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A Prince Of Bohemia
by
“La Palferine owned to us that he flung this programme at Claudine’s head simply to rid himself of her. As a result he was stupefied with astonishment for the first and probably the only time in his life.
” ‘Dear,’ she said, and there was a ring in her voice that betrayed the great agitation which shook her whole being, ‘it is well. All this shall be done, or I will die.’
“She let fall a few happy tears on his hand as she kissed it.
” ‘You have told me what I must do to be your mistress still,’ she added; ‘I am glad.’
” ‘And then’ (La Palferine told us) ‘she went out with a little coquettish gesture like a woman that has had her way. As she stood in my garrett doorway, tall and proud, she seemed to reach the stature of an antique sibyl.’
“All this should sufficiently explain the manners and customs of the Bohemia in which the young /condottiere/ is one of the most brilliant figures,” Nathan continued after a pause. “Now it so happened that I discovered Claudine’s identity, and could understand the appalling truth of one line which you perhaps overlooked in that letter of hers. It was on this wise.”
The Marquise, too thoughtful now for laughter, bade Nathan “Go on,” in a tone that told him plainly how deeply she had been impressed by these strange things, and even more plainly how much she was interested in La Palferine.
“In 1829, one of the most influential, steady, and clever of dramatic writers was du Bruel. His real name is unknown to the public, on the play-bills he is de Cursy. Under the Restoration he had a place in the Civil Service; and being really attached to the elder branch, he sent in his resignation bravely in 1830, and ever since has written twice as many plays to fill the deficit in his budget made by his noble conduct. At that time du Bruel was forty years old; you know the story of his life. Like many of his brethren, he bore a stage dancer an affection hard to explain, but well known in the whole world of letters. The woman, as you know, was Tullia, one of the /premiers sujets/ of the Academie Royale de Musique. Tullia is merely a pseudonym like du Bruel’s name of de Cursy.
“For the ten years between 1817 and 1827 Tullia was in her glory on the heights of the stage of the Opera. With more beauty than education, a mediocre dancer with rather more sense than most of her class, she took no part in the virtuous reforms which ruined the corps de ballet; she continued the Guimard dynasty. She owed her ascendency, moreover, to various well-known protectors, to the Duc de Rhetore (the Due de Chaulieu’s eldest son), to the influence of a famous Superintendent of Fine Arts, and sundry diplomatists and rich foreigners. During her apogee she had a neat little house in the Rue Chauchat, and lived as Opera nymphs used to live in the old days. Du Bruel was smitten with her about the time when the Duke’s fancy came to an end in 1823. Being a mere subordinate in the Civil Service, du Bruel tolerated the Superintendent of Fine Arts, believing that he himself was really preferred. After six years this connection was almost a marriage. Tullia has always been very careful to say nothing of her family; we have a vague idea that she comes from Nanterre. One of her uncles, formerly a simple bricklayer or carpenter, is now, it is said, a very rich contractor, thanks to her influence and generous loans. This fact leaked out through du Bruel. He happened to say that Tullia would inherit a fine fortune sooner or later. The contractor was a bachelor; he had a weakness for the niece to whom he is indebted.
” ‘He is not clever enough to be ungrateful,’ said she.