you may discover in surviving copies of the “Courrier Nantais”—on the Feast of the Purification with “Les Fourberies de Scaramouche.” But they did not come to Nantes as hitherto they had gone to little country villages and townships, unheralded and depending entirely upon the parade of their entrance to attract attention to themselves. Andre-Louis had borrowed from the business methods of the Comedie Francaise. Carrying matters with a high hand entirely in his own fashion, he had ordered at Redon the printing of playbills, and four days before the company’s descent upon Nantes, these bills were pasted outside the Theatre Feydau and elsewhere about the town, and had attracted—being still sufficiently unusual announcements at the time—considerable attention. He had entrusted the matter to one of the company’s latest recruits, an intelligent young man named Basque, sending him on ahead of the company for the purpose.
You may see for yourself one of these playbills in the Carnavalet Museum. It details the players by their stage names only, with the exception of M. Binet and his daughter, and leaving out of account that he who plays Trivelin in one piece appears as Tabarin in another, it makes the company appear to be at least half as numerous again as it really was. It announces that they will open with “Les Fourberies de Scaramouche,” to be followed by five other plays of which it gives the titles, and by others not named, which shall also be added should the patronage to be received in the distinguished and enlightened city of Nantes encourage the Binet Troupe to prolong its sojourn at the Theatre Feydau. It lays great stress upon the fact that this is a company of improvisers in the old Italian manner, the like of which has not been seen in France for half a century, and it exhorts the public of Nantes not to miss this opportunity of witnessing these distinguished mimes who are reviving for them the glories of the Comedie de l’Art. Their visit to Nantes—the announcement proceeds—is preliminary to their visit to Paris, where they intend to throw down the glove to the actors of the Comedie Francaise, and to show the world how superior is the art of the improviser to that of the actor who depends upon an author for what he shall say, and who consequently says always the same thing every time that he plays in the same piece.
It is an audacious bill, and its audacity had scared M. Binet out of the little sense left him by the Burgundy which in these days he could afford to abuse. He had offered the most vehement opposition. Part of this Andre-Louis had swept aside; part he had disregarded.
“I admit that it is audacious,” said Scaramouche. “But at your time of life you should have learnt that in this world nothing succeeds like audacity.”
“I forbid it; I absolutely forbid it,” M. Binet insisted.
“I knew you would. Just as I know that you’ll be very grateful to me presently for not obeying you.”
“You are inviting a catastrophe.”
“I am inviting fortune. The worst catastrophe that can overtake you is to be back in the market-halls of the country villages from which I rescued you. I’ll have you in Paris yet in spite of yourself. Leave this to me.”
And he went out to attend to the printing. Nor did his preparations end there. He wrote a piquant article on the glories of the Comedie de l’Art, and its resurrection by the improvising troupe of the great mime Florimond Binet. Binet’s name was not Florimond; it was just Pierre. But Andre-Louis had a great sense of the theatre. That article was an amplification of the stimulating matter contained in the playbills; and he persuaded Basque, who had relations in Nantes, to use all the influence he could command, and all the bribery they could afford, to get that article printed in the “Courrier Nantais” a couple of days before the arrival of the Binet Troupe.
Basque had succeeded, and, considering the undoubted literary merits and intrinsic interest of the article, this is not at all surprising.
And so it was upon an already expectant city that Binet and his company descended in that first week of February. M. Binet would have made his entrance in the usual manner—a full-dress parade with banging drums and crashing cymbals. But to this Andre-Louis offered the most relentless opposition.
“We should but discover our poverty,” said he. “Instead, we will creep into the city unobserved, and leave ourselves to the imagination of the public.”
He had his way, of course. M. Binet, worn already with battling against the strong waters of this young man’s will, was altogether unequal to the contest now that he found Climene in alliance with Scaramouche, adding her insistence to his, and joining with him in reprobation of her father’s sluggish and reactionary wits. Metaphorically, M. Binet threw up his arms, and cursing the day on which he had taken this young man into his troupe, he allowed the current to carry him whither it would. He was persuaded that he would be drowned in the end. Meanwhile he would drown his vexation in Burgundy. At least there was abundance of Burgundy. Never in his life had he found Burgundy so plentiful. Perhaps things were not as bad as he imagined, after all. He reflected that, when all was said, he had to thank Scaramouche for the Burgundy. Whilst fearing the worst, he would hope for the best.
And it was very much the worst that he feared as he waited in the wings when the curtain rose on that first performance of theirs at the Theatre Feydau to a house that was tolerably filled by a public whose curiosity the preliminary announcements had thoroughly stimulated.
Although the scenario of “Lee Fourberies de Scaramouche” has not apparently survived, yet we know from Andre-Louis’ “Confessions” that it is opened by Polichinelle in the character of an arrogant and fiercely jealous lover shown in the act of beguiling the waiting-maid, Columbine, to play the spy upon her mistress, Climene. Beginning with cajolery, but failing in this with the saucy Columbine, who likes cajolers to be at least attractive and to pay a due deference to her own very piquant charms, the fierce humpbacked scoundrel passes on to threats of the terrible vengeance he will wreak upon her if she betrays him or neglects to obey him implicitly; failing here, likewise, he finally has recourse to bribery, and after he has bled himself freely to the very expectant Columbine, he succeeds by these means in obtaining her consent to spy upon Climene, and to report to him upon her lady’s conduct.
The pair played the scene well together, stimulated, perhaps, by their very nervousness at finding themselves before so imposing an audience. Polichinelle was everything that is fierce, contemptuous, and insistent. Columbine was the essence of pert indifference under his cajolery, saucily mocking under his threats, and finely sly in extorting the very maximum when it came to accepting a bribe. Laughter rippled through the audience and promised well. But M. Binet, standing trembling in the wings, missed the great guffaws of the rustic spectators to whom they had played hitherto, and his fears steadily mounted.
Then, scarcely has Polichinelle departed by the door than Scaramouche bounds in through the window. It was an effective entrance, usually performed with a broad comic effect that set the people in a roar. Not so on this occasion. Meditating in bed that morning, Scaramouche had decided to present himself in a totally different aspect. He would cut out all the broad play, all the usual clowning which had delighted their past rude audiences, and he would obtain his effects by subtlety instead. He would present a slyly humorous rogue, restrained, and of a certain dignity, wearing a countenance of complete solemnity, speaking his lines drily, as if unconscious of the humour with which he intended to invest them. Thus, though it might take the audience longer to understand and discover him, they would like him all the better in the end.
True to that resolve, he now played his part as the friend and hired ally of the lovesick Leandre, on whose behalf he came for news of Climene, seizing the opportunity to further his own amour with Columbine and his designs upon the money-bags of Pantaloon. Also he had taken certain liberties with the traditional costume of Scaramouche; he had caused the black doublet and breeches to be slashed with red, and the doublet to be cut more to a peak, a la Henri III. The conventional black velvet cap he had replaced by a conical hat with a turned-up brim, and a tuft of feathers on the left, and he had discarded the guitar.
