第107章 REVOLUTION IN THE THEATRE.(2)

The king and the queen were, after their return from Varennes, the prisoners of their own people, and the Tuileries formed the prison in which with never-sleeping cruelty the people watched their royal captives.

The chiefs of the battalions constituting the National Guard took turns in sentry duty over the royal couple. They had received the rigid order to constantly watch the royal family, and not to leave them for a moment alone. Even the sleeping-room of the queen was not closed to the espionage of the guards; the door to the drawing-room close by had always to be open, and in this drawing-room was the officer of the guard. Even in the night, while the queen lay in her bed, this door remained open, and the officer, sitting in an arm-chair directly opposite to the door, kept his eyes directed to the bed in which the queen sought to sleep, and wrestled with the pains and fear which she was too proud to show to her persecutors. The queen had stooped to make but one request; she had asked that at least in the morning, when she arose and dressed, she might close the doors of her sleeping-room, and they had been magnanimous enough to comply with her wish.[Footnote: "Histoire de Marie Antoinette," par Edmondet Jules de Goneourt, p. 861.]

But Queen Marie Antoinette had met all these humiliations, these disenchantments, and trials, full of hope of a change in her fortune. Her proud soul was still unbroken, her belief in the victory of monarchy under the favor of God animated her heart with a last ray of hope, and sustained her amid all her misfortune. She still would contend with her enemies for the love of this people, of whom she hoped that, led astray by Jacobins and agitators, they would at last confess their error, respect the voice of their king and queen, and return to love and regretfulness. And Marie Antoinette would sustain herself in view of the great day when the people's love should be given back; she would seek to bring that day back, and reconcile the people to the throne. On this account she would show the people that she cherished no fear of them; that she would intrust herself with perfect confidence to them, and greet them with her smiles and all the favor of former days. She would make one more attempt to regain her old popularity, and reawaken in their cold hearts the love which the people had once displayed to her by their loud acclamations. She found power in herself to let her tears flow, not visibly, but within her heart; to disguise with her smile the pain of her soul, and so she resolved to wear a cheerful and pleasant face, and appear again publicly in the theatre, as well as in open carriage-drives through the city.

They were then giving in the great opera-house Gluck's "Alceste," the favorite opera of the queen--the opera in which a few years before she had received so splendid a triumph; in which the public loudly encored, "Chantons, celebrons notre reine!" which the choir had sung upon the stage, and, standing with faces turned toward the royal box, had mingled their voices with those of the singers, and repeated in a general chorus, "Chantons, celebrons notre reine!"

"I will try whether the public remembers that evening," said Marie Antoinette, with a faint smile, to Mademoiselle de Bugois, the only lady who had been permitted to remain with her; "I will go this evening to the opera; the public shall at least see that I intrust myself with confidence to it, and that I have not changed, however much may have been changed around."

Mademoiselle de Bugois looked with deep sadness at the pale face of the queen, that would show the public that she had not altered, and upon which, once so fair and bright, grief had recorded its ineradicable characters, and almost extinguished its old beauty.

Deeply moved, the waiting-lady turned away in order not to let the tears be seen which, against her will, streamed from her eyes.

But Marie Antoinette had seen them nevertheless. With a sad smile she laid her hand upon the shoulder of the lady-in-waiting. "Ah!" said she, mildly, "do not conceal your tears. You are much happier than I, for you can shed tears; mine have been flowing almost two years in silence, and I have had to swallow them! [Footnote: Marie Antoinette's own words.--See Goncourt, p. 264.]

"But I will not weep this evening," she continued, "I will meet these Parisians at least in composure. Yes, I will do more, I will try to smile to them. They hate me now, but perhaps they will remember then that once they truly loved me. There is a trace of magnanimity in the people, and my confidence will perhaps touch it.

Be quick, and make my toilet. I will be fair to-day. I will adorn myself for the Parisians. They will not be my enemies alone who will be at the theatre; some of my friends will be there, and they at least will be glad to see me. Quick, mademoiselle, let us begin my toilet."

And with a liveliness and a zeal which, in her threatened situation, had something touching in it, Marie Antoinette arrayed herself for the public, for the good Parisians.

The news that the queen was to appear that evening at the theatre had quickly run through all Paris; the officer on duty told it at his relief to some of the guards, they to those whom they met, and it spread like wildfire. It was therefore very natural that, long before the curtain was raised, the great opera-house was completely filled, parquette, boxes, and parterre, with a passionately-excited throng. The friends of the queen went in order to give her a long-looked-for triumph; her enemies--and these the poor queen had in overwhelming numbers--to fling their hate, their malice, their scorn, into the face of Marie Antoinette.