poet beheld quiet reestablished to some extent, he devised a stratagem which might have redeemed all.
“Monsieur,” he said, turning towards one of his neighbors, a fine, big man, with a patient face, “suppose we begin again.”
“What?” said his neighbor.
“Hé! the Mystery,” said Gringoire.
“As you like,” returned his neighbor.
This semi-approbation sufficed for Gringoire, and, conducting his own affairs, he began to shout, confounding himself with the crowd as much as possible: “Begin the mystery again! begin again!”
“The devil!” said Joannes de Molendino, “what are they jabbering down yonder, at the end of the hall?” (for Gringoire was making noise enough for four.) “Say, comrades, isn’t that mystery finished? They want to begin it all over again. That’s not fair!”
“No, no!” shouted all the scholars. “Down with the mystery! Down with it!”
But Gringoire had multiplied himself, and only shouted the more vigorously: “Begin again! begin again!”
These clamors attracted the attention of the cardinal.
“Monsieur Bailiff of the Courts,” said he to a tall, black man, placed a few paces from him, “are those knaves in a holy-water vessel, that they make such a hellish noise?”
The bailiff of the courts was a sort of amphibious magistrate, a sort of bat of the judicial order, related to both the rat and the bird, the judge and the soldier.
He approached his eminence, and not without a good deal of fear of the latter’s displeasure, he awkwardly explained to him the seeming disrespect of the audience: that noonday had arrived before his eminence, and that the comedians had been forced to begin without waiting for his eminence.
The cardinal burst into a laugh.
“On my faith, the rector of the university ought to have done the same. What say you, Master Guillaume Rym?”
“Monseigneur,” replied Guillaume Rym, “let us be content with having escaped half of the comedy. There is at least that much gained.”
“Can these rascals continue their farce?” asked the bailiff.
“Continue, continue,” said the cardinal, “it’s all the same to me. I’ll read my breviary in the meantime.”
The bailiff advanced to the edge of the estrade, and cried, after having invoked silence by a wave of the hand,—
“Bourgeois, rustics, and citizens, in order to satisfy those who wish the play to begin again, and those who wish it to end, his eminence orders that it be continued.”
Both parties were forced to resign themselves. But the public and the author long cherished a grudge against the cardinal.
So the personages on the stage took up their parts, and Gringoire hoped that the rest of his work, at least, would be listened to. This hope was speedily dispelled like his other illusions; silence had indeed, been restored in the audience, after a fashion; but Gringoire had not observed that at the moment when the cardinal gave the order to continue, the gallery was far from full, and that after the Flemish envoys there had arrived new personages forming part of the cortege, whose names and ranks, shouted out in the midst of his dialogue by the intermittent cry of the usher, produced considerable ravages in it. Let the reader imagine the effect in the midst of a theatrical piece, of the yelping of an usher, flinging in between two rhymes, and often in the middle of a line, parentheses like the following,—
“Master Jacques Charmolue, procurator to the king in the Ecclesiastical Courts!”
“Jehan de Harlay, equerry guardian of the office of chevalier of the night watch of the city of Paris!”
“Messire Galiot de Genoilhac, chevalier, seigneur de Brussac, master of the king’s artillery!”
“Master Dreux-Raguier, surveyor of the woods and forests of the king our sovereign, in the land of France, Champagne and Brie!”
“Messire Louis de Graville, chevalier, councillor, and chamberlain of the king, admiral of France, keeper of the Forest of Vincennes!”
“Master Denis le Mercier, guardian of the house of the blind at Paris!” etc., etc., etc.
This was becoming unbearable.
This strange accompaniment, which rendered it difficult to follow the piece, made Gringoire all the more indignant because he could not conceal from himself the fact that the interest was continually increasing, and that all his work required was a chance of being heard.
It was, in fact, difficult to imagine a more ingenious and more dramatic composition. The four personages of the prologue were bewailing themselves in their mortal embarrassment, when Venus in person, (vera incessa patuit dea) presented herself to them, clad in a fine robe bearing the heraldic device of the ship of the city of Paris. She had come herself to claim the dolphin promised to the most beautiful. Jupiter, whose thunder could be heard rumbling in the dressing-room, supported her claim, and Venus was on the point of carrying it off,—that is to say, without allegory, of marrying monsieur the dauphin, when a young child clad in white damask, and holding in her hand a daisy (a transparent personification of Mademoiselle Marguerite of Flanders) came to contest it with Venus.
Theatrical effect and change.
After a dispute, Venus, Marguerite, and the assistants agreed to submit to the good judgment of time holy Virgin. There was another good part, that of the king of Mesopotamia; but through so many interruptions, it was difficult to make out what end he served. All these persons had ascended by the ladder to the stage.
But all was over; none of these beauties had been felt nor understood. On the entrance of the cardinal, one would have said that an invisible magic thread had suddenly drawn all glances from the marble table to the gallery, from the southern to the western extremity of the hall. Nothing could disenchant the audience; all eyes remained fixed there, and the new-comers and their accursed names, and their faces, and their costumes, afforded a continual diversion. This was very distressing. With the exception of Gisquette and Liénarde, who turned round from time to time when Gringoire plucked them by the sleeve; with the exception of the big, patient neighbor, no one listened, no one looked at the poor, deserted morality full face. Gringoire saw only profiles.
With what bitterness did he behold his whole erection of glory and of poetry crumble away bit by bit! And to think that these people had been upon the point of instituting a revolt against the bailiff through impatience to hear his work! now that they had it they did not care for it. This same representation which had been begun amid so unanimous an acclamation! Eternal flood and ebb of popular favor! To think that they had been on the point of hanging the bailiff’s sergeant! What would he not have given to be still at that hour of honey!
But the usher’s brutal monologue came to an end; every one had arrived, and Gringoire breathed freely once more; the actors continued bravely. But Master Coppenole, the hosier, must needs rise of a sudden, and Gringoire was forced to listen to him deliver, amid universal attention, the following abominable harangue.
“Messieurs the bourgeois and squires of Paris, I don’t know, cross of God! what we are doing here. I certainly do see yonder in the corner on that stage, some people who appear to be fighting. I don’t know whether that is what you call a “mystery,” but it is not amusing; they quarrel with their tongues and nothing more. I have been waiting for the first blow this quarter of an hour; nothing comes; they are cowards who only scratch each other with insults. You ought to send for the fighters of London or Rotterdam; and, I can tell you! you would have had blows of the fist that could be heard in the Place; but these men excite our pity. They ought at least, to give us a moorish dance, or some other mummer! That is not what was told me; I was promised a feast of fools, with the election of a pope. We have our pope of fools at Ghent also; we’re not behindhand in that, cross of God! But this is the way we manage it; we collect a crowd