At last, when the “Committee of Selection” was almost in despair, some one proposed a period which not only would be German, not only would compliment the House of Austria, but, what was of still greater importance, would allow of every contemporary character of interest of every nation, the age of Charles the Fifth! The suggestion was received with enthusiasm, and adopted on the spot. “The Committee of Selection” was immediately dissolved, and its members as immediately formed themselves into a “Committee of Arrangement.” Lists of all the persons of any fame, distinction, or notoriety, who had lived either in the empire of Germany, the kingdoms of Spain, Portugal, France, or England, the Italian States, the Netherlands, the American, and, in short, in every country in the known world, were immediately formed. Von Chronicle, rewarded for his last historical novel by a ribbon and the title of Baron23, was appointed secretary to the “Committee of Costume.” All guests who received a card invitation were desired, on or before a certain day, to send in the title of their adopted character and a sketch24 of their intended dress, that their plans might receive the sanction of the ladies of the “Committee of Arrangement,” and their dresses the approbation25 of the secretary of costume. By this method the chance and inconvenience of two persons selecting and appearing in the same character were destroyed and prevented. After exciting the usual jealousies26, intrigues27, dissatisfaction, and ill-blood, by the influence and imperturbable28 temper of Madame Carolina, everything was arranged; Emilius von Aslingen being the only person who set both the Committees of Arrangement and Costume at defiance29, and treated the repeated applications of their respected secretary with contemptuous silence. The indignant Baron von Chronicle entreated30 the strong interference of the “Committee of Arrangement,” but Emilius von Aslingen was too powerful an individual to be treated by others as he treated them. Had the fancy-dress ball of the Sovereign been attended by all his subjects, with the exception of this Captain in his Guards, the whole affair might have been a failure; would have been dark in spite of the glare of ten thousand lamps and the glories of all the jewels of his state; would have been dull, although each guest were wittier32 than Pasquin himself; and very vulgar, although attended by lords of as many quarterings as the ancient shield of his own antediluvian house! All, therefore, that the ladies of the “Committee of Arrangement” could do, was to enclose to the rebellious33 von Aslingen a list of the expected characters, and a resolution passed in consequence of his contumacy, that no person or persons was, or were, to appear as either or any of these characters, unless he, or they, could produce a ticket, or tickets, granted by a member of the “Committee of Arrangement,” and countersigned34 by the secretary of the “Committee of Costume.” At the same time that these vigorous measures were resolved on, no persons spoke35 of Emilius von Aslingen’s rebellious conduct in terms of greater admiration than the ladies of the Committee themselves. If possible, he in consequence became even a more influential36 and popular personage than before, and his conduct procured37 him almost the adoration38 of persons who, had they dared to imitate him, would have been instantly crushed, and would have been banished39 society principally by the exertions40 of the very individual whom they had the presumption41 to mimic42.
In the gardens of the palace was a spacious43 amphitheatre, cut out in green seats, for the spectators of the plays which, during the summer months, were sometimes performed there by the Court. There was a stage in the same taste, with rows of trees for side-scenes, and a great number of arbours and summer-rooms, surrounded by lofty hedges of laurel, for the actors to retire and dress in. Connected with this “rural Theatre,” for such was its title, were many labyrinths44, and groves46, and arched walks, in the same style. More than twelve large fountains were in the immediate22 vicinity of this theatre. At the end of one walk a sea-horse spouted47 its element through its nostrils48; and in another, Neptune49 turned an Ocean out of a vase. Seated on a rock, Arcadia’s half-goat god, the deity50 of silly sheep and silly poets, sent forth51 trickling52 streams through his rustic53 pipes; and in the centre of a green grove45, an enamoured Salmacis, bathing in a pellucid54 basin, seemed watching for her Hermaphrodite.
It was in this rural theatre and its fanciful confines that Madame Carolina and her councillors resolved that their magic should, for a night, not only stop the course of time, but recall past centuries. It was certainly rather late in the year for choosing such a spot for the scene of their enchantment55; but the season, as we have often had occasion to remark in the course of these volumes, was singularly fine; and indeed at this moment the nights were as warm, and as clear from mist and dew, as they are during an Italian midsummer.
But it is eight o’clock; we are already rather late. Is that a figure by Holbein, just started out of the canvas, that I am about to meet? Stand aside! It is a page of the Emperor Charles the Fifth! The Court is on its way to the theatre. The theatre and the gardens are brilliantly illuminated56. The effect of the thousands of coloured lamps, in all parts of the foliage57, is very beautiful. The moon is up, and a million stars! If it be not quite as light as day, it is just light enough for pleasure. You could not perhaps endorse58 a bill of exchange, or engross59 a parchment, by this light; but then it is just the light to read a love-letter by, and do a thousand other things besides.
All hail to the Emperor! we would give his costume, were it not rather too much in the style of the von Chronicles. Reader! you have seen a portrait of Charles by Holbein: very well; what need is there of a description? No lack was there in this gay scene of massy chains and curious collars, nor of cloth of gold, nor of cloth of silver! No lack was there of trembling plumes60 and costly61 hose! No lack was there of crimson62 velvet63, and russet velvet, and tawny64 velvet, and purple velvet, and plunket velvet, and of scarlet65 cloth, and green taffeta, and cloth of silk embroidered66! No lack was there of garments of estate, and of quaint67 chemews, nor of short crimson cloaks, covered with pearls and precious stones! No lack was there of party-coloured splendour, of purple velvet embroidered with white, and white satin dresses embroidered with black! No lack was there of splendid koyfes of damask, or kerchiefs of fine Cyprus; nor of points of Venice silver of ducat fineness, nor of garlands of friars’ knots, nor of coloured satins, nor of bleeding hearts embroidered on the bravery of dolorous68 lovers, nor of quaint sentences of wailing69 gallantry! But for the details, are they not to be found in those much-neglected and much-plundered persons, the old chroniclers? and will they not sufficiently appear in the most inventive portion of the next great historical novel?
The Grand Duke looked the Emperor. Our friend the Grand Marshal was Francis the First; and Arnelm and von Neuwied figured as the Marshal of Montmorency and the Marshal Lautrec. The old toothless Bishop71 did justice to Clement72 the Seventh; and his companion, the ancient General, looked grim as Pompeo Colonna. A prince of the House of Nassau, one of the royal visitors, represented his adventurous73 ancestor the Prince of Orange. Von Sohnspeer was that haughty74 and accomplished75 rebel, the Constable76 of Bourbon. The young Baron Gernsbach was worthy77 of the seraglio, as he stalked along as Solyman the Magnificent, with all the family jewels belonging to his dowager mother shining in his superb turban. Our friend the Count of Eberstein personified chivalry, in the person of Bayard. The younger Bernstorff, the intimate friend of Gernsbach, attended his sumptuous78 sovereign as that Turkish Paul Jones, Barbarossa. An Italian Prince was Andrew Doria. The Grand Chamberlain, our francisé acquaintance, and who affected79 a love of literature, was the Protestant Elector of Saxony. His train consisted of the principal litterateurs of Reisenburg. The Editor of the “Attack-all Review,” who originally had been a Catholic, but who had been skilfully80 converted some years ago, when he thought Catholicism was on the decline, was Martin Luther, an individual whom, both in his apostasy81 and fierceness, he much and only resembled: on the contrary, the editor of the “Praise-all Review” appeared as the mild and meek82 Melanchthon. Mr. Sievers, not yet at Vienna, was Erasmus. Ariosto, Guicciardini, Ronsard, Rabelais, Machiavel, Pietro Aretino, Garcilasso de la Vega. Sannazaro, and Paracelsus, afforded names to many nameless critics. Two Generals, brothers, appeared as Cortes and Pizarro. The noble Director of the Gallery was Albert Durer, and his deputy Hans Holbein. The Court painter, a wretched mimic of the modern French School, did justice to the character of Correggio; and an indifferent sculptor83 looked sublime as Michel Angelo.
Von Chronicle had persuaded the Prince of Pike and Powdren, one of his warmest admirers, to appear as Henry the Eighth of England. His Highness was one of those true North German patriots84 who think their own country a very garden of Eden, and verily believe that original sin is to be finally put an end to in a large sandy plain between Berlin and Hanover. The Prince of Pike and Powdren passed his whole life in patriotically85 sighing for the concentration of all Germany into one great nation, and in secretly trusting that, if ever the consummation took place, the North would be rewarded for their condescending86 union by a monopoly of all the privileges of the Empire. Such a character was of course extremely desirous of figuring to-night in a style peculiarly national. The persuasions87 of von Chronicle, however, prevailed, and induced his Highness of Pike and Powdren to dismiss his idea of appearing as the ancient Arminius, although it was with great regret that the Prince gave up his plan of personating his favourite hero, with hair down to his middle and skins up to his chin. Nothing would content von Chronicle but that his kind patron should represent a crowned head: anything else was beneath him. The patriotism88 of the Prince disappeared before the flattery of the novelist, like the bloom of a plum before the breath of a boy, when he polishes the powdered fruit ere he devours89 it. No sooner had his Highness agreed to be changed into bluff90 Harry91 than the secret purpose of his adviser92 was immediately detected. No Court confessor, seduced93 by the vision of a red hat, ever betrayed the secrets of his sovereign with greater fervour than did von Chronicle labour for the Cardinal94’s costume, which was the consequence of the Prince of Pike and Powdren undertaking95 the English monarch96. To-night, proud as was the part of the Prince as regal Harry, his strut97 was a shamble compared with the imperious stalk of von Chronicle as the arrogant98 and ambitious Wolsey. The Cardinal in Rienzi was nothing to him; for to-night Wolsey had as many pages as the other had petticoats!
But, most ungallant of scribblers! Place aux dames! Surely Madame Carolina, as the beautiful and accomplished Margaret of Navarre, might well command, even without a mandate99, your homage100 and your admiration! The lovely Queen seemed the very goddess of smiles and repartee101; young Max, as her page, carried at her side a painted volume of her own poetry. The arm of the favourite sister of Francis, who it will be remembered once fascinated even the Emperor, was linked in that of Caesar’s natural daughter, her beautiful namesake, the bright-eyed Margaret of Austria. Conversing102 with these royal dames, and indeed apparently103 in attendance upon them, was a young gallant70 of courtly bearing, and attired104 in a fantastic dress. It is Clement Marot, “the Poet of Princes and the Prince of Poets,” as he was styled by his own admiring age; he offers to the critical inspection105 of the nimble-witted Navarre a few lines in celebration of her beauty and the night’s festivity; one of those short Marotique poems once so celebrated106; perhaps a page culled107 from those gay and airy psalms108 which, with characteristic gallantry, he dedicated109 “to the Dames of France!” Observe well the fashionable bard110! Marot was a true poet, and in his day not merely read by queens and honoured by courtiers: observe him well; for the character is supported by our Vivian Grey. It was with great difficulty that Madame Carolina had found a character for her favourite, for the lists were all filled before his arrival at Reisenburg. She at first wished him to appear as some celebrated Englishman of the time, but no character of sufficient importance could be discovered. All our countrymen in contact or connection with the Emperor Charles were churchmen and civilians111; and Sir Nicholas Carew and the other fops of the reign31 of Henry the Eighth, who, after the visit to Paris, were even more ridiculously francisé than the Grand Chamberlain of Reisenburg himself, were not, after mature deliberation, considered entitled to the honour of being ranked in Madame Carolina’s age of Charles the Fifth.
But who is this, surrounded by her ladies and her chamberlains and her secretaries? Four pages in dresses of cloth of gold, and each the son of a prince of the French blood, support her train; a crown encircles locks grey as much from thought as from time, but which require no show of loyalty112 to prove that they belong to a mother of princes; that ample forehead, aquiline113 nose, and the keen glance of her piercing eye denote the Queen as much as the regality of her gait and her numerous and splendid train. The young Queen of Navarre hastens to proffer114 her duty to the mother of Francis, the celebrated Louise of Savoy; and exquisitely115 did the young and lovely Countess of S—— personate the most celebrated of female diplomatists.
We have forgotten one character; the repeated commands of his father and the constant entreaties116 of Madame Carolina had at length prevailed upon the Crown Prince to shuffle117 himself into a fancy dress. No sooner had he gratified them by his hard-wrung consent than Baron von Chronicle called upon him with drawings of the costume of the Prince of Asturias, afterwards Philip the Second of Spain. If we for a moment forgot so important a personage as the future Grand Duke, it must have been because he supported his character so ably that no one for an instant believed that it was an assumed one; standing118 near the side scenes of the amphitheatre, with his gloomy brow, sad eye, protruding119 under-lip, and arms hanging straight by his sides, he looked a bigot without hope, and a tyrant120 without purpose.
The first hour is over, and the guests are all assembled. As yet they content themselves with promenading121 round the amphitheatre; for before they can think of dance or stroll, each of them must be duly acquainted with the other’s dress. It was a most splendid scene. The Queen of Navarre has now been presented to the Emperor, and, leaning on his arm, they head the promenade122. The Emperor had given the hand of Margaret of Austria to his legitimate123 son; but the Crown Prince, though he continued in silence by the side of the young Baroness124, soon resigned a hand which did not struggle to retain his. Clement Marot was about to fall back into a less conspicuous125 part of the procession; but the Grand Duke, witnessing the regret of his loved Consort, condescendingly said, “We cannot afford to lose our poet;” and so Vivian found himself walking behind Madame Carolina, and on the left side of the young Baroness. Louise of Savoy followed with her son, the King of France; most of the ladies of the Court, and a crowd of officers, among them Montmorency and De Lautrec, after their Majesties126. The King of England moves by; his state unnoticed in the superior magnificence of Wolsey. Pompeo Colonna apologises to Pope Clement for having besieged127 his holiness in the Castle of St. Angelo. The Elector of Saxony and the Prince of Orange follow. Solyman the Magnificent is attended by his Admiral; and Bayard’s pure spirit almost quivers at the whispered treason of the Constable of Bourbon. Luther and Melanchthon, Erasmus and Rabelais, Cortez and Pizarro, Correggio and Michael Angelo, and a long train of dames and dons of all nations, succeed; so long that the amphitheatre cannot hold them, and the procession, that they may walk over the stage, makes a short progress through an adjoining summer-room.
Just as the Emperor and the fair Queen are in the middle of the stage, a wounded warrior128 with a face pale as an eclipsed moon, a helmet on which is painted the sign of his sacred order, a black mantle129 thrown over his left shoulder, but not concealing130 his armour131, a sword in his right hand and an outstretched crucifix in his left, rushes on the scene. The procession suddenly halts; all recognise Emilius von Aslingen! and Madame Carolina blushes through her rouge132 when she perceives that so celebrated, “so interesting a character” as Ignatius Loyola, the Founder133 of the Jesuits, has not been included in the all-comprehensive lists of her committee.
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1
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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sedate
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| adj.沉着的，镇静的，安静的 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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determined
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| adj.坚定的；有决心的 | |
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poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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antediluvian
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| adj.史前的，陈旧的 | |
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sufficiently
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| adv.足够地，充分地 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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revels
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| n.作乐( revel的名词复数 )；狂欢；着迷；陶醉v.作乐( revel的第三人称单数 )；狂欢；着迷；陶醉 | |
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dames
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| n.（在英国）夫人（一种封号），夫人（爵士妻子的称号）( dame的名词复数 )；女人 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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capabilities
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| n.能力( capability的名词复数 )；可能；容量；[复数]潜在能力 | |
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plausible
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| adj.似真实的，似乎有理的，似乎可信的 | |
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barbarians
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| n.野蛮人( barbarian的名词复数 )；外国人；粗野的人；无教养的人 | |
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oasis
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| n.（沙漠中的）绿洲，宜人的地方 | |
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eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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chivalry
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| n.骑士气概，侠义；（男人）对女人彬彬有礼，献殷勤 | |
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exclamation
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| n.感叹号，惊呼，惊叹词 | |
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doctrine
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| n.教义；主义；学说 | |
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devoid
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| adj.全无的，缺乏的 | |
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consort
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| v.相伴；结交 | |
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immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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baron
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| n.男爵；(商业界等)巨头，大王 | |
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sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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approbation
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| n.称赞；认可 | |
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jealousies
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| n.妒忌( jealousy的名词复数 )；妒羡 | |
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intrigues
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| n.密谋策划( intrigue的名词复数 )；神秘气氛；引人入胜的复杂情节v.搞阴谋诡计( intrigue的第三人称单数 )；激起…的好奇心 | |
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imperturbable
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| adj.镇静的 | |
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defiance
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| n.挑战，挑衅，蔑视，违抗 | |
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entreated
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| 恳求，乞求( entreat的过去式和过去分词 ) | |
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reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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wittier
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| 机智的，言辞巧妙的，情趣横生的( witty的比较级 ) | |
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rebellious
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| adj.造反的，反抗的，难控制的 | |
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countersigned
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| v.连署，副署，会签 （文件）( countersign的过去式 ) | |
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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influential
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| adj.有影响的，有权势的 | |
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procured
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| v.（努力）取得， （设法）获得( procure的过去式和过去分词 )；拉皮条 | |
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adoration
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| n.爱慕，崇拜 | |
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banished
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| v.放逐，驱逐( banish的过去式和过去分词 ) | |
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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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presumption
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| n.推测，可能性，冒昧，放肆，[法律]推定 | |
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mimic
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| v.模仿，戏弄；n.模仿他人言行的人 | |
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spacious
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| adj.广阔的，宽敞的 | |
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labyrinths
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| 迷宫( labyrinth的名词复数 )； （文字，建筑）错综复杂的 | |
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grove
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| n.林子，小树林，园林 | |
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groves
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| 树丛，小树林( grove的名词复数 ) | |
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spouted
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| adj.装有嘴的v.（指液体）喷出( spout的过去式和过去分词 )；滔滔不绝地讲；喋喋不休地说；喷水 | |
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nostrils
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| 鼻孔( nostril的名词复数 ) | |
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Neptune
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| n.海王星 | |
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deity
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| n.神，神性；被奉若神明的人(或物) | |
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forth
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| adv.向前；向外，往外 | |
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52
trickling
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| n.油画底色含油太多而成泡沫状突起v.滴( trickle的现在分词 )；淌；使)慢慢走；缓慢移动 | |
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rustic
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| adj.乡村的，有乡村特色的；n.乡下人，乡巴佬 | |
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pellucid
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| adj.透明的，简单的 | |
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enchantment
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| n.迷惑，妖术，魅力 | |
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illuminated
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| adj.被照明的；受启迪的 | |
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57
foliage
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| n.叶子，树叶，簇叶 | |
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58
endorse
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| vt.(支票、汇票等)背书，背署；批注；同意 | |
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engross
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| v.使全神贯注 | |
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plumes
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| 羽毛( plume的名词复数 )； 羽毛饰； 羽毛状物； 升上空中的羽状物 | |
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costly
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| adj.昂贵的，价值高的，豪华的 | |
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crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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64
tawny
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| adj.茶色的，黄褐色的；n.黄褐色 | |
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65
scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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66
embroidered
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| adj．绣花的 | |
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67
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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68
dolorous
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| adj.悲伤的；忧愁的 | |
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69
wailing
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| v.哭叫，哀号( wail的现在分词 )；沱 | |
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70
gallant
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| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
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71
bishop
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| n.主教，（国际象棋）象 | |
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72
clement
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| adj.仁慈的；温和的 | |
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73
adventurous
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| adj.爱冒险的；惊心动魄的，惊险的，刺激的 | |
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74
haughty
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| adj.傲慢的，高傲的 | |
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75
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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76
constable
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| n.(英国)警察，警官 | |
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77
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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78
sumptuous
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| adj.豪华的，奢侈的，华丽的 | |
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79
affected
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| adj.不自然的，假装的 | |
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80
skilfully
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| adv. (美skillfully)熟练地 | |
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81
apostasy
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| n.背教，脱党 | |
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82
meek
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| adj.温顺的，逆来顺受的 | |
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83
sculptor
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| n.雕刻家，雕刻家 | |
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84
patriots
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| 爱国者，爱国主义者( patriot的名词复数 ) | |
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85
patriotically
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| 爱国地；忧国地 | |
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86
condescending
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| adj.谦逊的,故意屈尊的 | |
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87
persuasions
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| n.劝说，说服（力）( persuasion的名词复数 )；信仰 | |
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88
patriotism
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| n.爱国精神，爱国心，爱国主义 | |
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89
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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90
bluff
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| v.虚张声势，用假象骗人；n.虚张声势，欺骗 | |
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91
harry
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| vt.掠夺，蹂躏，使苦恼 | |
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adviser
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| n.劝告者，顾问 | |
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seduced
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| 诱奸( seduce的过去式和过去分词 )； 勾引； 诱使堕落； 使入迷 | |
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94
cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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95
undertaking
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| n.保证，许诺，事业 | |
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monarch
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| n.帝王，君主，最高统治者 | |
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97
strut
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| v.肿胀，鼓起；大摇大摆地走；炫耀；支撑；撑开；n.高视阔步；支柱，撑杆 | |
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98
arrogant
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| adj.傲慢的，自大的 | |
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99
mandate
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| n.托管地；命令，指示 | |
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100
homage
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| n.尊敬，敬意，崇敬 | |
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101
repartee
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| n.机敏的应答 | |
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102
conversing
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| v.交谈，谈话( converse的现在分词 ) | |
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103
apparently
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| adv.显然地；表面上，似乎 | |
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104
attired
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| adj.穿着整齐的v.使穿上衣服，使穿上盛装( attire的过去式和过去分词 ) | |
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105
inspection
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| n.检查，审查，检阅 | |
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106
celebrated
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| adj.有名的，声誉卓著的 | |
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107
culled
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| v.挑选，剔除( cull的过去式和过去分词 ) | |
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108
psalms
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| n.赞美诗( psalm的名词复数 )；圣诗；圣歌；(中的) | |
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109
dedicated
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| adj.一心一意的；献身的；热诚的 | |
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110
bard
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| n.吟游诗人 | |
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111
civilians
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| 平民，百姓( civilian的名词复数 )； 老百姓 | |
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112
loyalty
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| n.忠诚，忠心 | |
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113
aquiline
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| adj.钩状的，鹰的 | |
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114
proffer
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| v.献出，赠送；n.提议，建议 | |
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115
exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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116
entreaties
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| n.恳求，乞求( entreaty的名词复数 ) | |
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117
shuffle
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| n.拖著脚走，洗纸牌；v.拖曳，慢吞吞地走 | |
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118
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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119
protruding
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| v.（使某物）伸出，（使某物）突出( protrude的现在分词 )；凸 | |
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120
tyrant
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| n.暴君，专制的君主，残暴的人 | |
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121
promenading
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| v.兜风( promenade的现在分词 ) | |
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122
promenade
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| n./v.散步 | |
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123
legitimate
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| adj.合法的，合理的，合乎逻辑的；v.使合法 | |
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124
baroness
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| n.男爵夫人，女男爵 | |
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125
conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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126
majesties
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| n.雄伟( majesty的名词复数 )；庄严；陛下；王权 | |
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127
besieged
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| 包围，围困，围攻( besiege的过去式和过去分词 ) | |
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128
warrior
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| n.勇士，武士，斗士 | |
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129
mantle
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| n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红 | |
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130
concealing
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| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
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131
armour
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| （=armor）n.盔甲；装甲部队 | |
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132
rouge
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| n.胭脂，口红唇膏；v.(在…上)擦口红 | |
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133
Founder
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| n.创始者，缔造者 | |
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