point, c'est tout. Vous voyez d'ici le corps de ballet descendant l'échelle du portant et se partageant la corde de pendu en moins de temps qu'il ne faut pour l'écrire. Ce n'est pas sérieux. Quand je songe, au contraire, à l'endroit exact où le corps a été retrouvé—dans le troisième dessous de la scène—j'imagine qu'il pouvait y avoir quelque part un intérêt à ce que cette corde disparût après qu'elle eut fait sa besogne et nous verrons plus tard si j'ai tort d'avoir cette imagination-là.

La sinistre nouvelle s'était vite répandue du haut en bas de l'Opéra, où Joseph Buquet était très aimé. Les loges se vidèrent, et les petites danseuses, groupées autour de la Sorelli comme des moutons peureux autour du pâtre, prirent le chemin du foyer, à travers les corridors et les escaliers mal éclairés, trottinant de toute la hâte de leurs petites pattes roses.

 

[2]Je tiens l'anecdote très authentique également, de M. Pedro Gailliard lui-même, ancien directeur de l'Opéra.