In which the Andantes Become Allegros1, and the Allegros Vivaces.
The agitation3 caused by the Schut and Custos affair had subsided4. The affair led to no serious consequences. It appeared likely that Quiquendone would return to its habitual6 apathy7, which that unexpected event had for a moment disturbed.
Meanwhile, the laying of the pipes destined8 to conduct the oxyhydric gas into the principal edifices10 of the town was proceeding11 rapidly. The main pipes and branches gradually crept beneath the pavements. But the burners were still wanting; for, as it required delicate skill to make them, it was necessary that they should be fabricated abroad. Doctor Ox was here, there, and everywhere; neither he nor Ygène, his assistant, lost a moment, but they urged on the workmen, completed the delicate mechanism12 of the gasometer, fed day and night the immense piles which decomposed13 the water under the influence of a powerful electric current. Yes, the doctor was already making his gas, though the pipe-laying was not yet done; a fact which, between ourselves, might have seemed a little singular. But before long,— at least there was reason to hope so,— before long Doctor Ox would inaugurate the splendours of his invention in the theatre of the town.
For Quiquendone possessed14 a theatre — a really fine edifice9, in truth — the interior and exterior15 arrangement of which combined every style of architecture. It was at once Byzantine, Roman, Gothic, Renaissance16, with semicircular doors, Pointed17 windows, Flamboyant18 rose-windows, fantastic bell-turrets,— in a word, a specimen19 of all sorts, half a Parthenon, half a Parisian Grand Café. Nor was this surprising, the theatre having been commenced under the burgomaster Ludwig Van Tricasse, in 1175, and only finished in 1837, under the burgomaster Natalis Van Tricasse. It had required seven hundred years to build it, and it had, been successively adapted to the architectural style in vogue20 in each period. But for all that it was an imposing21 structure; the Roman pillars and Byzantine arches of which would appear to advantage lit up by the oxyhydric gas.
Pretty well everything was acted at the theatre of Quiquendone; but the opera and the opera comique were especially patronized. It must, however, be added that the composers would never have recognized their own works, so entirely22 changed were the “movements” of the music.
In short, as nothing was done in a hurry at Quiquendone, the dramatic pieces had to be performed in harmony with the peculiar23 temperament24 of the Quiquendonians. Though the doors of the theatre were regularly thrown open at four o’clock and closed again at ten, it had never been known that more than two acts were played during the six intervening hours. “Robert le Diable,” “Les Huguenots,” or “Guillaume Tell” usually took up three evenings, so slow was the execution of these masterpieces. The vivaces, at the theatre of Quiquendone, lagged like real adagios25. The allegros were “long-drawn26 out” indeed. The demisemiquavers were scarcely equal to the ordinary semibreves of other countries. The most rapid runs, performed according to Quiquendonian taste, had the solemn march of a chant. The gayest shakes were languishing27 and measured, that they might not shock the ears of the dilettanti. To give an example, the rapid air sung by Figaro, on his entrance in the first act of “Le Barbiér de Séville,” lasted fifty-eight minutes — when the actor was particularly enthusiastic.
Artists from abroad, as might be supposed, were forced to conform themselves to Quiquendonian fashions; but as they were well paid, they did not complain, and willingly obeyed the leader’s baton28, which never beat more than eight measures to the minute in the allegros.
But what applause greeted these artists, who enchanted29 without ever wearying the audiences of Quiquendone! All hands clapped one after another at tolerably long intervals30, which the papers characterized as “frantic31 applause;” and sometimes nothing but the lavish32 prodigality33 with which mortar34 and stone had been used in the twelfth century saved the roof of the hall from falling in.
Besides, the theatre had only one performance a week, that these enthusiastic Flemish folk might not be too much excited; and this enabled the actors to study their parts more thoroughly35, and the spectators to digest more at leisure the beauties of the masterpieces brought out.
Such had long been the drama at Quiquendone. Foreign artists were in the habit of making engagements with the director of the town, when they wanted to rest after their exertions36 in other scenes; and it seemed as if nothing could ever change these inveterate37 customs, when, a fortnight after the Schut–Custos affair, an unlooked-for incident occurred to throw the population into fresh agitation.
It was on a Saturday, an opera day. It was not yet intended, as may well be supposed, to inaugurate the new illumination. No; the pipes had reached the hall, but, for reasons indicated above, the burners had not yet been placed, and the wax-candles still shed their soft light upon the numerous spectators who filled the theatre. The doors had been opened to the public at one o’clock, and by three the hall was half full. A queue had at one time been formed, which extended as far as the end of the Place Saint Ernuph, in front of the shop of Josse Lietrinck the apothecary38. This eagerness was significant of an unusually attractive performance.
“Are you going to the theatre this evening?” inquired the counsellor the same morning of the burgomaster.
“I shall not fail to do so,” returned Van Tricasse, “and I shall take Madame Van Tricasse, as well as our daughter Suzel and our dear Tatanémance, who all dote on good music.”
“Mademoiselle Suzel is going then?”
“Certainly, Niklausse.”
“Then my son Frantz will be one of the first to arrive,” said Niklausse.
“A spirited boy, Niklausse,” replied the burgomaster sententiously; “but hot-headed! He will require watching!”
“He loves, Van Tricasse,— he loves your charming Suzel.”
“Well, Niklausse, he shall marry her. Now that we have agreed on this marriage, what more can he desire?”
“He desires nothing, Van Tricasse, the dear boy! But, in short — we’ll say no more about it — he will not be the last to get his ticket at the box-office.”
“Ah, vivacious39 and ardent40 youth!” replied the burgomaster, recalling his own past. “We have also been thus, my worthy41 counsellor! We have loved — we too! We have danced attendance in our day! Till to-night, then, till to-night! By-the-bye, do you know this Fiovaranti is a great artist? And what a welcome he has received among us! It will be long before he will forget the applause of Quiquendone!”
The tenor42 Fiovaranti was, indeed, going to sing; Fiovaranti, who, by his talents as a virtuoso43, his perfect method, his melodious44 voice, provoked a real enthusiasm among the lovers of music in the town.
For three weeks Fiovaranti had been achieving a brilliant success in “Les Huguenots.” The first act, interpreted according to the taste of the Quiquendonians, had occupied an entire evening of the first week of the month.— Another evening in the second week, prolonged by infinite andantes, had elicited45 for the celebrated46 singer a real ovation47. His success had been still more marked in the third act of Meyerbeer’s masterpiece. But now Fiovaranti was to appear in the fourth act, which was to be performed on this evening before an impatient public. Ah, the duet between Raoul and Valentine, that pathetic love-song for two voices, that strain so full of crescendos, stringendos, and piu crescendos — all this, sung slowly, compendiously48, interminably! Ah, how delightful49!
Fiovaranti had been achieving a brilliant success in 'Les Huguenots.'
At four o’clock the hall was full. The boxes, the orchestra, the pit, were overflowing50. In the front stalls sat the Burgomaster Van Tricasse, Mademoiselle Van Tricasse, Madame Van Tricasse, and the amiable51 Tatanémance in a green bonnet52; not far off were the Counsellor Niklausse and his family, not forgetting the amorous53 Frantz. The families of Custos the doctor, of Schut the advocate, of Honoré Syntax the chief judge, of Norbet Sontman the insurance director, of the banker Collaert, gone mad on German music, and himself somewhat of an amateur, and the teacher Rupp, and the master of the academy, Jerome Resh, and the civil commissary, and so many other notabilities of the town that they could not be enumerated54 here without wearying the reader’s patience, were visible in different parts of the hall.
It was customary for the Quiquendonians, while awaiting the rise of the curtain, to sit silent, some reading the paper, others whispering low to each other, some making their way to their seats slowly and noiselessly, others casting timid looks towards the bewitching beauties in the galleries.
But on this evening a looker-on might have observed that, even before the curtain rose, there was unusual animation55 among the audience. People were restless who were never known to be restless before. The ladies’ fans fluttered with abnormal rapidity. All appeared to be inhaling56 air of exceptional stimulating57 power. Every one breathed more freely. The eyes of some became unwontedly bright, and seemed to give forth59 a light equal to that of the candles, which themselves certainly threw a more brilliant light over the hall. It was evident that people saw more clearly, though the number of candles had not been increased. Ah, if Doctor Ox’s experiment were being tried! But it was not being tried, as yet.
The musicians of the orchestra at last took their places. The first violin had gone to the stand to give a modest la to his colleagues. The stringed instruments, the wind instruments, the drums and cymbals60, were in accord. The conductor only waited the sound of the bell to beat the first bar.
The bell sounds. The fourth act begins. The allegro2 appassionato of the inter-act is played as usual, with a majestic61 deliberation which would have made Meyerbeer frantic, and all the majesty62 of which was appreciated by the Quiquendonian dilettanti.
But soon the leader perceived that he was no longer master of his musicians. He found it difficult to restrain them, though usually so obedient and calm. The wind instruments betrayed a tendency to hasten the movements, and it was necessary to hold them back with a firm hand, for they would otherwise outstrip63 the stringed instruments; which, from a musical point of view, would have been disastrous64. The bassoon himself, the son of Josse Lietrinck the apothecary, a well-bred young man, seemed to lose his self-control.
Meanwhile Valentine has begun her recitative, “I am alone,” &c.; but she hurries it.
The leader and all his musicians, perhaps unconsciously, follow her in her cantabile, which should be taken deliberately65, like a 12/8 as it is. When Raoul appears at the door at the bottom of the stage, between the moment when Valentine goes to him and that when she conceals66 herself in the chamber67 at the side, a quarter of an hour does not elapse; while formerly68, according to the traditions of the Quiquendone theatre, this recitative of thirty-seven bars was wont58 to last just thirty-seven minutes.
Saint Bris, Nevers, Cavannes, and the Catholic nobles have appeared, somewhat prematurely69, perhaps, upon the scene. The composer has marked allergo pomposo on the score. The orchestra and the lords proceed allegro indeed, but not at all pomposo, and at the chorus, in the famous scene of the “benediction of the poniards,” they no longer keep to the enjoined71 allegro. Singers and musicians broke away impetuously. The leader does not even attempt to restrain them. Nor do the public protest; on the contrary, the people find themselves carried away, and see that they are involved in the movement, and that the movement responds to the impulses of their souls.
“Will you, with me, deliver the land,
From troubles increasing, an impious band?”
They promise, they swear. Nevers has scarcely time to protest, and to sing that “among his ancestors were many soldiers, but never an assassin.” He is arrested. The police and the aldermen rush forward and rapidly swear “to strike all at once.” Saint Bris shouts the recitative which summons the Catholics to vengeance72. The three monks73, with white scarfs, hasten in by the door at the back of Nevers’s room, without making any account of the stage directions, which enjoin70 on them to advance slowly. Already all the artists have drawn sword or poniard, which the three monks bless in a trice. The soprani tenors74, bassos, attack the allegro furioso with cries of rage, and of a dramatic 6/8 time they make it 6/8 quadrille time. Then they rush out, bellowing,—
“At midnight,
Noiselessly,
God wills it,
Yes,
At midnight.”
At this moment the audience start to their feet. Everybody is agitated75 — in the boxes, the pit, the galleries. It seems as if the spectators are about to rush upon the stage, the Burgomaster Van Tricasse at their head, to join with the conspirators76 and annihilate77 the Huguenots, whose religious opinions, however, they share. They applaud, call before the curtain, make loud acclamations! Tatanémance grasps her bonnet with feverish78 hand. The candles throw out a lurid79 glow of light.
Raoul, instead of slowly raising the curtain, tears it apart with a superb gesture and finds himself confronting Valentine.
At last! It is the grand duet, and it starts off allegro vivace. Raoul does not wait for Valentine’s pleading, and Valentine does not wait for Raoul’s responses.
The fine passage beginning, “Danger is passing, time is flying,” becomes one of those rapid airs which have made Offenbach famous, when he composes a dance for conspirators. The andante amoroso, “Thou hast said it, aye, thou lovest me,” becomes a real vivace furioso, and the violoncello ceases to imitate the inflections of the singer’s voice, as indicated in the composer’s score. In vain Raoul cries, “Speak on, and prolong the ineffable80 slumber81 of my soul.” Valentine cannot “prolong.” It is evident that an unaccustomed fire devours82 her. Her b’s and her c’s above the stave were dreadfully shrill83. He struggles, he gesticulates, he is all in a glow.
The alarum is heard; the bell resounds84; but what a panting bell! The bell-ringer has evidently lost his self-control. It is a frightful85 tocsin, which violently struggles against the fury of the orchestra.
Finally the air which ends this magnificent act, beginning, “No more love, no more intoxication86, O the remorse87 that oppresses me!” which the composer marks allegro con5 moto, becomes a wild prestissimo. You would say an express-train was whirling by. The alarum resounds again. Valentine falls fainting. Raoul precipitates88 himself from the window.
It was high time. The orchestra, really intoxicated89, could not have gone on. The leader’s baton is no longer anything but a broken stick on the prompter’s box. The violin strings90 are broken, and their necks twisted. In his fury the drummer has burst his drum. The counter-bassist has perched on the top of his musical monster. The first clarionet has swallowed the reed of his instrument, and the second hautboy is chewing his reed keys. The groove91 of the trombone is strained, and finally the unhappy cornist cannot withdraw his hand from the bell of his horn, into which he had thrust it too far.
And the audience! The audience, panting, all in a heat, gesticulates and howls. All the faces are as red as if a fire were burning within their bodies. They crowd each other, hustle92 each other to get out — the men without hats, the women without mantles93! They elbow each other in the corridors, crush between the doors, quarrel, fight! There are no longer any officials, any burgomaster. All are equal amid this infernal frenzy94!
They hustle each other to get out
Some moments after, when all have reached the street, each one resumes his habitual tranquillity95, and peaceably enters his house, with a confused remembrance of what he has just experienced.
The fourth act of the “Huguenots,” which formerly lasted six hours, began, on this evening at half-past four, and ended at twelve minutes before five.
It had only lasted eighteen minutes!
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allegros
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| n.快板( allegro的名词复数 ) | |
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allegro
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| adj. 快速而活泼的；n.快板；adv.活泼地 | |
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agitation
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| n.搅动；搅拌；鼓动，煽动 | |
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subsided
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| v.（土地）下陷（因在地下采矿）( subside的过去式和过去分词 )；减弱；下降至较低或正常水平；一下子坐在椅子等上 | |
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con
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| n.反对的观点，反对者，反对票，肺病；vt.精读，学习，默记；adv.反对地，从反面；adj.欺诈的 | |
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habitual
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| adj.习惯性的；通常的，惯常的 | |
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apathy
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| n.漠不关心，无动于衷；冷淡 | |
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destined
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| adj.命中注定的；(for)以…为目的地的 | |
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edifice
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| n.宏伟的建筑物(如宫殿，教室) | |
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edifices
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| n.大建筑物( edifice的名词复数 ) | |
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proceeding
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| n.行动，进行，(pl.)会议录，学报 | |
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mechanism
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| n.机械装置；机构，结构 | |
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decomposed
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| 已分解的，已腐烂的 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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exterior
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| adj.外部的，外在的；表面的 | |
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renaissance
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| n.复活，复兴，文艺复兴 | |
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pointed
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| adj.尖的，直截了当的 | |
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flamboyant
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| adj.火焰般的，华丽的，炫耀的 | |
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specimen
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| n.样本，标本 | |
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Vogue
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| n.时髦，时尚；adj.流行的 | |
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imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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temperament
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| n.气质，性格，性情 | |
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adagios
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| n.柔板( adagio的名词复数 )；慢板；柔板乐章；（男女二人或三人舞时女角保持高难度平衡的）缓慢动作 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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languishing
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| a. 衰弱下去的 | |
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baton
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| n.乐队用指挥杖 | |
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enchanted
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| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
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intervals
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| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
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frantic
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| adj.狂乱的，错乱的，激昂的 | |
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lavish
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| adj.无节制的；浪费的；vt.慷慨地给予，挥霍 | |
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prodigality
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| n.浪费，挥霍 | |
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mortar
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| n.灰浆，灰泥；迫击炮；v.把…用灰浆涂接合 | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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exertions
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| n.努力( exertion的名词复数 )；费力；（能力、权力等的）运用；行使 | |
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inveterate
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| adj.积习已深的，根深蒂固的 | |
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apothecary
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| n.药剂师 | |
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vivacious
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| adj.活泼的，快活的 | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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tenor
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| n.男高音（歌手），次中音（乐器），要旨，大意 | |
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virtuoso
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| n.精于某种艺术或乐器的专家，行家里手 | |
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melodious
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| adj.旋律美妙的，调子优美的，音乐性的 | |
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elicited
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| 引出，探出( elicit的过去式和过去分词 ) | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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ovation
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| n.欢呼，热烈欢迎，热烈鼓掌 | |
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compendiously
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| adv.扼要地；简要地；摘要地；简洁地 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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overflowing
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| n. 溢出物,溢流 adj. 充沛的，充满的 动词overflow的现在分词形式 | |
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amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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bonnet
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| n.无边女帽；童帽 | |
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amorous
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| adj.多情的；有关爱情的 | |
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enumerated
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| v.列举，枚举，数( enumerate的过去式和过去分词 ) | |
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animation
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| n.活泼，兴奋，卡通片／动画片的制作 | |
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inhaling
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| v.吸入( inhale的现在分词 ) | |
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stimulating
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| adj.有启发性的，能激发人思考的 | |
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wont
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| adj.习惯于；v.习惯；n.习惯 | |
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forth
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| adv.向前；向外，往外 | |
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cymbals
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| pl.铙钹 | |
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majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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outstrip
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| v.超过，跑过 | |
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disastrous
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| adj.灾难性的，造成灾害的；极坏的，很糟的 | |
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deliberately
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| adv.审慎地；蓄意地；故意地 | |
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conceals
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| v.隐藏，隐瞒，遮住( conceal的第三人称单数 ) | |
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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formerly
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| adv.从前，以前 | |
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prematurely
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| adv.过早地，贸然地 | |
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70
enjoin
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| v.命令；吩咐；禁止 | |
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enjoined
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| v.命令( enjoin的过去式和过去分词 ) | |
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vengeance
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| n.报复，报仇，复仇 | |
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73
monks
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| n.修道士，僧侣( monk的名词复数 ) | |
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tenors
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| n.男高音( tenor的名词复数 )；大意；男高音歌唱家；（文件的）抄本 | |
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agitated
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| adj.被鼓动的，不安的 | |
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conspirators
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| n.共谋者，阴谋家( conspirator的名词复数 ) | |
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annihilate
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| v.使无效；毁灭；取消 | |
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78
feverish
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| adj.发烧的，狂热的，兴奋的 | |
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lurid
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| adj.可怕的；血红的；苍白的 | |
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80
ineffable
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| adj.无法表达的，不可言喻的 | |
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81
slumber
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| n.睡眠，沉睡状态 | |
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82
devours
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| 吞没( devour的第三人称单数 )； 耗尽； 津津有味地看； 狼吞虎咽地吃光 | |
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83
shrill
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| adj.尖声的；刺耳的；v尖叫 | |
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84
resounds
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| v.（指声音等）回荡于某处( resound的第三人称单数 )；产生回响；（指某处）回荡着声音 | |
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85
frightful
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| adj.可怕的；讨厌的 | |
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86
intoxication
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| n.wild excitement;drunkenness；poisoning | |
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remorse
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| n.痛恨，悔恨，自责 | |
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precipitates
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| v.（突如其来地）使发生( precipitate的第三人称单数 )；促成；猛然摔下；使沉淀 | |
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89
intoxicated
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| 喝醉的，极其兴奋的 | |
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strings
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| n.弦 | |
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groove
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| n.沟，槽；凹线，（刻出的）线条，习惯 | |
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hustle
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| v.推搡；竭力兜售或获取；催促；n.奔忙(碌) | |
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mantles
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| vt.&vi.覆盖（mantle的第三人称单数形式） | |
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frenzy
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| n.疯狂，狂热，极度的激动 | |
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95
tranquillity
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| n. 平静, 安静 | |
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