Rafael Sabatini - The Greatest Works of Rafael Sabatini

The pair played the scene well together, stimulated, perhaps, by their very nervousness at finding themselves before so imposing an audience. Polichinelle was everything that is fierce, contemptuous, and insistent. Columbine was the essence of pert indifference under his cajolery, saucily mocking under his threats, and finely sly in extorting the very maximum when it came to accepting a bribe. Laughter rippled through the audience and promised well. But M. Binet, standing trembling in the wings, missed the great guffaws of the rustic spectators to whom they had played hitherto, and his fears steadily mounted.

Then, scarcely has Polichinelle departed by the door than Scaramouche bounds in through the window. It was an effective entrance, usually performed with a broad comic effect that set the people in a roar. Not so on this occasion. Meditating in bed that morning, Scaramouche had decided to present himself in a totally different aspect. He would cut out all the broad play, all the usual clowning which had delighted their past rude audiences, and he would obtain his effects by subtlety instead. He would present a slyly humorous rogue, restrained, and of a certain dignity, wearing a countenance of complete solemnity, speaking his lines drily, as if unconscious of the humour with which he intended to invest them. Thus, though it might take the audience longer to understand and discover him, they would like him all the better in the end.

True to that resolve, he now played his part as the friend and hired ally of the lovesick Leandre, on whose behalf he came for news of Climene, seizing the opportunity to further his own amour with Columbine and his designs upon the money-bags of Pantaloon. Also he had taken certain liberties with the traditional costume of Scaramouche; he had caused the black doublet and breeches to be slashed with red, and the doublet to be cut more to a peak, a la Henri III. The conventional black velvet cap he had replaced by a conical hat with a turned-up brim, and a tuft of feathers on the left, and he had discarded the guitar.

M. Binet listened desperately for the roar of laughter that usually greeted the entrance of Scaramouche, and his dismay increased when it did not come. And then he became conscious of something alarmingly unusual in Scaramouche’s manner. The sibilant foreign accent was there, but none of the broad boisterousness their audiences had loved.

He wrung his hands in despair. “It is all over!” he said. “The fellow has ruined us! It serves me right for being a fool, and allowing him to take control of everything!”

But he was profoundly mistaken. He began to have an inkling of this when presently himself he took the stage, and found the public attentive, remarked a grin of quiet appreciation on every upturned face. It was not, however, until the thunders of applause greeted the fall of the curtain on the first act that he felt quite sure they would be allowed to escape with their lives.

Had the part of Pantaloon in “Les Fourberies” been other than that of a blundering, timid old idiot, Binet would have ruined it by his apprehensions. As it was, those very apprehensions, magnifying as they did the hesitancy and bewilderment that were the essence of his part, contributed to the success. And a success it proved that more than justified all the heralding of which Scaramouche had been guilty.

For Scaramouche himself this success was not confined to the public. At the end of the play a great reception awaited him from his companions assembled in the green-room of the theatre. His talent, resource, and energy had raised them in a few weeks from a pack of vagrant mountebanks to a self-respecting company of first-rate players. They acknowledged it generously in a speech entrusted to Polichinelle, adding the tribute to his genius that, as they had conquered Nantes, so would they conquer the world under his guidance.

In their enthusiasm they were a little neglectful of the feelings of M. Binet. Irritated enough had he been already by the overriding of his every wish, by the consciousness of his weakness when opposed to Scaramouche. And, although he had suffered the gradual process of usurpation of authority because its every step had been attended by his own greater profit, deep down in him the resentment abode to stifle every spark of that gratitude due from him to his partner. To-night his nerves had been on the rack, and he had suffered agonies of apprehension, for all of which he blamed Scaramouche so bitterly that not even the ultimate success — almost miraculous when all the elements are considered — could justify his partner in his eyes.

And now, to find himself, in addition, ignored by this company — his own company, which he had so laboriously and slowly assembled and selected among the men of ability whom he had found here and there in the dregs of cities — was something that stirred his bile, and aroused the malevolence that never did more than slumber in him. But deeply though his rage was moved, it did not blind him to the folly of betraying it. Yet that he should assert himself in this hour was imperative unless he were for ever to become a thing of no account in this troupe over which he had lorded it for long months before this interloper came amongst them to fill his purse and destroy his authority.

So he stepped forward now when Polichinelle had done. His make-up assisting him to mask his bitter feelings, he professed to add his own to Polichinelle’s acclamations of his dear partner. But he did it in such a manner as to make it clear that what Scaramouche had done, he had done by M. Binet’s favour, and that in all M. Binet’s had been the guiding hand. In associating himself with Polichinelle, he desired to thank Scaramouche, much in the manner of a lord rendering thanks to his steward for services diligently rendered and orders scrupulously carried out.

It neither deceived the troupe nor mollified himself. Indeed, his consciousness of the mockery of it but increased his bitterness. But at least it saved his face and rescued him from nullity — he who was their chief.

To say, as I have said, that it did not deceive them, is perhaps to say too much, for it deceived them at least on the score of his feelings. They believed, after discounting the insinuations in which he took all credit to himself, that at heart he was filled with gratitude, as they were. That belief was shared by Andre–Louis himself, who in his brief, grateful answer was very generous to M. Binet, more than endorsing the claims that M. Binet had made.

And then followed from him the announcement that their success in Nantes was the sweeter to him because it rendered almost immediately attainable the dearest wish of his heart, which was to make Climene his wife. It was a felicity of which he was the first to acknowledge his utter unworthiness. It was to bring him into still closer relations with his good friend M. Binet, to whom he owed all that he had achieved for himself and for them. The announcement was joyously received, for the world of the theatre loves a lover as dearly as does the greater world. So they acclaimed the happy pair, with the exception of poor Leandre, whose eyes were more melancholy than ever.

They were a happy family that night in the upstairs room of their inn on the Quai La Fosse — the same inn from which Andre–Louis had set out some weeks ago to play a vastly different role before an audience of Nantes. Yet was it so different, he wondered? Had he not then been a sort of Scaramouche — an intriguer, glib and specious, deceiving folk, cynically misleading them with opinions that were not really his own? Was it at all surprising that he should have made so rapid and signal a success as a mime? Was not this really all that he had ever been, the thing for which Nature had designed him?

On the following night they played “The Shy Lover” to a full house, the fame of their debut having gone abroad, and the success of Monday was confirmed. On Wednesday they gave “Figaro–Scaramouche,” and on Thursday morning the “Courrier Nantais” came out with an article of more than a column of praise of these brilliant improvisers, for whom it claimed that they utterly put to shame the mere reciters of memorized parts.