Louis XIV and La Grande Mademoiselle, 1652-1693. Arvede Barine
to shiver in such good company, hastened from distances of ten leagues. Mademoiselle was perfectly contented: "I listened to the play with more pleasure than ever before."
We no longer understand what it means to love truly the theatre. According to the gazette of Loret, the opening piece was a pastoral, "half gay, half moral." Mademoiselle loved this sort, slightly out of fashion; Segrais has preserved an agreeable reminiscence of a summer's evening passed in the forest, with the natural background of high trees, listening to an ancient "Amaryllis" repolished and arranged for the stage by some penny-a-liner.
Mademoiselle loved, what is more, everything pertaining to the theatre from tragedy to trained dogs. One reads in a little squib written by her as a pastime,14 and printed for the diversion of her friends, "Comedians are essentials – at least for the French and Italians. Jugglers, rope dancers, buveurs d'eau, without forgetting marionettes and bell players, dogs trained to leap, and monkeys as examples to our own; violins and merry-andrews and good dancers." This skit should not be taken too seriously, but it well accords with the account left us by an eye-witness of one of the representations at Saint-Fargeau. The piece was called Country Pleasures, an operetta. The greatest applause fell neither to the Goddess Flora, nor to the "melancholy lover," but to two children disguised as monkeys, and executing songs with the "cadence which belongs to those animals."
Twice a week, the pleasures and cares of Saint-Fargeau were varied by the arrival of messengers bringing letters and gazettes. News not to be trusted to the post was received through guests from Paris or by special messengers. The news consisted mainly of political events, but it fell to the exiles to discover the springs and to draw the morals from the facts. This talent of divining, possessed in a high degree by the Parisians, has never passed the banlieue. It cannot be carried away.
Mademoiselle herself had never attained the art. Even at the Tuileries she used to say: "I can never guess anything." Once in her place of refuge, she comprehended nothing of the real significance of passing events. For those who were not Provincials there was nothing clearer than the conduct of the Court of France, after its return to the capital. Mademoiselle had fled from the Tuileries October 21, 1652. The next day the young King held a Lit de Justice, in which the Parliament was forbidden to occupy itself with the general affairs of the kingdom. Banishments and pursuits immediately commenced, but the gazettes hardly referred to them. From their pages one might have gathered that Paris was entirely absorbed in its pleasures.
The post of November brought to Saint-Fargeau description of the first Court ball and some lines on a new Lit de Justice (November 13th), in which the Prince de Condé and his adherents had been declared criminals "de lèse majesté." The December number of the Gazette gave news of the arrest of Retz, who had rallied before the end of the Fronde, and the account of a great marriage with enumeration of gifts and names of donors, exactly as in our modern journals. The January number was made interesting by the accounts of the several successes of Turenne over Condé and the Spanish troops, and by the news of the death of an ancient aunt of Mademoiselle who had been in retreat for seven or eight years. The necrological article took a larger space in the gazette of Loret than that absorbed by the warlike and political news together.
The third of the following month the revolutionary era was closed by the triumphal return of Mazarin. Louis XIV. travelled three leagues to meet him, and took him back in his own carriage to the Louvre, where a sumptuous festival, fireworks, and homage, more or less sincere, from the crowds of courtiers, awaited him.
Encor qu'il fait un temps étrange
Temps de vent, de pluie et de fange,
The attention of the Parisians was at once directed to a grand ballet with mechanical devices and changes of scene, danced three times by the King and the flower of his nobility,15 before a public analogous to that of the free representations of July 14th in Paris. Places were reserved for the Court and its guests, who really made part of the spectacle, but otherwise all entered who desired. The crowd besieged the doors to see what will probably never again be witnessed: a monarch sufficiently sure of his prestige to dare to pirouet, costumed as a mythological divinity, or stagger as a thief who had drunk too much, before the canaille of his capital.
The following day, a journalist bitterly bewails in his paper having seen nothing at all, although he had stood in line three hours and waited eight hours in the hall. This journalist exacted and obtained consideration; at the second representation, the chronicler before carelessly treated was lead in ceremony to the "reserved places." He was not yet content, not being in front. He showed himself, however, a good fellow and wrote an article admiring all, even a scene in which the joke to-day seems somewhat inhuman. It was a dance of cripples, the contortions of these miserable beings causing much laughter.
Of the abuses which gave rise to the Fronde, no living soul breathed a word. Not one of these abuses had disappeared. For the most part they had been aggravated by the general disorder; but France resembled an invalid who had so far found only charlatans for physicians; it was weary of remedies. "The people of Paris," wrote André d'Ormesson, "were disgusted with Princes and did not longer wish to feed upon war."
One might say the same of the Provinces. They remained for the most part troubled and miserable, their hate now turning against the nobility, with whom the four years of anarchy had brought back the manners of the feudal brigands. Deceived on all sides, betrayed by all its pretended saviours, the country began again to put its faith in the central power. It was only necessary that this last should regain its strength day by day, and it was clear to the Parisians as well as to the Provinces that the first use royalty would make of convalescence would be to cripple the nobility so that a revival of the Fronde would be impossible.
The period had passed in which the King could be aided by the nobles according to their own methods not his, as at the time in which they had fought against him, to deliver him from his first minister. Louis XIV. wished now to be served in his own way, which was to be obeyed, and he felt the strength to impose obedience. It required all the naïveté of Mademoiselle to be able to imagine that she could make the King as an old Frondeur admit the distinctions between M. le Prince whose success one had the right to desire, and the Spanish soldiers led by this same Prince in whom one must not be interested. She had so little realisation of the change which had taken place in sentiments, from the date of her exile, that she did not even attempt to conceal her grief at the news of the victory at Arras brought back by Turenne, August 27, 1654.
The Grande Mademoiselle believed herself in accord with her King and country when she wrote in her Mémoires: "I have not desired the Spaniards to gain advantage over the French, but I do wish that M. le Prince might do so and I cannot persuade myself that this is against the service of the King." It was then four months since the young monarch had entered, whip in hand, into his Parliament and forbade it to mix itself with his affairs; but his cousin had no more comprehended this warning than the others which had preceded it. It had not once occurred to her that the cadet branches of the royal family were amongst the vanquished and that the relations of the King of France, very far from being in a position to dictate to him, would henceforth be the most strictly held in leash of all his subjects. Only the approach of the great revolution gave them an opportunity to regain their importance and we know how much Louis XVI. and Marie Antoinette were able to congratulate themselves over this fact.
Monsieur Gaston undertook to bring his daughter to a realisation of the truth. It had been said that as long as he lived bitter experiences would come to Mademoiselle through this dangerous Prince.
Gaston d'Orléans had disappeared from the stage at the end of the Fronde, like a true hero of comedy. His wife said, half weeping, half laughing, that he seemed to her a Tewlin, a celebrated comic actor who filled the rôle designated to-day as the "king of operetta."
The return of the Court to Paris had been announced to the Luxembourg by a letter from Louis XIV. This news had entirely upset Monsieur and he blustered with so much appearance of truth that Mademoiselle had once more been convinced. "He was so completely beside himself," relates de Retz, "that one would judge from his manner of speaking, that he was already on horseback, completely armed and ready to cover with blood the plains of
These representations took place in the grand hall of the Petit Bourbon, near the Louvre. (Cf.