Chapter VI: Part 6

I received a little note from Jenny Lind. She is in Paris, and wished to know when she could come to see me. I wrote to her directly that I would let Monsieur Auber know, and he would probably come at four o'clock (his usual hour). Therefore, it all came about. Jenny Lind came, so did Auber. The meeting was a pleasure to them both. They talked music, art, told many anecdotes of celebrated acquaintances: Alboni, Nilsson, Patti, etc. He had brought some of his music with him, and Jenny Lind and I sang the duo of his latest opera "Le Premier Jour de Bonheur." He consulted me as to whether he might dare to ask her to dine with him, with a few congenial spirits. I said I was sure she would be enchanted to do so, which she was.

As to the congenial spirits, Auber suggested the Metternichs, Gounod, Duke de Massa, and ourselves, making ten in all.

No one refused, and we had the most delightful dinner. The Princess proposed to Auber to give his arm to Jenny Lind, and to put her at his right hand, _la place d'honneur_, adding, with her most ironical smile, "le génie avant la beauté." Auber made a charming host, telling one funny anecdote after the other in his quiet and typical manner. Gounod, in his low and drawly voice, said: "Vous nous donnez, mon cher Auber, des choses par trop ennuyeuses aux concerts du Conservatoire. A la pensée des 'Quatre saisons' de Haydn je m'endors. Pourquoi ne s'est-il pas contenté d'une saison?" Princess Metternich replied, "Que probablement en les composant Haydn s'est mis en quatre." "La moitié m'aurait suffi," said Auber; "pour moi, elles sont toutes _mon automne_." (monotone).

When we returned to the salon we discreetly waited for the promised song.

Suddenly Jenny Lind jumped up, saying, "Shall I sing something?"

Of course, every one was wild to hear her. She went to the piano and accompanied herself in "Qui la voce," of "I Puritani." We were all enchanted, clapping our hands with enthusiasm. Then Gounod played and sang, or rather hummed, a new song of his, saying to Jenny Lind, when he took his place at the piano, "I am not worthy to succeed you."

We thought him much too modest.

He _hummed_ deliriously!

They asked me to sing, and, though I really hated to sing after these great artists, I did so to please Auber, who accompanied me in "Los Djins," of which he is very proud, because it has the same bass all the way through. How little it takes to please genius!

After this Jenny Lind and I performed the duo from "Le Premier Jour de Bonheur" we had practised at my house. She put her arm around my waist while we were singing, as if we were two school-girls.

Prince Metternich played one of his brilliant Austrian waltzes, which was so bewildering that if any man had dared to put his arm round Jenny Lind's matronly waist I am sure she would have skipped off in the dance.

For _la bonne bouche_ she gave us a Swedish peasant song, which was simply bewitching. Her high notes were exquisitely pure, the lower ones I thought weak; but that might have been owing to the good dinner she had eaten--at least she said so.

There is a musical phenomenon here just now in the shape of an American negro; he is blind and idiotic, but has a most extraordinary intelligence for music. All his senses seem to have been concentrated in this one sense. Prince and Princess Metternich, Auber, and ourselves went to his concert. Auber said, "Cet idiot, noir et aveugle, est vraiment merveilleux." Blind Tom had learned his _répertoire_ entirely by ear; therefore it was very limited, as he could only remember what he had heard played a few days before. His memory did not last long. He was wonderful. Not only could he execute well, but he could imitate any one's mannerisms and their way of playing. The impresario came forward, saying, "I am told that Monsieur Auber is in the audience. May I dare to ask him to come up and play something?" Auber said he thought he should die of fright. We all urged him, for the curiosity of the thing, to play something of his new opera, which no one as yet had heard, therefore no one could have known it.

Auber mounted the platform, amid the enthusiastic applause of the audience, and performed his solo. Then Blind Tom sat down and played it after him so accurately, with the same staccato, old-fashioned touch of Auber, that no one could have told whether Auber was still at the piano. Auber returned and bowed to the wildly excited public and to us. He said, "This is my first appearance as a pianist, and my last."

Prince Metternich, inspired by Auber's pluck, followed his example, and mounting the stage rattled off one of his _own fiery_, dashing waltzes, which Blind Tom repeated in the Prince's particular manner. After the concert we went into the artist's room to speak with the impresario, and found poor Tom banging his head against the wall like the idiot he was. Auber remarked, "C'est humiliant pour nous autres."

PARIS, _June, 1867._

DEAR M.,--The famous pianist Liszt, the new Abbé, is pervading Paris just now, and is, I think, very pleased to be a priestly lion, taking his success as a matter of course. There are a succession of dinners in his honor, where he does ample honor to the food, and is in no way bashful about his appetite.

He does a great deal of beaming, he has (as some one said) "so much countenance."

He dined with us the other night, the Metternichs, and twenty-five other people, among whom were Auber and Massenet.

In the boudoir, before dinner, he spied a manuscript which Auber had brought that afternoon. He took it up, looked at it, and said, "C'est très joli!" and laid it down again. When we went in to dinner, and after his cigar in the conservatory (he is a great smoker), he went to the piano and played the "_joli_" little thing of Auber's. Was that not wonderful, that he could remember it all the time during the dinner? He seemed only to have glanced at it, and yet he could play it like that off from memory. He is so kind and good, especially to struggling artists, trying to help them in every way. He seemed extraordinarily amiable that evening, for he sat down at the piano without being asked and played a great many of his compositions--quite an unusual thing for him to do! One has generally to tease and beg him, and then he refuses. But I think, when he heard Massenet improvising at one of the pianos he was inspired, and he put himself at the other (we have two grand pianos), and they played divinely, both of them improvising. He is by far the finest pianist I have ever heard, and has a very seductive way of looking at you while playing, as if he was only playing for you, and when he smiles you simply go to pieces. I don't wonder he is such a lady-killer, and that no woman can resist him; even my father-in-law stayed in the salon, being completely hypnotized by Liszt, who ought to consider this as one of his greatest triumphs, if he only knew.

I sang some of Massenet's songs, accompanied, of course, by Massenet. Liszt was most attentive and most enthusiastic. He said Massenet had a great future, and he complimented me on my singing, especially my phrasing and expression.

I wonder if the story be true that he was engaged to be married to Princess Wittgenstein, and on the day of the wedding, when the bridal- dress was ready to be put on, she got a letter from her fiancé (can any one imagine Liszt as a fiancé) saying that he had taken holy orders that very morning.

They say that she bore it very well and wrote a sweet letter to him. It sounds rather unnatural; but one can believe anything from a person who was under Liszt's influence. He has the most wonderful magnetism. His appearance is certainly original as you see him in his _soutane_, his long hair, and his numerous moles, that stand out in profile, whichever way he turns his broad face.

But one forgets everything when one hears him play. He is now fifty-five years old. I invited him to go to the Conservatoire with me in the box which Auber had given me for last Sunday's concert. I inclose his letter of acceptance. (See page 164.)

Auber often gives me his box, which holds six people, and I have the pleasure of making four people happy. Auber sits in the back and generally dozes. We are all crowded together like sardines. Auber, being the director of the Conservatoire, has, of course, the best box, except the Imperial one, which is always empty.

The orchestra played Wagner's overture to "Tannhäuser." The applause was not as enthusiastic as Liszt thought it ought to be, so he stood up in the box, and with his great hands clapped so violently that the whole audience turned toward him, and, recognizing him (indeed, it would have been difficult not to recognize him, such a striking figure as he is), began clapping their hands for him. He cried, "Bis!" And the audience in chorus shouted, "Bis!" And the orchestra repeated the whole overture. Then the audience turned again to Liszt and screamed, "Vive Liszt!"

Madame,

Permettez-moi de venir vous remercier demain au Conservatoire de votre gracieuse invitation dont je serai charmé de profiter.

Mille respectueux hommages,

F. Listz

Dimanche matin.]

Auber said such a thing had never been seen or heard before in the annals of these severe and classical concerts. People quite lost their heads, and Auber, being afraid that there would be a demonstration at the _sortie_, advised us to leave before the end.

I think Liszt was very pleased with his afternoon.

The sovereigns are working themselves to death, and almost killing their attendants. Prince Radzivill said, speaking of the King of Prussia: "I would have liked him better if he had stayed at home. He has to be ready every morning at half-past eight, and is often up till three in the morning." Radzivill and the others not only have to go to all the balls, but they must attend all the various civil, military, and charitable functions, and then the Exposition takes a lot of time and energy.

Prince Umberto is here from Italy. When Princess Metternich asked him how long he was going to stay he answered, with a toss of his head toward Italy, "Cela dépend des circonstances. Les affaires vont très mal là-bas."

Aunt M---- says she wishes you had been at a matinée which Baroness Nathaniel Rothschild gave this afternoon at her beautiful new palace in the Faubourg St.-Honoré. At the entrance there were ten servants in gorgeous livery, and a _huissier_ who rattled his mace down on the pavement as each guest passed. There was, besides all the élite of Paris, an Archduke of Austria. I sang the "Ave Maria" of Gounod, accompanied by Madame Norman Neruda, an Austrian violiniste, the best woman violinist in the world. Baroness Rothschild played the piano part.

PARIS, _May 29, 1867._

DEAR M.,--The Metternichs' big ball last night was a splendid affair, the finest of the many fine balls. We were invited for ten o'clock, and about half-past ten every one was there.

The Emperor and Empress came at eleven o'clock. Waldteufel, with full orchestra, was already playing in the ballroom of the embassy, which was beautifully decorated. At twelve o'clock the doors, or rather all the windows that had been made into doors, were opened into the new ballroom, which the Princess Metternich, with her wonderful taste and the help of Monsieur Alphand, had constructed in the garden, and which had transformed the embassy into a thousand-and-one-nights' palace.

The ballroom was a marvel; the walls were hung with lilac and pink satin, and the immense chandelier was one mass of candles and flowers; from each panel in the room there were suspended baskets of flowers and plants, and between the panels were mirrors which reflected the thousands of candles.

One would never have recognized the garden; it was transformed into a green glade; all the paths were covered with fresh grass sod, making it look like a vast lawn; clusters of plants and palms seemed to be growing everywhere, as if native to the soil; flower-beds by the hundreds; mysterious grottos loomed out of the background, and wonderful vistas with a cleverly painted perspective. At the same moment that their Majesties entered this wonderful ballroom, which no one had dreamed of, the famous Johann Strauss, brought from Vienna especially for this occasion, stood waiting with uplifted baton and struck up the "Blue Danube," heard for the first time in Paris.

When their Majesties approached the huge plate-glass window opening into the garden a full-fledged cascade fell over the stucco rocks, and powerful Bengal lights, red and green, made a most magical effect: the water looked like a torrent of fiery lava _en miniature_. It was thrilling.

No one thought of dancing; every one wanted to listen to the waltz. And how Strauss played it!... With what fire and _entrain!_ We had thought Waldteufel perfect; but when you heard Strauss you said to yourself you had never heard a waltz before. The musicians were partly hidden by gigantic palmettos, plants, and pots of flowers arranged in the most attractive way. But he!--Johann Strauss!--stood well in front, looking very handsome, very Austrian, and very pleased with himself.

Then came the _quadrille d'honneur_. The Emperor danced with the Queen of Belgium, the Crown Prince of Prussia with the Empress, the King of Belgium with the Princess Mathilde, the Prince Leuchtenberg with the Princess Metternich.

The cotillon was led by Count Deym and Count Bergen, and they led it to perfection; there was not a hitch anywhere. Every one was animated and gay; certainly the music was inspiring enough to have made an Egyptian mummy get out of his sarcophagus and caper about. I danced with a German _Durchlaucht_, who, though far in the sear and yellow leaf, danced like a school-boy, standing for hours with his arm around my waist before venturing (he could only start when the tune commenced), counting one-- two--three under his breath, which made me, his partner, feel like a perfect fool. When at last he made up his mind to start nothing short of an earthquake could have stopped him. He hunched up his shoulders to his ears, arched his leg like a prancing horse, and off we went on our wild career, lurching into every couple on the floor, and bumping into all the outsiders. When we were not careering together, he sat glued to his chair, refusing to dance. If any lady came up with a favor he would say, "I am a little out of breath; I will come and fetch you later." And then he would put the favor in his pocket and never go near her. He seized everything in the way of favors that came his way; some he gave to me, and the rest he took home to his small children.

I was glad, all the same, to have him for a partner, as, being a _Durchlaucht_, he was entitled to a seat in the front row, and I preferred prancing about with my _hochgeboren_ high-stepper to having to take a back seat in the third row with a minor _geboren_. After my partner and I had bounded about and butted into every living thing on the floor I brought him to anchor near his chair by clutching his Golden Fleece chain which hung around his neck. I felt like singing Tennyson's "Home I brought my warrior (half) dead." He was puffing and blowing, the perspiration glazing his face, his yellow hair matted on his forehead, and his mustaches all out of kilter.

I really felt sorry for him, and wondered why he exerted himself so much, when he could have been quietly seated watching others, or, better still, at home in bed.

The supper was served at one o'clock. Their Majesties the King and Queen of Belgium, Prince Alfred, the Prince and Princess of Prussia, the Prince of Saxe-Weimar, and all the other _gros bonnets_--too many to write about --went up-stairs through an avenue of plants and palms to a salon arranged especially for them where there were two large tables. The Emperor presided at one and the Empress at the other. Besides the _salle à manger_ and some smaller salons, two enormous tents were put up in the garden, which contained numerous tables, holding about ten people each, and lighted by masses of candles and festooned with bright-colored Chinese lanterns. Prince Metternich told me later that the candles were replaced three times during the evening.

The favors for the cotillon were very pretty, most of them brought from Vienna. One of the prettiest was fans of gray wood with "Ambassade d'Autriche, 28th May, 1867," painted in blue forget-me-nots.

We danced "till morning did appear," and it appeared only too soon. The cotillon finished at half-past five, and the daylight poured in, making us all look ghastly, especially my sear and yellow leaf, whose children must have wondered why papa _kam so spät nach hause_.

PARIS, _1867._

Last week, in the beautiful palace built by Egypt for the Exposition, there was arranged a sort of entertainment for the Viceroy, to which we were invited with the Prince and Princess Metternich. This palace is a large, square, white building of oriental ornamentation and architecture, with a courtyard in the center, where we were received by the Khedive and his suite. A fountain was playing in the middle of the courtyard of marble, surrounded by palmettos and plants of every description. A band of Turkish musicians were seated cross-legged in one of the corners playing on their weird instruments, and making what they seemed to think was music. We sat in low basket-chairs, our feet resting on the richest of oriental rugs, and admired the graceful movements of the dancing-girls, who had not more space than an ordinary square rug to dance upon. There were also some jugglers, who performed the most marvelous and incomprehensible tricks with only an apparently transparent basket, from which they produced every imaginable object.

Coffee _à la Turque_ was served in small cups with their silver filigree undercup, and Turkish paste flavored with attar of roses, and nauseatingly sweet, was passed about, with a glass of water to wash it down. Also cigarettes of every description were lavishly strewn on all the little tables, and hovering about us all the time were the thin-legged, turbaned black menials with baggy silk trousers and bright silk sashes.

Everything was so Oriental that, had I stayed there a little longer, I should not have been surprised to see myself sitting cross-legged on a divan smoking a _narghile_. I said as much as this to the Khedive, who said, in his funny pigeon-French-English, "Alas! Were it so!"

I cast my eyes down and put on my _sainte-ni-touche_ air, which at times I can assume, and as I looked at his Highness's dusky suite, who did not look over and above immaculate, in spite of the Mussulman's Mussulmania for washing, I thanked my stars that it "were not so."

The interpreter who was on duty said to Prince Metternich: "Mussulmans drink no wine, nor does the Prophet allow them to eat off silver. Therefore, to ease our consciences" (he said, _mettre nos consciences à couvert_), "we tell them that the silver plates on which they eat are _iron_ plated with silver. They think the forks are also iron, otherwise they would eat with their fingers."

The interpreter added that Mussulmans did not think the Parisian newspapers very interesting, because they contained so few crimes and no murders worth mentioning. What an insight this gives of the condition of their country and the tenor of their papers!

We took our leave of the amiable Khedive, who expressed the hope that we would soon meet again.

Before his departure from Paris there came a package with the card of one of his gentlemen, begging me, _de la part de Monseigneur_, to accept the "accompanying souvenir." The package contained two enameled bracelets of the finest oriental work in red-and-green, studded with emeralds. He sent an equally gorgeous brooch to the Princess Metternich.

PARIS, _June, 1867._

DEAR M.,--I must write you about something amusing which happened to-day. Prince Oscar was most desirous of seeing Delsarte, having heard him so much spoken of. I promised to try to arrange an interview, and wrote to Delsarte to ask him to come to meet the Prince at our house. I received this characteristic answer, "I have no time to make visits. If his Highness will come to see me I shall be pleased," and mentioned a day and an hour. Prince Oscar, Monsieur Dué, the Swedish secretary, Mademoiselle W----, and I went at the appointed time, mounted Delsarte's tiresome stairs, and waited patiently in his salon while he finished a lesson.

Monsieur Dué was very indignant at this _sans-gêne_, and apologized for Delsarte's want of courtesy; but the Prince did not mind, and occupied himself with looking at Delsarte's old poetry-books and albums.

Finally Delsarte entered and graciously received his royal visitor. The Prince was most affable and listened to Delsarte's fantastic theories, pretending to be interested in the explanation of the cartoons, and began to discuss the art of teaching, which exasperated Delsarte to the verge of impoliteness.

Prince Oscar offered to sing a Swedish song, a very simple peasant song, which he sang very well, I thought. The Swedish language is lovely for singing, almost as good as Italian. We looked for some words of praise; but Delsarte, adopting regency manners, which he can on occasions, said, in a most insinuating voice: "Your Highness is destined to become a king, one of these days. Is it not so?"

"Yes," answered the Prince, wondering what was coming next.

"You will have great responsibilities and a great deal to occupy your mind?"

"Without doubt."

"You will not have time to devote yourself to art?"

"I fear not."

"_Eh bien!_" said Delsarte, and we expected pearls to drop from his mouth, "_eh bien!_ If ever I am fortunate enough to visit your country, I hope you will allow me to pay my most humble respects to you."

"How horribly impolite," said the indignant Monsieur Dué. "He ought to have his ears boxed!"

Prince Oscar took it quite kindly, and, giving Delsarte a clap on his back which I am sure made his shoulders twinge, said: "You are right; I shall have other things to think of. There"--pointing to diagram six on the wall, depicting horror, with open mouth and gaping eyes--"is the expression I shall have when I think of music and music-teachers."

Delsarte, feeling that he had overstepped the mark, said, "Perhaps, _mon Prince_, you will sing something in French for me."

Prince Oscar, drawing himself up his whole six feet and four, glanced down at little Delsarte and said, "_Mon cher Monsieur_, have you ever read the English poets?"

Delsarte looked unutterable things; I blushed for my teacher.

"When I come again to Paris," the Prince continued, "I will come to see you. Adieu!" and left without further ceremony.

We followed him down the slippery stairs in silence.

Prince Oscar thought this little episode a great joke, and repeated it to many people.

That same evening there was a _soirée musicale_ given for him by the Minister of Foreign Affairs (Marquis de Moustier) The Prince was begged to sing, which he did three or four times. Every one was delighted to hear the Swedish songs. Ambroise Thomas, who was there, said that he thought they were exquisite, especially the peasant song, which he had introduced into his new opera of "Hamlet." The Prince and I sang the duet, "I Rosens duft." He was the lion of the evening, and I think that he was very pleased. I hoped that he had forgotten the unpleasant incident of the morning and Delsarte, of whom Monsieur Dué cleverly remarked, "Qui s'y frotte s'y pique--."

PARIS, _July, 1867._

The distribution of prizes for the Exposition took place last Thursday at the Palais de l'Industrie. It was a magnificent affair and a very hot one. You may imagine what the heat and glare must have been at two o'clock in the afternoon on a hot July day. I was glad that I was not old and wrinkled, for every imperfection shone with magnified intensity.

There was a vast platform erected in the middle of the building, which was covered with a red carpet, and over which hung an enormous canopy of red velvet and curtains of velvet with the eagle of Napoleon. The Emperor and Empress sat, of course, in the center, and on each side were the foreign sovereigns; behind them were their suites and the Imperial family. The diplomatic corps had their places on the right of the tribune.

The gentlemen, splendid in their gala uniforms, were covered with decorations, and all the ladies present were _in grande toilette_ and low-necked, and displayed every jewel they possessed.

The building, huge as it was, was packed full, every available seat occupied.

The Prince Imperial distributed the prizes. He looked very dignified when he handed the victors their different medals, accompanying each gift with his sweet and winning smile.

When Count Zichy, of Hungary, mounted the steps of the throne to receive his medal (he got a prize for his Hungarian wines) there was a general murmur of admiration, and I must say that he did look gorgeous in his national costume, which is a most striking one. He had on all his famous turquoises. His mantle and coat underneath, and everything except his top- boots, were encrusted with turquoises, some of them as big as hen's eggs. They say, when he appears on a gala occasion in his country, his horse's trappings and saddle are covered with turquoises.

The Sultan sat on the right of the Empress. You never saw anything half as splendid! A shopful of jewelry could not compare to him. He had a _collier_ of pearls which might have made a Cleopatra green with jealousy. He had an enormous diamond which held the high aigrette in place on his fez and the Great Mogul (I was so told) fastened on his breast. His costume was magnificent, and his sabre--which I suppose has cut off a head or so--was a blaze of jewels. He was the _point de mire_ of all eyes; especially when the rays of the sun caught the rays of his diamonds he blazed like the sun itself. The sun did all it could in the way of blazing that day. I know that I never felt anything like the heat in that gigantic hot-house, the sun pouring through each pane of glass and nothing to protect one against it. I felt like an exotic flower unfolding its petals.

It was a very pretty little scene, and I think that every one was impressed when the Prince Imperial went toward the King of Holland to hand him a medal (probably for Dutch cheese). The tall, stately King rose from his seat, and on receiving it bowed deeply with great ceremony. The Prince made a respectful and graceful bow in response, then the King stooped down and kissed his cheek.

I was tremendously interested when the American exhibitors came forward; there were many of them, quite a procession. They looked very distinguished in their simple dress-coats, without any decorations. I was so glad.

When it was all over it was delightful to get out into the fresh air, even if we had to stand and wait patiently about like Mary's little lamb until the carriage did appear, for we had either to wait or to worm our way, risking horses' tails and hoofs through the surging crowd of bedecked men and women, who were all clamoring for their servants and carriages.

The coachmen were swearing and shouting as only French coachmen can do on such occasions as this. The line of carriages reached almost the whole way down the Champs Élysées. We finally did find ours, and I was glad to seat myself in it. I had had the forethought to put my hat and mantle in, as we intended to drive out to Petit Val for dinner. I put my hat over my tiara and my mantle on my bare shoulders, and enjoyed driving through the shady streets.

Prince Metternich came out here the other day, I had not seen him since the tragic death of Emperor Maximilian in Mexico. I never would have believed that he could be so affected as he seemed to be by this. He cried like a baby when he told us of the Emperor's last days, of his courage and fortitude. It seems that, just as he was going to be shot, he went to each of the men and gave them a twenty-franc gold piece, and said, "I beg you to shoot straight at my heart."

How dreadful it must have been!

Prince Metternich was most indignant at Rochefort, and says he can never forgive him because, in an article in _La Lanterne_, he called the royal martyr "the Archdupe." Auber said:

"You must not forget that Rochefort would rather sell his soul than lose an occasion to make a clever remark."

"Yes, I know," moaned the Prince. "But how can one be so cruel?"

"C'est un mauvais drôle," Auber answered (don't think Auber meant that Rochefort was droll; on the contrary, this is a neat way that the French have of calling a man the _worst kind of a scamp_), and added, "Rochefort's brains are made of _pétards_," which is the French for firecrackers.

Auber told many anecdotes. I fancy he wanted to cheer Prince Metternich up a little. One of them was that, on taking leave of the Emperor, the Shah had said:

"Sire, your Paris is wonderful, your palaces splendid, and your horses magnificent, but," waving his hand toward the mature but noble _dames d'honneur_ with an expression of disapproval, "you must change all that." Imagine what their feelings would have been had they heard him.

PARIS, _August, 1867._

DEAR M.,--I thought there would be a little rest for me after the distribution of prizes and before going to Dinard; but repose is a thing, it seems, that I am destined never to get.

Monday morning I received a letter from Princess Metternich saying that the Minister of Foreign Affairs had sent her his box for that evening, to hear Schneider in "La Belle Hélène," adding that Cora Pearl was to appear as Cupidon as an extra attraction, and asked if we would dine with them first, and go afterward to the theater.

I could not resist an invitation from these two delightful people, therefore we drove into Paris and reached the embassy at half-past six, the hour named for dinner.

Prince Metternich told us that he had had a visit in the afternoon from Monsieur Dué, the Swedish secretary, who had been on the verge of desperation on account of his not having been able to secure a suitable box for King Charles XIV. of Sweden, who arrived last night to spend a few days here. He wished to see Schneider in "La Belle Hélène." Monsieur Dué had gone to the Minister of Foreign Affairs and suggested that the Minister offer his box; but that had already been given to the Metternichs. When Prince Metternich was informed of this he did not hesitate to place the box in question at the King's disposal; but, not to disappoint the Princess and me, he had taken an ordinary box opposite. The King was already in his _loge_ when we arrived. He is a large, handsome man with a full, black beard, and has a very pleasant face.

Between the first and second acts Monsieur Dué came to Prince Metternich and told him that the King desired to see him. Of course the Prince went directly, and returned delighted with the King's affability, and to our great surprise brought us a message from the King, asking us all to come to his box and join him, and proposing to send Monsieur Dué and his gentleman-in-waiting to take our places in our box.

We accepted with pleasure, and passed the rest of the evening in the charming society of the most amiable of kings. He said to me that "Oscar," as he called his brother (Prince Oscar, the hereditary Prince), had spoken about me and our singing the duet written by his brother, Prince Gustave, and asked how I managed about the Swedish words. I replied that Prince Oscar had taught them to me during the dinner preceding the singing.

"Could you understand the words?" he asked.

"No," I replied. "I only know that it was something about London and Emma."

The King laughed most heartily, and said, "I shall tell that to Oscar when I go home, and he will see how well you profited by his lessons."

We were all immensely amused at Cora Pearl's appearance; it was her debut as an actress. I never saw any one look so sheepish as she did, in spite of her paint and powder and beautiful legs. She wore high-heeled slippers, so high that she could hardly walk, which made her even more awkward than she naturally was. She only had a few lines to sing, and this she did so badly that people nearly hissed her.

She was evidently engaged as a drawing-card; but the only thing she drew was ridicule on herself.

During the second act Lord Lyons came into the box. He had known the King before, and, having heard from the Minister of Foreign Affairs that the King was at the theater, went there to pay his respects. The King, noticing that he had a decoration on, said in French: "Please take that off; I am here incognito. To-morrow I shall be official; then you can put it on." So Lord Lyons took off his star and put it in his pocket. He wanted to go after the second act, but the King said: "Monsieur Dué has arranged a supper for us at _La Maison d'Or_. You must come also." Of course Lord Lyons did not refuse.

Monsieur Dué left the box in advance of the rest of us, in order to arrange everything before the King's arrival. The King called to him, as he opened the door, "Don't forget the _écrevisses à la Bordelaise_; I have been looking forward to them for a long time."

After the performance, with which the King was delighted (especially with Hortense Schneider's song, "Dis-moi, Vénus, pourquoi," etc.), we drove to the _Maison d'Or_, where we found Monsieur Dué awaiting us. We asked at what time the carriages should come back. He said: "Not before two o'clock. His Majesty never retires before." We were then shown into a salon, where the Princess Metternich and I were asked by the King to take off our hats. "It is so much more cozy," he said. So off our hats came. We had not been seated ten minutes when we heard some very loud talking and much discussion in the corridor outside. Lord Lyons, who was nearest the door, jumped up to see what the matter was, opened the door, and peeped out.

"Oh!" said he. "It is the Duke of Brunswick making a row; he is half-seas over!" The King turned to Monsieur Dué (the King does not speak English) and said, "What did Lord Lyons say?" Monsieur Dué's English did not go very far, but he translated into Swedish what he had understood Lord Lyons to say.

The King seemed very puzzled and, addressing Lord Lyons, said:

"Was not the Duke of Brunswick obliged to leave England for fear of being arrested?" Lord Lyons coughed discreetly, and the King went on: "If I remember rightly, the Duke, who was in the royal box, shot at and killed a _danseuse_ who was on the stage! And did he not leave England in a balloon? It always seemed such an extraordinary thing. Was it true?" Lord Lyons cautiously answered that people had said all that; but it was some time ago, and added, diplomatically, that he had forgotten all the details.

"And I understood," said his Majesty, "that he can never go back there again."

"You are right. He cannot go back to England, your Majesty."

"Oh! don't Majesty me. To-night I am a simple bourgeois," the King interrupted, smilingly shaking his finger. "But tell me, how can the Duke dare return there now?"

"He does not dare," repeated Lord Lyons. "He can _never_ go back."

"But," insisted the King, "my good Monsieur Dué says that he is on his way there at this moment."

Lord Lyons replied, "I think Monsieur Dué must be mistaken, for the Duke is out there in the corridor making all this [I am sure it was on his lips to say "devil of a row," but he politely said] _noise_."

Monsieur Dué then remarked, "Did I not hear you say that he was half way across the channel?"

"I certainly did not say _that_. What I did say was that he was 'half-seas over' which is a slang expression we use in England instead of saying tipsy, or _dans les vignes du Seigneur_, so prettily put by the French."

The King laughed very much at this _quid pro quo_ and, looking at Monsieur Dué, said, "I thought your English more up to the mark."

The King was immediately fired with a desire to see the famous Duke who had dared to cross the channel in a balloon rather than run the risk of being shut up in prison, and we all waited with impatience to see whether Lord Lyons's persuasive powers went so far as getting the Duke to show himself. Well, they did, and both the gentlemen came into the salon. The Duke bowed low and did not lose his balance. In fact, for a man half-seas over, I thought he looked as if he could get to the end of his journey without disgrace. He said, very politely, "I am afraid I have disturbed you, but this is the salon which has always been put aside for me every night, and I was surprised to learn that it was occupied."

The Duke is, or rather would have been, a very handsome man if he had not such watery eyes and such a weak mouth; and then he wore the funniest- looking wig I ever saw. It was made out of black (the blackest) sewing- silk and plastered down over his ears. I wonder if it was a disguise, or if he thought any one would ever really take it for his own hair.

The King was very nice to him, and did not seem in the least to mind his being _dans les vignes_. I fancy, from what Monsieur Dué said, that in Sweden people are used to see their friends _always_ in _Seigneurial_ vineyards--they never see them anywhere else! But he exaggerates, no doubt.

The King said to the Duke of Brunswick, "Will you not sup with us to- night?"

"I thank your Majesty, but I must crave permission to return, for I have some ladies supping with me, including the Cupidon of to-night."

"Tell her," said the King, "if she wears such high heels she will come to grief."

"It will not be the first time," answered the Duke, with a laugh. "But don't ask me to say anything like that to her; she would box my ears!" Seeing the waiter making signs to him, the Duke then made a profound bow and, stroking his sewing-silk locks left us.

The universal verdict on him was _Quel crétin!_

We had a very pleasant supper, and a most unceremonious one, as much so as is possible where there is royalty.

The King said that he was going to be official all the next day, but that he would like to go to the Exposition. Prince Metternich proposed a cup of tea and the delicious hot rolls they turn out at the Vienna restaurant. The King was delighted to accept, and named the hour of half past four in the afternoon. We were also bidden, for which I was much pleased. King Carl is the most delightful and fascinating of monarchs, and quite worthy to be his brother's brother. To-morrow he is going to be still more official, for he dines at the Tuileries, and there is a gala performance at the opera; Christine Nilsson is going to sing "Faust" with Nicolini and Faure.

To-morrow we leave for Dinard, where there will be no majesties nor Exposition; just plain bread and butter and Brittany cider, which is as hard as a relentless parent.

COMPIÈGNE, _November 27, 1868._

When the inclosed invitation came my father-in-law wet-blanketed the whole thing, and I was brokenhearted. The Duke de Persigny, who happened to be in Petit Val at that moment, sympathized with me and tried to change the paternal mind; but the paternal mind was obdurate, and all pleadings were, alas! in vain.

MAISON DE L'EMPEREUR

_Palais des Tuileries, le 2 9'bre 1868._

_Premier Chambellan_

Monsieur,

Par ordre de l'Empereur, j'ai l'honneur de vous prévenir que vous êtes
invité, ainsi que Madame Ch. Moulton, à passer 9 jours au Palais de
Compiègne, du 27 9'bre au 5 décembre.

Des voitures de la Cour vous attendront le 27, à l'arrivée à Compiègne
du train partant de Paris à 2 heures 1/2 pour vous conduire au Palais.

Agréez, Monsieur, l'assurance de ma considération très distinguée.

_Le Premier Chambellan_,
V'te de Laferrière.

Monsieur Ch. Moulton.

My father-in-law thought it cost too much--my toilettes, the necessary outlay, and especially the _pourboires_. He said that it was a lot of money, and added, in his most choice French, "Le jeu [he pronounced it 'jew'] ne valait pas la chandelle." He was right from his point of view, for he had none of the _jeu_ and all of the _chandelle_. I pined and pouted the whole day, and considered myself the most down-trodden mortal in existence.

Imagine my delight, a few days later, to receive a second document, informing us that our names had been re-entered on the list, and that we were expected, all the same, on the 27th to stay nine days. At the same time there came a note from the Duke de Persigny, in which he said, "Their Majesties desired us particularly to come." And he added: "Tell your father-in-law that the question of pourboires has been settled now and forever. No more pourboires to be given nor taken at Compiègne."

Then Mr. M---- gave his consent, and I was blissfully happy.

It seems that the Emperor's attention had been railed to the many very disagreeable articles in the newspapers on the subject of the extravagant _pourboires_ exacted at Compiègne. The Emperor was very much annoyed, and gave immediate orders to suppress this system, which had been going on for years without his knowledge.

Last night we stayed in Paris, to be ready at half-past two this afternoon. To describe our departure, arrival, and reception would only be to repeat what I have already written last year. Among the fifty or sixty guests there were many who were here then. In addition there are Duke d'Albe, with his daughters; Baron Beyens, the Belgian Minister; Mr. Mallet, of the English Embassy, Mr. Dué of the Swedish Legation; the poet, Prosper Mérimée; and many, of course, I do not know.

Singularly enough, we were shown into the same apartment we had before, which made us feel quite at home. We found tea, chocolate, and cakes on the table, of which I partook with enthusiasm, and then enjoyed an hour's rest before dressing for dinner.

We met at seven o'clock in the _Salle des Fêtes_, the only room in this huge chateau large enough to contain all the party here (I suppose there must be one hundred and twenty people), for which reason it serves both as reception and ballroom.

The Empress looked superb in a gown of an exquisite shade of lilac; she wore her beautiful pearls and a tiara of diamonds and pearls. When she approached me she held out her hand, and said she was very glad to see me. The Emperor was kind and gracious, as usual.

The Baron Gourgaud was told to take me in to dinner, and we followed the procession to the dining-room, passing the _Cent Gardes_, who looked like an avenue of blue and glittering trees. The Baron Gourgaud and I are neighbors in the country, their place, La Grange, being not far from Petit Val. His conversation is not absorbing; but as he knows he is dull he does not pretend to be anything else. I was thankful for this, as I felt that I did not need to make the slightest effort to entertain him.

I cast my eyes round the table, and if I had not known that this was _la série amusante_ I should never have guessed it--every one seemed so spiritless and "sans le moindre entrain," as my neighbor remarked.

No excitement this evening but the dance. Waldteufel is suppressed! They say that the Emperor, who has a horror of publicity in private life, was very displeased last year by the indiscretions and personal anecdotes, and especially the caricatures made by Gustave Doré, which appeared in the _Figaro_. The Emperor vowed that no outsiders should be invited again; therefore poor Waldteufel has to pay _les pots cassés_, and we must make our own music.

Looking for a substitute for Waldteufel, a clever chamberlain discovered the "Debain piano" (mechanical piano).

You remember I had one in my youth. How I loved it! How I used to love to grind out all the beautiful music those ugly boxes contained! And how I used to wonder that those common wooden slides could reproduce such perfect imitations of the real thing.

I was so glad to see one again, and envied the perspiring chamberlain, who looked bored to extinction having to turn the crank, instead of joining the dance and turning the heads of the ladies. It took two of them to manage the complexities of the piano, and as neither possessed a musical turn of the wrist, and as neither had the remotest idea of time or measure, it was very hard for us poor dancers!

When one of the martyrs wanted to explain to the other what to do he would stop and forget to turn the crank. The dancers were thus obliged to pause, one foot in the air, not knowing when to put it down, and when they did put it down they did not fall in measure, and had to commence all over again. This spasmodic waltzing almost made us crazy. As for me, I could not bear it any longer. No chariot nor horses could have kept me away from that piano; to feel again (after so many years) the delight of playing it! And then I wanted to show how it should be played; so I went to the piano and took the crank out of the tired hands of the chamberlain and ground out a whole dance.

I flatter myself that the dancers enjoyed at least this one.

His Majesty walked up to the piano while I was playing and said, "But, Madame, you will tire yourself; you really must stop and let some one take your place."

I replied: "If your Majesty only knew what a pleasure it is for me to play this piano! I had one like it when I was a little girl, and have never seen one since."

"Are these pianos not something quite new?" he asked. "I was told that they were the latest invention."

"They may be," I answered, "the latest improvement on an old invention; but the pianos are older than I am."

"That," answered the Emperor, smilingly, "does not make them very old."

He called one of the chamberlains, and I reluctantly gave up my place. The Count d'Amelot was summoned, and as we were about to waltz off the Emperor said, "If I danced, I should like to dance with you myself; but I do not dance."

"Then," I said, "I must dance without you."

He laughed: "Vous avez toujours la réplique," and stood there watching us with those peculiar eyes of his.

I never received so many compliments on piano-playing as I did to-night.

Here is the list of my dresses (the cause of so much grumbling):

MORNING COSTUMES.
Dark-blue poplin, trimmed with plush of the same color, toque,
muff to match.
Black velvet, trimmed with braid, sable hat, sable tippet and muff.
Brown cloth, trimmed with bands of sealskin, coat, hat, muff to match.
Purple plush, trimmed with bands of pheasant feathers, coat, hat to
match.
Gray velvet, trimmed with chinchilla, chinchilla hat, muff and coat.
Green cloth (hunting costume).
Traveling suit, dark-blue cloth cloak.

EVENING DRESSES.
Light green tulle, embroidered in silver, and for my locks, what they
call _une fantaisie_.
White tulle, embroidered with gold wheat ears.
Light-gray satin, quite plain, with only Brussels lace flounces.
Deep pink tulle, with satin ruchings and a lovely sash of lilac
ribbon.
Black lace over white tulle, with green velvet twisted bows.
Light-blue tulle with Valenciennes.

AFTERNOON GOWNS.
Lilac faille.
Light café au lait with trimmings of the same.
Green faille faced with blue and a red Charlotte Corday sash (Worth's
last gasp).
A red faille, quite plain.
Gray faille with light-blue facings.

Do you not think there is enough to last me as long as I live?

SUNDAY, _November 28th._

The mass is at ten o'clock on Sunday, and one meets in the grand salon before going to the chapel.

Madame de Gallifet and I, being Protestants, were not expected; but, as we wanted to go, we decided to don a black lace veil and follow the others.

The chapel is not large, but it is very richly decorated.

The Empress sat in a tribune facing the altar with a chosen few and her _dames d'honneur_.

The Emperor was not present.

It seemed to me that the mass was very hurried and curtailed. The chorus boys swung their censers nonchalantly, as though they were fanning themselves; probably they were impatient for their breakfast.

The curé did not preach any sermon; he only made an exhortation against the pomps and vanities of this wicked world, and told us that we had better be prepared for death, as it might come at any moment. This was nothing new; any one could have said it. He advised us to have our lamps trimmed, for, when our time came we would be cut down like grass and gathered in the garners. Perhaps he meant we ought to make our hay while the sun was shining. I wondered to myself, if some of those old gentlemen sinners who had sown so liberally would not be gathered in as oats. The curé was going on to say that we should not indulge too freely in the good things of this world; but pulled himself up in time, remembering, no doubt, that he was going to breakfast, as he did every Sunday, at the Imperial board and partake of its luxuries.

And before we knew it the mass was finished.

When we returned to the salon it was eleven o'clock, and every one was assembled for _déjeuner_.

The Marquis d'Aoust happened to sit next to me at table (I say happened, but I believe he manoeuvered so as to do so), and, taking me unawares between two mouthfuls of _truites saumonées_, decoyed me into accepting a stupendous proposition of his, which was to help him to get up an operetta which he had had the courage to compose. He said the idea had just come into his head; but I thought, for an impromptu idea, it was rather a ripe one, as he had brought the music with him, and had already picked out those he thought could help, and checked them off on his lean fingers. He said the operetta had one act only, which I thought was fortunate, and that it needed only four actors, which I thought was still more fortunate.

The next thing to be done, he said, was to get the singers' consent. I should have said it was the first thing to be done; but he was so bubbling over with enthusiasm that he was sure every one would jump at the chance of taking part.