Flemish bears into shape, and to render them a little more presentable to the public, and this freak was startling. But Guillaume Rym, with his polished smile, approached the usher.
“Announce Master Jacques Coppenole, clerk of the aldermen of the city of Ghent,” he whispered, very low.
“Usher,” interposed the cardinal, aloud, “announce Master Jacques Coppenole, clerk of the aldermen of the illustrious city of Ghent.”
This was a mistake. Guillaume Rym alone might have conjured away the difficulty, but Coppenole had heard the cardinal.
“No, cross of God?” he exclaimed, in his voice of thunder, “Jacques Coppenole, hosier. Do you hear, usher? Nothing more, nothing less. Cross of God! hosier; that’s fine enough. Monsieur the Archduke has more than once sought his gant* in my hose.”
* Got the first idea of a timing.
Laughter and applause burst forth. A jest is always understood in Paris, and, consequently, always applauded.
Let us add that Coppenole was of the people, and that the auditors which surrounded him were also of the people. Thus the communication between him and them had been prompt, electric, and, so to speak, on a level. The haughty air of the Flemish hosier, by humiliating the courtiers, had touched in all these plebeian souls that latent sentiment of dignity still vague and indistinct in the fifteenth century.
This hosier was an equal, who had just held his own before monsieur the cardinal. A very sweet reflection to poor fellows habituated to respect and obedience towards the underlings of the sergeants of the bailiff of Sainte-Geneviève, the cardinal’s train-bearer.
Coppenole proudly saluted his eminence, who returned the salute of the all-powerful bourgeois feared by Louis XI. Then, while Guillaume Rym, a “sage and malicious man,” as Philippe de Comines puts it, watched them both with a smile of raillery and superiority, each sought his place, the cardinal quite abashed and troubled, Coppenole tranquil and haughty, and thinking, no doubt, that his title of hosier was as good as any other, after all, and that Marie of Burgundy, mother to that Marguerite whom Coppenole was to-day bestowing in marriage, would have been less afraid of the cardinal than of the hosier; for it is not a cardinal who would have stirred up a revolt among the men of Ghent against the favorites of the daughter of Charles the Bold; it is not a cardinal who could have fortified the populace with a word against her tears and prayers, when the Maid of Flanders came to supplicate her people in their behalf, even at the very foot of the scaffold; while the hosier had only to raise his leather elbow, in order to cause to fall your two heads, most illustrious seigneurs, Guy d’Hymbercourt and Chancellor Guillaume Hugonet.
Nevertheless, all was over for the poor cardinal, and he was obliged to quaff to the dregs the bitter cup of being in such b.ad company.
The reader has, probably, not forgotten the impudent beggar who had been clinging fast to the fringes of the cardinal’s gallery ever since the beginning of the prologue. The arrival of the illustrious guests had by no means caused him to relax his hold, and, while the prelates and ambassadors were packing themselves into the stalls—like genuine Flemish herrings—he settled himself at his ease, and boldly crossed his legs on the architrave. The insolence of this proceeding was extraordinary, yet no one noticed it at first, the attention of all being directed elsewhere. He, on his side, perceived nothing that was going on in the hall; he wagged his head with the unconcern of a Neapolitan, repeating from time to time, amid the clamor, as from a mechanical habit, “Charity, please!” And, assuredly, he was, out of all those present, the only one who had not deigned to turn his head at the altercation between Coppenole and the usher. Now, chance ordained that the master hosier of Ghent, with whom the people were already in lively sympathy, and upon whom all eyes were riveted—should come and seat himself in the front row of the gallery, directly above the mendicant; and people were not a little amazed to see the Flemish ambassador, on concluding his inspection of the knave thus placed beneath his eyes, bestow a friendly tap on that ragged shoulder. The beggar turned round; there was surprise, recognition, a lighting up of the two countenances, and so forth; then, without paying the slightest heed in the world to the spectators, the hosier and the wretched being began to converse in a low tone, holding each other’s hands, in the meantime, while the rags of Clopin Trouillefou, spread out upon the cloth of gold of the dais, produced the effect of a caterpillar on an orange.
The novelty of this singular scene excited such a murmur of mirth and gayety in the hall, that the cardinal was not slow to perceive it; he half bent forward, and, as from the point where he was placed he could catch only an imperfect view of Trouillerfou’s ignominious doublet, he very naturally imagined that the mendicant was asking alms, and, disgusted with his audacity, he exclaimed: “Bailiff of the Courts, toss me that knave into the river!”
“Cross of God! monseigneur the cardinal,” said Coppenole, without quitting Clopin’s hand, “he’s a friend of mine.”
“Good! good!” shouted the populace. From that moment, Master Coppenole enjoyed in Paris as in Ghent, “great favor with the people; for men of that sort do enjoy it,” says Philippe de Comines, “when they are thus disorderly.” The cardinal bit his lips. He bent towards his neighbor, the Abbé of Saint Geneviéve, and said to him in a low tone,—“Fine ambassadors monsieur the archduke sends here, to announce to us Madame Marguerite!”
“Your eminence,” replied the abbé, “wastes your politeness on these Flemish swine. Margaritas ante porcos, pearls before swine.”
“Say rather,” retorted the cardinal, with a smile, “Porcos ante Margaritam, swine before the pearl.”
The whole little court in cassocks went into ecstacies over this play upon words. The cardinal felt a little relieved; he was quits with Coppenole, he also had had his jest applauded.
Now, will those of our readers who possess the power of generalizing an image or an idea, as the expression runs in the style of to-day, permit us to ask them if they have formed a very clear conception of the spectacle presented at this moment, upon which we have arrested their attention, by the vast parallelogram of the grand hall of the palace.
In the middle of the hall, backed against the western wall, a large and magnificent gallery draped with cloth of gold, into which enter in procession, through a small, arched door, grave personages, announced successively by the shrill voice of an usher. On the front benches were already a number of venerable figures, muffled in ermine, velvet, and scarlet. Around the dais—which remains silent and dignified—below, opposite, everywhere, a great crowd and a great murmur. Thousands of glances directed by the people on each face upon the dais, a thousand whispers over each name. Certainly, the spectacle is curious, and well deserves the attention of the spectators. But yonder, quite at the end, what is that sort of trestle work with four motley puppets upon it, and more below? Who is that man beside the trestle, with a black doublet and a pale face? Alas! my dear reader, it is Pierre Gringoire and his prologue.
We have all forgotten him completely.
This is precisely what he feared.
From the moment of the cardinal’s entrance, Gringoire had never ceased to tremble for the safety of his prologue. At first he had enjoined the actors, who had stopped in suspense, to continue, and to raise their voices; then, perceiving that no one was listening, he had stopped them; and, during the entire quarter of an hour that the interruption lasted, he had not ceased to stamp, to flounce about, to appeal to Gisquette and Liénarde, and to urge his neighbors to the continuance of the prologue; all in vain. No one quitted the cardinal, the embassy, and the gallery—sole centre of this vast circle of visual rays. We must also believe, and we say it with regret, that the prologue had begun slightly to weary the audience at the moment when his eminence had arrived, and created a diversion in so terrible a fashion. After all, on the gallery as well as on the marble table, the spectacle was the same: the conflict of Labor and Clergy, of Nobility and Merchandise. And many people preferred to see them alive, breathing, moving, elbowing each other in flesh and blood, in this Flemish embassy, in this Episcopal court, under the cardinal’s robe, under Coppenole’s jerkin, than painted, decked out, talking in verse, and, so to speak, stuffed beneath the yellow