Popinot) should be engaged as conductor of the orchestra; and at the same time, the Count was careful to send certain elderly amateurs of beauty to the theatre, so that the new manager might be strongly supported financially by wealthy admirers of feminine charms revealed by the costume of the ballet.
Gaudissart and Company, who, be it said, made their fortune, hit upon the grand idea of operas for the people, and carried it out in a boulevard theatre in 1834. A tolerable conductor, who could adapt or even compose a little music upon occasion, was a necessity for ballets and pantomimes; but the last management had so long been bankrupt, that they could not afford to keep a transposer and copyist. Pons therefore introduced Schmucke to the company as copier of music, a humble calling which requires no small musical knowledge; and Schmucke, acting on Pons’ advice, came to an understanding with the chef-de-service at the Opera-Comique, so saving himself the clerical drudgery.
The partnership between Pons and Schmucke produced one brilliant result. Schmucke being a German, harmony was his strong point; he looked over the instrumentation of Pons’ compositions, and Pons provided the airs. Here and there an amateur among the audience admired the new pieces of music which served as accompaniment to two or three great successes, but they attributed the improvement vaguely to “progress.” No one cared to know the composer’s name; like occupants of the baignoires, lost to view of the house, to gain a view of the stage, Pons and Schmucke eclipsed themselves by their success. In Paris (especially since the Revolution of July) no one can hope to succeed unless he will push his way quibuscumque viis and with all his might through a formidable host of competitors; but for this feat a man needs thews and sinews, and our two friends, be it remembered, had that affection of the heart which cripples all ambitious effort.
Pons, as a rule, only went to his theatre towards eight o’clock, when the piece in favor came on, and overtures and accompaniments needed the strict ruling of the baton; most minor theatres are lax in such matters, and Pons felt the more at ease because he himself had been by no means grasping in all his dealings with the management; and Schmucke, if need be, could take his place. Time went by, and Schmucke became an institution in the orchestra; the Illustrious Gaudissart said nothing, but he was well aware of the value of Pons’ collaborator. He was obliged to include a pianoforte in the orchestra (following the example of the leading theatres); the instrument was placed beside the conductor’s chair, and Schmucke played without increase of salary—a volunteer supernumerary. As Schmucke’s character, his utter lack of ambition or pretence became known, the orchestra recognized him as one of themselves; and as time went on, he was intrusted with the often needed miscellaneous musical instruments which form no part of the regular band of a boulevard theatre. For a very small addition to his stipend, Schmucke played the viola d’amore, hautboy, violoncello, and harp, as well as the piano, the castanets for the cachucha, the bells, saxhorn, and the like. If the Germans cannot draw harmony from the mighty instruments of Liberty, yet to play all instruments of music comes to them by nature.
The two old artists were exceedingly popular at the theatre, and took its ways philosophically. They had put, as it were, scales over their eyes, lest they should see the offences that needs must come when a corps de ballet is blended with actors and actresses, one of the most trying combinations ever created by the laws of supply and demand for the torment of managers, authors, and composers alike.
Every one esteemed Pons with his kindness and his modesty, his great self-respect and respect for others; for a pure and limpid life wins something like admiration from the worst nature in every social sphere, and in Paris a fair virtue meets with something of the success of a large diamond, so great a rarity it is. No actor, no dancer however brazen, would have indulged in the mildest practical joke at the expense of either Pons or Schmucke.
Pons very occasionally put in an appearance in the foyer; but all that Schmucke knew of the theatre was the underground passage from the street door to the orchestra. Sometimes, however, during an interval, the good German would venture to make a survey of the house and ask a few questions of the first flute, a young fellow from Strasbourg, who came of a German family at Kehl. Gradually under the flute’s tuition Schmucke’s childlike imagination acquired a certain amount of knowledge of the world; he could believe in the existence of that fabulous creature the lorette, the possibility of “marriages at the Thirteenth Arrondissement,” the vagaries of the leading lady, and the contraband traffic carried on by box-openers. In his eyes the more harmless forms of vice were the lowest depths of Babylonish iniquity; he did not believe the stories, he smiled at them for grotesque inventions. The ingenious reader can see that Pons and Schmucke were exploited, to use a word much in fashion; but what they lost in money they gained in consideration and kindly treatment.
It was after the success of the ballet with which a run of success began for the Gaudissart Company that the management presented Pons with a piece of plate—a group of figures attributed to Benvenuto Cellini. The alarming costliness of the gift caused talk in the green-room. It was a matter of twelve hundred francs! Pons, poor honest soul, was for returning the present, and Gaudissart had a world of trouble to persuade him to keep it.
“Ah!” said the manager afterwards, when he told his partner of the interview, “if we could only find actors up to that sample.”
In their joint life, outwardly so quiet, there was the one disturbing element—the weakness to which Pons sacrificed, the insatiable craving to dine out. Whenever Schmucke happened to be at home while Pons was dressing for the evening, the good German would bewail this deplorable habit.
“Gif only he vas ony fatter vor it!” he many a time cried.
And Schmucke would dream of curing his friend of his degrading vice, for a true friend’s instinct in all that belongs to the inner life is unerring as a dog’s sense of smell; a friend knows by intuition the trouble in his friend’s soul, and guesses at the cause and ponders it in his heart.
Pons, who always wore a diamond ring on the little finger of his right hand, an ornament permitted in the time of the Empire, but ridiculous to-day—Pons, who belonged to the “troubadour time,” the sentimental periods of the first Empire, was too much a child of his age, too much of a Frenchman to wear the expression of divine serenity which softened Schmucke’s hideous ugliness. From Pons’ melancholy looks Schmucke knew that the profession of parasite was growing daily more difficult and painful. And, in fact, in that month of October 1844, the number of houses at which Pons dined was naturally much restricted; reduced to move round and round the family circle, he had used the word family in far too wide a sense, as will shortly be seen.
M. Camusot, the rich silk mercer of the Rue des Bourdonnais, had married Pons’ first cousin, Mlle. Pons, only child and heiress of one of the well-known firm of Pons Brothers, court embroiderers. Pons’ own father and mother retired from a firm founded before the Revolution of 1789, leaving their capital in the business until Mlle. Pons’ father sold it in 1815 to M. Rivet. M. Camusot had since lost his wife and married again, and retired from business some ten years, and now in 1844 he was a member of the Board of Trade, a deputy, and what not. But the Camusot clan were friendly; and Pons, good man, still considered that he was some kind of cousin to the children of the second marriage, who were not relations, or even connected with him in any way.
The second Mme. Camusot being a Mlle. Cardot, Pons introduced himself as a relative into the tolerably numerous Cardot family, a second bourgeois tribe which, taken with its connections, formed quite as strong a clan as the Camusots; for Cardot the notary (brother of the second Mme. Camusot) had married a Mlle. Chiffreville; and the well-known family of Chiffreville, the leading firm of manufacturing chemists, was closely connected with the whole drug trade, of which M. Anselme Popinot was for many years the undisputed head, until the Revolution of July plunged him into the very centre of the dynastic movement, as everybody knows. So Pons, in the wake of the Camusots and Cardots, reached the Chiffrevilles, and thence the Popinots, always in the character of a cousin’s cousin.
The
