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.

Saturday, 22 April 2023

Good Reading: letter from Billy the Kid to Goverrnor Lew Wallace (in English)

Fort Sumner       Dec 12th 1880

 

Gov. Lew Wallace

Dear Sir,

 

I noticed in the Las Vegas Gazette a piece which stated that Billy “the” Kid, the name by which I am known in the County was the Captain of a Band of Outlaws who hold Forth at the Portales. There is no such Organization in existence. So the Gentlemen must have drawn very heavily on his imagination. My business at the White Oaks at the time I was waylaid and my horse killed was to see Judge Leonard who has my case in hand, he had written to me to come up, that he thought he could get Everything Straighend up. I did not find him at the Oaks I should have gone to Lincoln if I had met with no accident. After mine and Billie Wilsons horses were Killed we both made our way to a Station, forty miles from the Oaks kept by Mr. Greathouse. When I got up next morning The house was Surrounded by an outfit led by one Carlyle Who came into the house and Demanded a surrender. I asked for their Papers and they had none. So I concluded it Accounted to nothing more then a mob and told Carlyle that he would have to stay in the house and lead the way out that night. Soon after a note was brought in stating that if Carlyle did not come out inside of five minutes they would kill the Station Keeper (Greathouse) who had left the house and was with them. in a short time a shot was fired on the outside and Carlyle thinking Greathouse was Killed jumped through the window. breaking the sash as he went and was killed by his own Party they thinking it was me trying to make my escape. the party then withdrew.

They returned the next day and burned an old man named Spencer’s house and Greathouses also. I made my way to the Place afoot and During my absence Deputy Sheriff Garrett Acting under Chisums orders went to the Portales and found nothing. on his way back he went to Mr. Yerbys ranch and took a pair of mules of mine which I had left with Mr. Bowdre who is in charge of Mr. Yerbys Cattle. he (Garrett) Claimed that they were stolen and Even if they were not he had a right to confiscate any Outlaws property. I have been at Sumner Since I left Lincoln making my living Gambling the mules were bought by me the truth of which I can prove by the best citizens aroud  Sumner. J.S. Chisum is the man who got me into Trouble and was benefited Thousands by it and is now doing all he can against me. There is no Doubt but what there is a great deal of Stealing going on in the Territory and a great deal of the Property is taken across the Plains as it is a good outlet. but as far as my being at the head of a Band there is nothing of it. Several Instances I have recovered Stolen Property when there was no chance to get an Officer to do it.

 

   one Instance for Hugo Zuber Postoffice Puerto de Luna, another for Pablo Analla Same Place. if some impartial Party were to investigate this matter they would find it far Different from the impression put out by Chisum and his tools

 

Yours Respect-

William Bonney












Friday, 21 April 2023

Friday's Sung Word: "Rumba da Meia-Noite" by Noel Rosa (in Portuguese)

 music by Henrique Vogeler.

Bateu meia-noite agora!
E não queres ir embora
Jamais paro de sambar
Sem ver o Sol despontar

E que queres que eu faça?
Se o samba
É minha cachaça!
E a tristeza passa

A Lua no céu descamba!
E tu ainda estás num samba!

Bateu meia-noite agora!
E não queres ir embora
Jamais paro de sambar
Sem ver o Sol despontar

No samba
Somos nós dois!
Que viva Deus
E chova arroz
E o resto, vem depois!

A Lua no céu descamba!
E tu ainda estás num samba!

O morena feiticeira
Coração de tamburim!
Quando canta a noite
Inteira, sem talvez
Lembrar de mim

Se tu és bom brasileiro
E dançares, bem assim!
Seja alegre, prasenteiro
Venha pra perto de mim!

O samba, sempre crescendo
Não é coisa que se faça!
A Lua se escondendo
Mostrando que tudo passa

Se a Lua, se esconder
O Sol começa nascer
Pra não deixar morrer!

A Lua no céu descamba!
E tu ainda estás num samba!

Uma, duas, três e quatro
Cinco, seis, sete, oito
Nove, dez e onze
Meia-noite
Já passou
Tudo acabou.

 

You can listen "Rumba da Meia-Noite" sung by Dina Marques and Nenéo das Neves here.

Thursday, 20 April 2023

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

 

THE MYSTERY OF RANDOLPH’S COURTSHIP

It is said that in order to know a man, one must begin with his ancestors, and the truth of the saying is strikingly exemplified in the case of “John Randolph of Roanoke,” as he loved to write his name.

His contemporaries have told us what manner of man he was—fiery, excitable, of strong passions and strong will, capable of great bitterness, obstinate, revengeful, and extremely sensitive.

“I have been all my life,” he says, “the creature of impulse, the sport of chance, the victim of my own uncontrolled and uncontrollable sensations, and of a poetic temperament.”

He was sarcastic to a degree, proud, haughty, and subject to fits of Byronic despair and morbid gloom. For these traits we must look back to the Norman Conquest from which he traced his descent in an unbroken line, while, on the side of his maternal grandmother, he was the seventh in descent from Pocahontas, the Indian maiden who married John Rolfe.

The Indian blood was evident, even in his personal appearance. He was tall, slender, and dignified in his bearing; his hands were thin, his fingers long and bony; his face was dark, sallow, and wrinkled, oval in shape and seamed with lines by the inward conflict which forever raged in his soul. His chin was pointed but firm, and his lips were set; around his mouth were marked the tiny, almost imperceptible lines which mean cruelty. His nose was aquiline, his ears large at the top, tapering almost to a point at the lobe, and his forehead unusually high and broad. His hair was soft, and his skin, although dark, suffered from extreme sensitiveness.

 “There is no accounting for thinness of skins in different animals, human, or brute [he once said]. Mine, I believe to be more tender than many infants of a month old. Indeed I have remarked in myself, from my earliest recollection, a delicacy or effeminacy of complexion, which but for a spice of the devil in my temper would have consigned me to the distaff or the needle.”

“A spice of the devil” is mild indeed, considering that before he was four years old he frequently swooned in fits of passion, and was restored to consciousness with difficulty.

His most striking feature was his eyes. They were deep, dark, and fiery, filled with passion and great sadness at the same time. “When he first entered an assembly of people,” said one who knew him, “they were the eyes of the eagle in search of his prey, darting about from place to place to see upon whom to light. When he was assailed they flashed fire and proclaimed a torrent of rage within.”

The voice of this great statesman was a rare gift:

 “One might live a hundred years [says one,] and never hear another like it. The wonder was why the sweet tone of a woman was so harmoniously blended with that of a man. His very whisper could be distinguished above the ordinary tones of other men. His voice was so singularly clear, distinct, and melodious that it was a positive pleasure to hear him articulate anything.”

Such was the man who swayed the multitude at will, punished offenders with sarcasm and invective, inspired fear even in his equals, and loved and suffered more than any other prominent man of his generation.

He had many acquaintances, a few friends, and three loves—his mother, his brother, and the beautiful young woman who held his heart in the hollow of her hand, until the Gray Angel, taking pity, closed his eyes in the last sleep.

His mother, who was Frances Bland, married John Randolph in 1769, and John Randolph, of Roanoke, was their third son.

Tradition tells us of the unusual beauty of the mother—

“the high expanded forehead, the smooth arched brow; the brilliant dark eyes; the well defined nose; the full round laughing lips; the tall graceful figure, the beautiful dark hair; an open cheerful countenance—suffused with that deep, rich Oriental tint which never seems to fade, all of which made her the most beautiful and attractive woman of her age.”

She was a wife at sixteen, and at twenty-six a widow. Three years after the death of her husband, she married St. George Tucker, of Bermuda who proved to be a kind father to her children.

In the winter of 1781, Benedict Arnold, the traitor who had spread ruin through his native state, was sent to Virginia on an expedition of ravage. He landed at the mouth of the James, and advanced toward Petersburg. Matoax, Randolph’s home, was directly in the line of the invading army, so the family set out on a cold January morning, and at night entered the home of Benjamin Ward, Jr.

John Randolph was seven years old, and little Maria Ward had just passed her fifth birthday. The two children played together happily, and in the boy’s heart was sown the seed of that grand passion which dominated his life.

After a few days, the family went on to Bizarre, a large estate on both sides of the Appomattox, and here Mrs. Tucker and her sons spent the remainder of the year, while her husband joined General Greene’s army, and afterward, the force of Lafayette.

In 1788, John Randolph’s mother died, and his first grief swept over him in an overwhelming torrent. The boy of fifteen spent bitter nights, his face buried in the grass, sobbing over his mother’s grave. Years afterward, he wrote to a friend, “I am a fatalist. I am all but friendless. Only one human being ever knew me. She only knew me.”

He kept his mother’s portrait always in his room, and enshrined her in loving remembrance in his heart. He had never seen his father’s face to remember it distinctly, and for a long time he wore his miniature in his bosom. In 1796, his brother Richard died, and the unexpected blow crushed him to earth. More than thirty years afterward he wrote to his half-brother, Henry St. George Tucker, the following note:

 

“Dear Henry

“Our poor brother Richard was born in 1770. He would have been fifty-six years old the ninth of this month. I can no more.

”J. R. of R.”

 

At some time in his early manhood he came into close relationship with Maria Ward. She had been an attractive child, and had grown into a woman so beautiful that Lafayette said her equal could not be found in North America. Her hair was auburn, and hung in curls around her face; her skin was exquisitely fair; her eyes were dark and eloquent. Her mouth was well formed; she was slender, graceful, and coquettish, well-educated, and in every way, charming.

To this woman, John Randolph’s heart went out in passionate, adoring love. He might be bitter and sarcastic with others, but with her he was gentleness itself. Others might know him as a man of affairs, keen and logical, but to her he was only a lover.

Timid and hesitating at first, afraid perhaps of his fiery wooing, Miss Ward kept him for some time in suspense. All the treasures of his mind and soul were laid before her; that deep, eloquent voice which moved the multitude to tears at its master’s will was pleading with a woman for her love.

What wonder that she yielded at last and promised to marry him? Then for a time everything else was forgotten. The world lay before him to be conquered when he might choose. Nothing would be too great for him to accomplish—nothing impossible to that eager joyous soul enthroned at last upon the greatest heights of human happiness. And then—there was a change. He rode to her home one day, tying his horse outside as was his wont. A little later he strode out, shaking like an aspen, his face white in agony. He drew his knife from his pocket, cut the bridle of his horse, dug his spurs into the quivering sides, and was off like the wind. What battle was fought out on that wild ride is known only to John Randolph and his God. What torture that fiery soul went through, no human being can ever know. When he came back at night, he was so changed that no one dared to speak to him.

He threw himself into the political arena in order to save his reason. Often at midnight, he would rise from his uneasy bed, buckle on his pistols, and ride like mad over the country, returning only when his horse was spent. He never saw Miss Ward again, and she married Peyton Randolph, the son of Edmund Randolph, who was Secretary of State under Washington.

The entire affair is shrouded in mystery. There is not a letter, nor a single scrap of paper, nor a shred of evidence upon which to base even a presumption. The separation was final and complete, and the white-hot metal of the man’s nature was gradually moulded into that strange eccentric being whose foibles are so well known.

Only once did Randolph lift even a corner of the veil. In a letter to his dearest friend he spoke of her as:

“One I loved better than my own soul, or Him who created it. My apathy is not natural, but superinduced. There was a volcano under my ice, but it burnt out, and a face of desolation has come on, not to be rectified in ages, could my life be prolonged to patriarchal longevity.

“The necessity of loving and being loved was never felt by the imaginary beings of Rousseau and Byron’s creation, more imperiously than by myself. My heart was offered with a devotion that knew no reserve. Long an object of proscription and treachery, I have at last, more mortifying to the pride of man, become an object of utter indifference.”

The brilliant statesman would doubtless have had a large liberty of choice among the many beautiful women of his circle, but he never married, and there is no record of any entanglement. To the few women he deemed worthy of his respect and admiration, he was deferential and even gallant. In one of his letters to a young relative he said:

“Love to god-son Randolph and respectful compliments to Mrs. R. She is indeed a fine woman, one for whom I have felt a true regard, unmixed with the foible of another passion.

“Fortunately or unfortunately for me, when I knew her, I bore a charmed heart. Nothing else could have preserved me from the full force of her attractions.”

For much of the time after his disappointment, he lived alone with his servants, solaced as far as possible by those friends of all mankind—books. When the spirit moved him, he would make visits to the neighbouring plantations, sometimes dressed in white flannel trousers, coat, and vest, and with white paper wrapped around his beaver hat! When he presented himself in this manner, riding horseback, with his dark eyes burning, he was said to have presented “a most ghostly appearance!”

An old lady who lived for years on the banks of the Staunton, near Randolph’s solitary home, tells a pathetic story:

She was sitting alone in her room in the dead of winter, when a beautiful woman, pale as a ghost, dressed entirely in white, suddenly appeared before her, and began to talk about Mr. Randolph, saying he was her lover and would marry her yet, as he had never proved false to his plighted faith. She talked of him incessantly, like one deranged, until a young gentleman came by the house, leading a horse with a side-saddle on. She rushed out, and asked his permission to ride a few miles. Greatly to his surprise, she mounted without assistance, and sat astride like a man. He was much embarrassed, but had no choice except to escort her to the end of her journey.

The old lady who tells of this strange experience says that the young woman several times visited Mr. Randolph, always dressed in white and usually in the dead of winter. He always put her on a horse and sent her away with a servant to escort her.

In his life there were but two women—his mother and Maria Ward. While his lips were closed on the subject of his love, he did not hesitate to avow his misery. “I too am wretched,” he would say with infinite pathos; and after her death, he spoke of Maria Ward as his “angel.”

In a letter written sometime after she died, he said, strangely enough: “I loved, aye, and was loved again, not wisely, but too well.”

His brilliant career was closed when he was sixty years old, and in his last illness, during delirium, the name of Maria was frequently heard by those who were anxiously watching with him. But, true to himself and to her, even when his reason was dethroned, he said nothing more.

He was buried on his own plantation, in the midst of “that boundless contiguity of shade,” with his secret locked forever in his tortured breast. “John Randolph of Roanoke,” was all the title he claimed; but the history of those times teaches us that he was more than that—he was John Randolph, of the Republic.

 

 

HOW PRESIDENT JACKSON WON HIS WIFE

In October of 1788, a little company of immigrants arrived in Tennessee. The star of empire, which is said to move westward, had not yet illumined Nashville, and it was one of the dangerous points “on the frontier.”

The settlement was surrounded on all sides by hostile Indians. Men worked in the fields, but dared not go out to their daily task without being heavily armed. When two men met, and stopped for a moment to talk, they often stood back to back, with their rifles cocked ready for instant use. No one stooped to drink from a spring unless another guarded him, and the women were always attended by an armed force.

Col. John Donelson had built for himself a blockhouse of unusual size and strength, and furnished it comfortably; but while surveying a piece of land near the village, he was killed by the savages, and his widow left to support herself as best she could.

A married daughter and her husband lived with her, but it was necessary for her to take other boarders. One day there was a vigorous rap upon the stout door of the blockhouse, and a young man whose name was Andrew Jackson was admitted. Shortly afterward, he took up his abode as a regular boarder at the Widow Donelson’s.

The future President was then twenty-one or twenty-two. He was tall and slender, with every muscle developed to its utmost strength. He had an attractive face, pleasing manners, and made himself agreeable to every one in the house.

The dangers of the frontier were but minor incidents in his estimation, for “desperate courage makes one a majority,” and he had courage. When he was but thirteen years of age, he had boldly defied a British officer who had ordered him to clean some cavalry boots.

“Sir,” said the boy, “I am a prisoner of war, and I claim to be treated as such!”

With an oath the officer drew his sword, and struck at the child’s head. He parried the blow with his left arm, but received a severe wound on his head and another on his arm, the scars of which he always carried.

The protecting presence of such a man was welcome to those who dwelt in the blockhouse—Mrs. Donelson, Mr. and Mrs. Robards, and another boarder, John Overton. Mrs. Donelson was a good cook and a notable housekeeper, while her daughter was said to be “the best story teller, the best dancer, the sprightliest companion, and the most dashing horsewoman in the western country.”

Jackson, as the only licensed lawyer in that part of Tennessee, soon had plenty of business on his hands, and his life in the blockhouse was a happy one until he learned that the serpent of jealousy lurked by that fireside.

Mrs. Robards was a comely brunette, and her dusky beauty carried with it an irresistible appeal. Jackson soon learned that Captain Robards was unreasonably and even insanely jealous of his wife, and he learned from John Overton that before his arrival there had been a great deal of unhappiness because of this.

At one time Captain Robards had written to Mrs. Donelson to take her daughter home, as he did not wish to live with her any longer; but through the efforts of Mr. Overton a reconciliation had been effected between the pair, and they were still living together at Mrs. Donelson’s when Jackson went there to board.

In a short time, however, Robards became violently jealous of Jackson and talked abusively to his wife, even in the presence of her mother and amidst the tears of both. Once more Overton interfered, assured Robards that his suspicions were groundless, and reproached him for his unmanly conduct.

It was all in vain, however, and the family was in as unhappy a state as before, when they were living with the Captain’s mother who had always taken the part of her daughter-in-law.

At length Overton spoke to Jackson about it, telling him it was better not to remain where his presence made so much trouble, and offered to go with him to another boarding-place. Jackson readily assented, though neither of them knew where to go, and said that he would talk to Captain Robards.

The men met near the orchard fence, and Jackson remonstrated with the Captain who grew violently angry and threatened to strike him. Jackson told him that he would not advise him to try to fight, but if he insisted, he would try to give him satisfaction. Nothing came of the discussion, however, as Robards seemed willing to take Jackson’s advice and did not dare to strike him. But the coward continued to abuse his wife, and insulted Jackson at every opportunity. The result was that the young lawyer left the house.

A few months later, the still raging husband left his wife and went to Kentucky, which was then a part of Virginia. Soon afterward, Mrs. Robards went to live with her sister, Mrs. Hay, and Overton returned to Mrs. Donelson’s.

In the following autumn there was a rumour that Captain Robards intended to return to Tennessee and take his wife to Kentucky, at which Mrs. Donelson and her daughter were greatly distressed. Mrs. Robards wept bitterly, and said it was impossible for her to live peaceably with her husband as she had tried it twice and failed. She determined to go down the river to Natchez, to a friend, and thus avoid her husband, who she said had threatened to haunt her.

When Jackson heard of this arrangement he was very much troubled, for he felt that he had been the unwilling cause of the young wife’s unhappiness, although entirely innocent of any wrong intention. So when Mrs. Robards had fully determined to undertake the journey to Natchez, accompanied only by Colonel Stark and his family, he offered to go with them as an additional protection against the Indians who were then especially active, and his escort was very gladly accepted. The trip was made in safety, and after seeing the lady settled with her friends, he returned to Nashville and resumed his law practice.

At that time there was no divorce law in Virginia, and each separate divorce required the passage of an act of the legislature before a jury could consider the case. In the winter of 1791, Captain Robards obtained the passage of such an act, authorising the court of Mercer County to act upon his divorce. Mrs. Robards, hearing of this, understood that the passage of the act was, in itself, divorce, and that she was a free woman. Jackson also took the divorce for granted. Every one in the country so understood the matter, and at Natchez, in the following summer, the two were married.

They returned to Nashville, settled down, and Jackson began in earnest the career that was to land him in the White House, the hero of the nation.

In December of 1793, more than two years after their marriage, their friend Overton learned that the legislature had not granted a divorce, but had left it for the court to do so. Jackson was much chagrined when he heard of this, and it was with great difficulty that he was brought to believe it. In January of 1794, when the decree was finally obtained, they were married again.

It is difficult to excuse Jackson for marrying the woman without positive and absolute knowledge of her divorce. He was a lawyer, and could have learned the facts of the case, even though there was no established mail service. Each of them had been entirely innocent of any intentional wrong-doing, and their long life together, their great devotion to each other, and General Jackson’s honourable career, forever silenced the spiteful calumny of his rivals and enemies of early life.

In his eyes his wife was the soul of honour and purity; he loved and reverenced her as a man loves and reverences but one woman in his lifetime, and for thirty-seven years he kept a pair of pistols loaded for the man who should dare to breathe her name without respect.

The famous pistol duel with Dickinson was the result of a quarrel which had its beginning in a remark reflecting upon Mrs. Jackson, and Dickinson, though a crack shot, paid for it with his life.

Several of Dickinson’s friends sent a memorial to the proprietors of the Impartial Review, asking that the next number of the paper appear in mourning, “out of respect for the memory, and regret for the untimely death, of Mr. Charles Dickinson.”

 “Old Hickory” heard of this movement, and wrote to the proprietors, asking that the names of the gentlemen making the request be published in the memorial number of the paper. This also was agreed to, and it is significant that twenty-six of the seventy-three men who had signed the petition called and erased their names from the document.

“The Hermitage” at Nashville, which is still a very attractive spot for visitors, was built solely to please Mrs. Jackson, and there she dispensed gracious hospitality. Not merely a guest or two, but whole families, came for weeks at a time, for the mistress of the mansion was fond of entertaining, and proved herself a charming hostess. She had a good memory, had passed through many and greatly varied experiences, and above all she had that rare faculty which is called tact.

Though her husband’s love for her was evident to every one, yet, in the presence of others, he always maintained a dignified reserve. He never spoke of her as “Rachel,” nor addressed her as “My Dear.” It was always “Mrs. Jackson,” or “wife.” She always called him “Mr. Jackson,” never “Andrew” nor “General.”

Both of them greatly desired children, but this blessing was denied them; so they adopted a boy, the child of Mrs. Jackson’s brother, naming him “Andrew Jackson,” and bringing him up as their own child.

The lady’s portrait shows her to have been wonderfully attractive. It does not reveal the dusky Oriental tint of her skin, the ripe red of her lips, nor the changing lights in her face, but it shows the high forehead, the dark soft hair, the fine eyes, and the tempting mouth which was smiling, yet serene. A lace head-dress is worn over the waving hair, and the filmy folds fall softly over neck and bosom.

When Jackson was elected to the Presidency, the ladies of Nashville organized themselves into sewing circles to prepare Mrs. Jackson’s wardrobe. It was a labour of love. On December 23, 1828, there was to be a grand banquet in Jackson’s honour, and the devoted women of their home city had made a beautiful gown for his wife to wear at the dinner. At sunrise the preparations began. The tables were set, the dining-room decorated, and the officers and men of the troop that was to escort the President-elect were preparing to go to the home and attend him on the long ride into the city. Their horses were saddled and in readiness at the place of meeting. As the bugle sounded the summons to mount, a breathless messenger appeared on a horse flecked with foam. Mrs. Jackson had died of heart disease the evening before.

The festival was changed to a funeral, and the trumpets and drums that were to have sounded salute were muffled in black. All decorations were taken down, and the church bells tolled mournfully. The grief of the people was beyond speech. Each one felt a personal loss.

At the home the blow was terrible. The lover-husband would not leave his wife. In those bitter hours the highest gift of his countrymen was an empty triumph, for his soul was wrecked with the greatness of his loss.

When she was buried at the foot of a slope in the garden of “The Hermitage,” his bereavement came home to him with crushing strength. Back of the open grave stood a great throng of people, waiting in the wintry wind. The sun shone brightly on the snow, but “The Hermitage” was desolate, for its light and laughter and love were gone. The casket was carried down the slope, and a long way behind it came the General, slowly and almost helpless, between two of his friends.

The people of Nashville had made ready to greet him with the blare of bugles, waving flags, the clash of cymbals, and resounding cheers. It was for the President-elect—the hero of the war. The throng that stood behind the open grave greeted him with sobs and tears—not the President-elect, but the man bowed by his sixty years, bareheaded, with his gray hair rumpled in the wind, staggering toward them in the throes of his bitterest grief.

In that one night he had grown old. He looked like a man stricken beyond all hope. When his old friends gathered around him with the tears streaming down their cheeks, wringing his hand in silent sympathy, he could make no response.

He was never the same again, though his strength of will and his desperate courage fought with this infinite pain. For the rest of his life he lived as she would have had him live—guided his actions by the thought of what his wife, if living, would have had him do—loving her still, with the love that passeth all understanding.

He declined the sarcophagus fit for an emperor, that he might be buried like a simple citizen, in the garden by her side.

His last words were of her—his last look rested upon her portrait that hung opposite his bed, and if there be dreaming in the dark, the vision of her brought him peace at last.

 

 

THE BACHELOR PRESIDENT’S LOYALTY TO A MEMORY

The fifteenth President was remarkable among the men of his time for his lifelong fidelity to one woman, for since the days of knight-errantry such devotion has been as rare as it is beautiful. The young lawyer came of Scotch-Irish parentage, and to this blending of blood were probably in part due his deep love and steadfastness. There was rather more of the Irish than of the Scotch in his face, and when we read that his overflowing spirits were too much for the college in which he had been placed, and that, for “reasons of public policy,” the honours which he had earned were on commencement day given to another, it is evident that he may sometimes have felt that he owed allegiance primarily to the Emerald Isle.

Like others, who have been capable of deep and lasting passion, James Buchanan loved his mother. Among his papers there was found a fragment of an autobiography, which ended in 1816, when the writer was only twenty-five years of age. He says his father was “a kind father, a sincere friend, and an honest and religious man,” but on the subject of his mother he waxes eloquent:

“Considering her limited opportunities in early life [he writes], my mother was a remarkable woman. The daughter of a country farmer, engaged in household employment from early life until after my father’s death, she yet found time to read much, and to reflect deeply on what she read.

“She had a great fondness for poetry, and could repeat with ease all the passages in her favorite authors which struck her fancy. These were Milton, Pope, Young, Cowper, and Thompson.

“I do not think, at least until a late period in life, she had ever read a criticism on any one of these authors, and yet such was the correctness of her natural taste, that she had selected for herself, and could repeat, every passage in them which has been admired....

“For her sons, as they grew up successively, she was a delightful and instructive companion.... She was a woman of great firmness of character, and bore the afflictions of her later life with Christian philosophy.... It was chiefly to her influence, that her sons were indebted for a liberal education. Under Providence I attribute any little distinction which I may have acquired in the world to the blessing which He conferred upon me in granting me such a mother.”

If Elizabeth Buchanan could have read these words, doubtless she would have felt fully repaid for her many years of toil, self-sacrifice, and devotion.

After the young man left the legislature and took up the practice of law, with the intention of spending his life at the bar, he became engaged to Anne Coleman, the daughter of Robert Coleman, of Lancaster.

She is said to have been an unusually beautiful girl, quiet, gentle, modest, womanly, and extremely sensitive. The fine feelings of a delicately organized nature may easily become either a blessing or a curse, and on account of her sensitiveness there was a rupture for which neither can be very greatly blamed.

Mr. Coleman approved of the engagement, and the happy lover worked hard to make a home for the idol of his heart. One day, out of the blue sky a thunderbolt fell. He received a note from Miss Coleman asking him to release her from her engagement.

There was no explanation forthcoming, and it was not until long afterward that he discovered that busy-bodies and gossips had gone to Miss Coleman with stories concerning him which had no foundation save in their mischief-making imaginations, and which she would not repeat to him. After all his efforts at re-establishing the old relations had proved useless, he wrote to her that if it were her wish to be released from her engagement he could but submit, as he had no desire to hold her against her will.

The break came in the latter part of the summer of 1819, when he was twenty-eight years old and she was in her twenty-third year. He threw himself into his work with renewed energy, and later on she went to visit friends in Philadelphia.

Though she was too proud to admit it, there was evidence that the beautiful and high-spirited girl was suffering from heartache. On the ninth of December, she died suddenly, and her body was brought home just a week after she left Lancaster. The funeral took place the next day, Sunday, and to the suffering father of the girl, the heart-broken lover wrote a letter which in simple pathos stands almost alone. It is the only document on this subject which remains, but in these few lines is hidden a tragedy:

 

“Lancaster, December 10, 1819.

 

“My Dear Sir:

“You have lost a child, a dear, dear child. I have lost the only earthly object of my affections, without whom, life now presents to me a dreary blank. My prospects are all cut off, and I feel that my happiness will be buried with her in her grave.

“It is now no time for explanation, but the time will come when you will discover that she, as well as I, has been greatly abused. God forgive the authors of it! My feelings of resentment against them, whoever they may be, are buried in the dust.

“I have now one request to make, and for the love of God, and of your dear departed daughter, whom I loved infinitely more than any human being could love, deny me not. Afford me the melancholy pleasure of seeing her body before its interment. I would not, for the world, be denied this request.

“I might make another, but from the misrepresentations that have been made to you, I am almost afraid. I would like to follow her remains, to the grave as a mourner. I would like to convince the world, I hope yet to convince you, that she was infinitely dearer to me than life.

“I may sustain the shock of her death, but I feel that happiness has fled from me forever. The prayer which I make to God without ceasing is, that I yet may be able to show my veneration for the memory of my dear, departed saint, by my respect and attachment for her surviving friends.

“May Heaven bless you and enable you to bear the shock with the fortitude of a Christian.

“I am forever, your sincere and grateful friend,

 

”James Buchanan.”

 

The father returned the letter unopened and without comment. Death had only widened the breach. It would have been gratifying to know that the two lovers were together for a moment at the end.

For such a meeting as that there are no words but Edwin Arnold’s:

 

“But he—who loved her too well to dread

The sweet, the stately, the beautiful dead—

He lit his lamp, and took the key,

And turn’d it!—alone again—he and she!”

 

For him there was not even a glimpse of her as she lay in her coffin, nor a whisper that some day, like Evelyn Hope, she might “wake, and remember and understand.” With that love that asks only for the right to serve, and feeling perhaps that no pen could do her justice, he obtained permission to write a paragraph for a local paper, which was published unsigned:

 

“Departed this life, on Thursday morning last, in the twenty-third year of her age, while on a visit to friends in the city of Philadelphia, Miss Anne C. Coleman, daughter of Robert Coleman, Esquire of this city.

“It rarely falls to our lot to shed a tear over the remains of one so much and so deservedly beloved as was the deceased. She was everything which the fondest parent, or the fondest friend could have wished her to be.

“Although she was young and beautiful and accomplished, and the smiles of fortune shone upon her, yet her native modesty and worth made her unconscious of her own attractions. Her heart was the seat of all the softer virtues which ennoble and dignify the character of woman.

“She has now gone to a world, where, in the bosom of her God, she will be happy with congenial spirits. May the memory of her virtues be ever green in the hearts of her surviving friends. May her mild spirit, which on earth still breathes peace and good will, be their guardian angel to preserve them from the faults to which she was ever a stranger.

 

“The spider’s most attenuated thread

Is cord, is cable, to man’s tender tie

On earthly bliss—it breaks at every breeze.”

 

How deeply he felt her death is shown by extracts from a letter written to him by a friend in the latter part of December:

 

 “I am writing, I know not why, and perhaps had better not. I write only to speak of the awful visitation of Providence that has fallen upon you, and how deeply I feel it.... I trust to your philosophy and courage, and to the elasticity of spirits natural to most young men....

“The sun will shine again, though a man enveloped in gloom always thinks the darkness is to be eternal. Do you remember the Spanish anecdote?

“A lady who had lost a favorite child remained for months sunk in sullen sorrow and despair. Her confessor, one morning visited her, and found her, as usual immersed in gloom and grief. ‘What,’ said he, ‘Have you not forgiven God Almighty?’

“She rose, exerted herself, joined the world again, and became useful to herself and her friends.”

 

Time’s kindly touch heals many wounds, but the years seemed to bring to James Buchanan no surcease of sorrow. He was always under the cloud of that misunderstanding, and during his long political career, the incident frequently served as a butt for the calumnies of his enemies. It was freely used in “campaign documents,” perverted, misrepresented, and twisted into every conceivable shape, though it is difficult to conceive how any form of humanity could ever be so base.

Next to the loss of the girl he loved, this was the greatest grief of his life. To see the name of his “dear, departed saint” dragged into newspaper notoriety was absolute torture. Denial was useless, and pleading had no effect. After he had retired to his home at Wheatland, and when he was past seventy—when Anne Coleman’s beautiful body had gone back to the dust, there was a long article in a newspaper about the affair, accompanied by the usual misrepresentations.

To a friend, he said, with deep emotion: “In my safety-deposit box in New York there is a sealed package, containing papers and relics which will explain everything. Sometime, when I am dead, the world will know—and absolve.”

But after his death, when his executors found the package, there was a direction on the outside: “To be burned unopened at my death.”

He chose silence rather than vindication at the risk of having Anne Coleman’s name again brought into publicity. In that little parcel there was doubtless full exoneration, but at the end, as always, he nobly bore the blame.

It happened that the letter he had written to her father was not in this package, but among his papers at Wheatland—otherwise that pathetic request would also have been burned.

Through all his life he remained true to Anne’s memory. Under the continual public attacks his grief became one that even his friends forebore to speak of, and he had a chivalrous regard for all women, because of his love for one. His social instincts were strong, his nature affectionate and steadfast, yet it was owing to his disappointment that he became President. At one time, when he was in London, he said to an intimate friend: “I never intended to engage in politics, but meant to follow my profession strictly. But my prospects and plans were all changed by a most sad event, which happened at Lancaster when I was a young man. As a distraction from my grief, and because I saw that through a political following I could secure the friends I then needed, I accepted a nomination.”

A beautiful side of his character is shown in his devotion to his niece, Harriet Lane. He was to her always a faithful father. When she was away at school or otherwise separated from him, he wrote to her regularly, never failing to assure her of his affection, and received her love and confidence in return. In 1865, when she wrote to him of her engagement, he replied, in part, as follows:

 

“I believe you say truly that nothing would have induced you to leave me, in good or evil fortune, if I had wished you to remain with me.

“Such a wish on my part would be very selfish. You have long known my desire that you should marry whenever a suitor worthy of you should offer. Indeed, it has been my strong desire to see you settled in the world before my death. You have now made your own unbiased choice; and from the character of Mr. Johnston, I anticipate for you a happy marriage, because I believe from your own good sense, you will conform to your conductor, and make him a good and loving wife.”

 

The days passed in retirement at Wheatland were filled with quiet content. The end came as peacefully as the night itself. He awoke from a gentle sleep, murmured, “O Lord, God Almighty, as Thou wilt!” and passed serenely into that other sleep, which knows not dreams.

The impenetrable veil between us and eternity permits no lifting of its folds; there is no parting of its greyness, save for a passage, but perhaps, in “that undiscovered country from whose bourne no traveller returns” Anne Coleman and her lover have met once more, and the long life of faithfulness at last has won her pardon.