El Dorado: An Adventure of the Scarlet Pimpernel
Emma Orczy
Baroness Emmuska Orczy Orczy
El Dorado: An Adventure of the Scarlet Pimpernel
PART I
CHAPTER I. IN THE THEATRE NATIONAL
And yet people found the opportunity to amuse themselves, to dance and to go to the theatre, to enjoy music and open-air cafes and promenades in the Palais Royal.
New fashions in dress made their appearance, milliners produced fresh “creations,” and jewellers were not idle. A grim sense of humour, born of the very intensity of ever-present danger, had dubbed the cut of certain tunics “tete tranche,” or a favourite ragout was called “a la guillotine.”
On three evenings only during the past memorable four and a half years did the theatres close their doors, and these evenings were the ones immediately following that terrible 2nd of September the day of the butchery outside the Abbaye prison, when Paris herself was aghast with horror, and the cries of the massacred might have drowned the calls of the audience whose hands upraised for plaudits would still be dripping with blood.
On all other evenings of these same four and a half years the theatres in the Rue de Richelieu, in the Palais Royal, the Luxembourg, and others, had raised their curtains and taken money at their doors. The same audience that earlier in the day had whiled away the time by witnessing the ever-recurrent dramas of the Place de la Revolution assembled here in the evenings and filled stalls, boxes, and tiers, laughing over the satires of Voltaire or weeping over the sentimental tragedies of persecuted Romeos and innocent Juliets.
Death knocked at so many doors these days! He was so constant a guest in the houses of relatives and friends that those who had merely shaken him by the hand, those on whom he had smiled, and whom he, still smiling, had passed indulgently by, looked on him with that subtle contempt born of familiarity, shrugged their shoulders at his passage, and envisaged his probable visit on the morrow with lighthearted indifference.
Paris—despite the horrors that had stained her walls had remained a city of pleasure, and the knife of the guillotine did scarce descend more often than did the drop-scenes on the stage.
On this bitterly cold evening of the 27th Nivose, in the second year of the Republic—or, as we of the old style still persist in calling it, the 16th of January, 1794—the auditorium of the Theatre National was filled with a very brilliant company.
The appearance of a favourite actress in the part of one of Moliere’s volatile heroines had brought pleasure-loving Paris to witness this revival of “Le Misanthrope,” with new scenery, dresses, and the aforesaid charming actress to add piquancy to the master’s mordant wit.
The Moniteur, which so impartially chronicles the events of those times, tells us under that date that the Assembly of the Convention voted on that same day a new law giving fuller power to its spies, enabling them to effect domiciliary searches at their discretion without previous reference to the Committee of General Security, authorising them to proceed against all enemies of public happiness, to send them to prison at their own discretion, and assuring them the sum of thirty-five livres “for every piece of game thus beaten up for the guillotine.” Under that same date the Moniteur also puts it on record that the Theatre National was filled to its utmost capacity for the revival of the late citoyen Moliere’s comedy.
The Assembly of the Convention having voted the new law which placed the lives of thousands at the mercy of a few human bloodhounds, adjourned its sitting and proceeded to the Rue de Richelieu.
Already the house was full when the fathers of the people made their way to the seats which had been reserved for them. An awed hush descended on the throng as one by one the men whose very names inspired horror and dread filed in through the narrow gangways of the stalls or took their places in the tiny boxes around.
Citizen Robespierre’s neatly bewigged head soon appeared in one of thes