A Mummer's Tale. Anatole France

what was he capable? She tried to guess. What was he going to do? Probably nothing. All men who are thrown over by a woman utter threats and do nothing. But was Chevalier a man quite like all the rest? People did say that he was crazy. That was mere talk. But she herself did not feel sure that there might not be a spark of insanity in him. She was studying him now with genuine interest. Highly intelligent herself, she had never discovered any great signs of intelligence in him; but he had on several occasions astonished her by the obstinacy of his will. She could remember his performing acts of the fiercest energy. Jealous by nature, there were yet certain matters which he understood. He knew what a woman is compelled to do in order to win a place on the stage, or to dress herself properly; but he could not endure to be deceived for the sake of love. Was he the sort of man to commit a crime, to do something dreadful? That was what she could not decide. She recalled his mania for handling firearms. When she used to visit him in the Rue des Martyrs, she always found him in his room, taking an old shot-gun to pieces and cleaning it. And yet he never went shooting. He boasted of being a dead shot, and carried a revolver on his person. But what did that prove? Never before had she thought so much about him.

      Nanteuil was tormenting herself in this fashion in her box, when Jenny Fagette came to join her there; Jenny Fagette, slender and fragile, the incarnation of Alfred de Musset's Muse, who at night wore out her eyes of periwinkle-blue by scribbling society notes and fashion articles. A mediocre actress, but a clever and wonderfully energetic woman, she was Nanteuil's most intimate friend. They recognized in each other remarkable qualities, qualities which differed from those which each discovered in herself, and they acted in concert as the two great Powers of the Odéon. Nevertheless, Fagette was doing her best to take Ligny away from her friend; not from inclination, for she was insensible as a stick and held men in contempt, but with the idea that a liaison with a diplomatist would procure her certain advantages, and above all, in order not to miss the opportunity of doing something scandalous. Nanteuil was aware of this. She knew that all her sister-actresses, Ellen Midi, Duvernet, Herschell, Falempin, Stella, Marie-Claire, were trying to take Ligny from her. She had seen Louise Dalle, who dressed like a music-mistress, and always had the air of being about to storm an omnibus, and retained, even in her provocations and accidental contacts, the appearance of incurable respectability, pursue Ligny with her lanky legs, and beset him with the glances of a poverty-stricken Pasiphae. She had also surprised the oldest actress of the theatre, their excellent mother Ravaud, in a corridor, baring, at Ligny's approach, all that was left to her, her magnificent arms, which had been famous for forty years.

      Fagette, with disgust, and the tip of a gloved finger, called Nanteuil's attention to the scene through which Durville, old Maury and Marie-Claire were struggling.

      "Just look at those people. They look as if they were playing at the bottom of thirty fathoms of water."

      "It's because the top lights are not lit."

      "Not a bit of it. This theatre always looks as if it were at the bottom of the sea. And to think that I, too, in a moment, have to enter that aquarium. Nanteuil, you must not stop longer than one season in this theatre. One is drowned in it. But look at them, look at them!"

      Durville was becoming almost ventriloqual in order to seem more solemn and more virile:

      "Peace, the abolition of the combined martial and civil law, and of conscription, higher pay for the troops; in the absence of funds, a few drafts on the bank, a few commissions suitably distributed, these are infallible means."

      Madame Doulce entered the box. Unfastening her cloak with its pathetic lining of old rabbit-skin, she produced a small dog's-eared book.

      "They are Madame de Sévigné's letters," she said. "You know that next Sunday I am going to give a reading of the best of Madame de Sévigné's letters."

      "Where?" asked Fagette.

      "Salle Renard."

      It must have been some remote and little known hall, for Nanteuil and Fagette had not heard of it.

      "I am giving this reading for the benefit of the three poor orphans left by Lacour, the actor, who died so sadly of consumption this winter. I am counting on you, my darlings, to dispose of some tickets for me."

      "All the same, she really is ridiculous, Marie-Claire!" said Nanteuil.

      Some one scratched at the door of the box. It was Constantin Marc, the youthful author of a play, La Grille, which the Odéon was going to rehearse immediately; and Constantin Marc, although a countryman living in the forest, could henceforth breathe only in the theatre. Nanteuil was to take the principal part in the play. He gazed upon her with emotion, as the precious amphora destined to be the receptacle of his thought.