Gil Blas Alain-René Lesage (novel books to read TXT) 📖

Our little footboy came, and said to my mistress in an audible voice, “Madam, a man in a dirty shirt, splashed up to his middle, with very much the look of a poet, saving your presence, wants to speak to you.”

“Let him walk up,” answered Arsenia. “Keep your seats, gentlemen, it is only an author.”

To be sure so it was, one whose tragedy had been accepted, and he was bringing my mistress her part. His name was Pedro de Moya. On coming into the room he made five or six low bows to the company, who neither rose nor took the least notice of him. Arsenia just returned his superabundant civilities with a slight inclination of the head. He came forward with tremor and embarrassment. He dropped his gloves and let his hat fall. He ventured to pick them up again, then advanced towards my mistress, and presenting to her a paper with more ceremony than a defendant an affidavit to the judge of the court: “Madam,” said he, “have the goodness to receive under your protection the part I take the liberty of offering you.” She stretched out her hand for it with cold and contemptuous indifference; nor did she condescend even to notice the compliment by a look.

But our author was not disheartened. Seizing this opportunity to distribute the cast, he gave one character to Rosimiro and another to Florimonde, who treated him just as genteelly as Arsenia had done. On the contrary, the low comedian, a very pleasant fellow, as those gentlemen for the most part affect to be, insulted him with the most cutting sarcasms. Pedro de Moya was not made of stone. Yet he dared not take up the aggressor, lest his piece should suffer for it. He withdrew without saying a word, but stung to the quick, as it seemed to me, by his reception. He could not fail, in the transports of his anger, mentally to apostrophize the players as they deserved: and the players, when he was gone, began to talk of authors in return with infinite deference and kindness.

“It should seem,” said Florimonde, “as if Señor de Moya did not go away very well pleased.”

“Well! madam,” cried Rosimiro, “and why should you trouble yourself about that? Are we to study the feelings of authors? If we were to admit them upon equal terms, it would only be the way to spoil them. I know that contemptible squad; I know them of old: they would soon forget their distance. There is no dealing with them but as slaves; and as for tiring their patience, never fear that. Though they may take themselves off in a pet sometimes, the itch of writing brings them back again; and they are raised to the third heaven, if we will but condescend to support their pieces.”

“You are right,” said Arsenia; “we never lose an author till we have made his fortune. When that is done, as soon as we have provided for the ungrateful devils, they get to be in good case, and then they run restive. Luckily, the manager does not break his heart after them, and one is just as good as another to the public.”

These liberal and sagacious remarks met with their full share of approbation. It was carried unanimously that authors, though treated rather too scurvily behind the scenes, were on the whole the obliged persons. These fretters of an hour upon the stage ranked the inhabitant of Parnassus below themselves; and malice could not degrade him lower.

Gil Blas acquires a relish for the theatre, and takes a full swing of its pleasures, but soon becomes disgusted.

The party sat at the table till it was time to go to the theatre. I went after them, and saw the play again that evening. I took such delight in it, that I was for attending every day. I never missed, and by degrees got accustomed to the actors. Such is the force of habit. I was particularly delighted with those who were most artificial and unnatural; nor was I singular in my taste.

The beauties of composition affected me much on the same principle as the excellence of representation. There were some pieces with which I was enraptured. I liked, among others, those which brought all the cardinals or the twelve peers of France upon the stage. I got hold of striking passages in these incomparable performances. I recollect that in two days I learned by heart a whole play, called The Queen of Flowers. The Rose, who was the queen, had the Violet for her maid of honor, and the Jessamine for her prime minister. I could conceive nothing more elegant or refined: such productions seemed to be the triumph of our Spanish wit and invention.

I was not content to store my memory and discipline my mind with the choicest selections from these dramatic masterpieces: but I was bent on polishing my taste to the highest perfection. To secure this grand object, I listened with greedy ears to every word which fell from the lips of the players. If they commended a piece, I was ravished by it: but suppose they pronounced it bad? why then I maintained that it was infernal stuff. I conceived that they must determine the merits of a play, as a jeweller the water of a diamond. And yet the tragedy by Pedro de Moya was eminently successful, though they had predicted its entire miscarriage. This, however, was no disparagement of their critical skill in my estimation; and I had rather believe the audience to be divested of common sense, than doubt the infallibility of the company. But they assured me on all hands, that their judgments were usually confirmed by the rule of contraries. It seemed to be a maxim with them, to set their faces point-blank against the taste of the public; and as a proof of this, there were a thousand cases in point of unexpected successes and failures. All