Scaramouche Rafael Sabatini (ebook pdf reader for pc TXT) 📖

think,” he said, at the end of a long outburst of agreement, “you think that our story of The Heartless Father could be enriched by dipping into Monsieur de Pourceaugnac, to which I confess upon reflection that it may present certain superficial resemblances?”

“I do; most certainly I do⁠—always provided that you do so judiciously. Times have changed since Molière.”

It was as a consequence of this that Binet retired soon after, taking André-Louis with him. The pair sat together late that night, and were again in close communion throughout the whole of Sunday morning.

After dinner M. Binet read to the assembled company the amended and amplified canevas of The Heartless Father, which, acting upon the advice of M. Parvissimus, he had been at great pains to prepare. The company had few doubts as to the real authorship before he began to read; none at all when he had read. There was a verve, a grip about this story; and, what was more, those of them who knew their Molière realized that far from approaching the original more closely, this canevas had drawn farther away from it. Molière’s original part⁠—the title role⁠—had dwindled into insignificance, to the great disgust of Polichinelle, to whom it fell. But the other parts had all been built up into importance, with the exception of Leandre, who remained as before. The two great roles were now Scaramouche, in the character of the intriguing Sbrigandini, and Pantaloon the father. There was, too, a comical part for Rhodomont, as the roaring bully hired by Polichinelle to cut Leandre into ribbons. And in view of the importance now of Scaramouche, the play had been rechristened “Figaro-Scaramouche.”

This last had not been without a deal of opposition from M. Binet. But his relentless collaborator, who was in reality the real author⁠—drawing shamelessly, but practically at last upon his great store of reading⁠—had overborne him.

“You must move with the times, monsieur. In Paris Beaumarchais is the rage. Figaro is known today throughout the world. Let us borrow a little of his glory. It will draw the people in. They will come to see half a ‘Figaro’ when they will not come to see a dozen Heartless Fathers. Therefore let us cast the mantle of Figaro upon someone, and proclaim it in our title.”

“But as I am the head of the company⁠ ⁠…” began M. Binet, weakly.

“If you will be blind to your interests, you will presently be a head without a body. And what use is that? Can the shoulders of Pantaloon carry the mantle of Figaro? You laugh. Of course you laugh. The notion is absurd. The proper person for the mantle of Figaro is Scaramouche, who is naturally Figaro’s twin-brother.”

Thus tyrannized, the tyrant Binet gave way, comforted by the reflection that if he understood anything at all about the theatre, he had for fifteen livres a month acquired something that would presently be earning him as many louis.

The company’s reception of the canevas now confirmed him, if we except Polichinelle, who, annoyed at having lost half his part in the alterations, declared the new scenario fatuous.

“Ah! You call my work fatuous, do you?” M. Binet hectored him.

“Your work?” said Polichinelle, to add with his tongue in his cheek: “Ah, pardon. I had not realized that you were the author.”

“Then realize it now.”

“You were very close with M. Parvissimus over this authorship,” said Polichinelle, with impudent suggestiveness.

“And what if I was? What do you imply?”

“That you took him to cut quills for you, of course.”

“I’ll cut your ears for you if you’re not civil,” stormed the infuriated Binet.

Polichinelle got up slowly, and stretched himself.

“Dieu de Dieu!” said he. “If Pantaloon is to play Rhodomont, I think I’ll leave you. He is not amusing in the part.” And he swaggered out before M. Binet had recovered from his speechlessness.

IV Exit Monsieur Parvissimus

At four o’clock on Monday afternoon the curtain rose on Figaro-Scaramouche to an audience that filled three quarters of the market-hall. M. Binet attributed this good attendance to the influx of people to Guichen for the fair, and to the magnificent parade of his company through the streets of the township at the busiest time of the day. André-Louis attributed it entirely to the title. It was the Figaro touch that had fetched in the better-class bourgeoisie, which filled more than half of the twenty-sous places and three quarters of the twelve-sous seats. The lure had drawn them. Whether it was to continue to do so would depend upon the manner in which the canevas over which he had laboured to the glory of Binet was interpreted by the company. Of the merits of the canevas itself he had no doubt. The authors upon whom he had drawn for the elements of it were sound, and he had taken of their best, which he claimed to be no more than the justice due to them.

The company excelled itself. The audience followed with relish the sly intriguings of Scaramouche, delighted in the beauty and freshness of Climène, was moved almost to tears by the hard fate which through four long acts kept her from the hungering arms of the so beautiful Leandre, howled its delight over the ignominy of Pantaloon, the buffooneries of his sprightly lackey Harlequin, and the thrasonical strut and bellowing fierceness of the cowardly Rhodomont.

The success of the Binet troupe in Guichen was assured. That night the company drank Burgundy at M. Binet’s expense. The takings reached the sum of eight louis, which was as good business as M. Binet had ever done in all his career. He was very pleased. Gratification rose like steam from his fat body. He even condescended so far as to attribute a share of the credit for the success to M. Parvissimus.

“His suggestion,” he was careful to say, by way of properly delimiting that share, “was most valuable, as I perceived at