第56章 Chapter 25 - La Comedie Francaise a Orange(2)

On the stage, partly cleared of the debris of fifteen hundred years, trees had been left where they had grown, among fallen columns, fragments of capital and statue; near the front a superb rose-laurel recalled the Attic shores. To the right, wild grasses and herbs alternated with thick shrubbery, among which Orestes hid later, during the lamentations of his sister. To the left a gigantic fig-tree, growing again the dark wall, threw its branches far out over the stage.

It was from behind its foliage that "Gaul," "Provence," and "France," personated by three actresses of the "Francais," advanced to salute Apollo, seated on his rustic throne, in the prologue which began the performance.

Since midday the weather had been threatening. At seven o'clock there was almost a shower - a moment of terrible anxiety. What a misfortune if it should rain, just as the actors were to appear, here, where it had not rained for nearly four months! My right-hand neighbor, a citizen of Beaucaire, assures me, "It will be nothing, only a strong `mistral' for to-morrow." An electrician is putting the finishing touches to his arrangements. He tries vainly to concentrate some light on the box where the committee is to sit, which is screened by a bit of crumbling wall, but finally gives it up.

Suddenly the bugles sound; the orchestra rings out the Marseillaise; it is eight o'clock. The sky is wild and threatening. An unseen hand strikes the three traditional blows. The Faun Lybrian slips down from a branch of a great elm, and throws himself on the steps that later are to represent the entrance to the palace of Agamemnon, and commences the prologue (an invocation to Apollo), in the midst of such confusion that we hear hardly a word. Little by little, however, the crowd quiets down, and I catch Louis Gallet's fine lines, marvellously phrased by Mesdames Bartet, Dudlay, Moreno, and the handsome Fenoux as Apollo.

The real interest of the public is only aroused, however, when THE ERYNNIES begins. This powerful adaptation from the tragedy of AEschylus is THE CHEF D'OEUVRE of Leconte de Lisle.

The silence is now complete. One feels in the air that the moment so long and so anxiously awaited has come, that a great event is about to take place. Every eye is fixed on the stage, waiting to see what will appear from behind the dark arches of the proscenium. A faint, plaintive strain of music floats out on the silence. Demons crawl among the leafy shadows. Not a light is visible, yet the centre of the stage is in strong relief, shading off into a thousand fantastic shadows. The audience sits in complete darkness. Then we see the people of Argos, winding toward us from among the trees, lamenting, as they have done each day for ten years, the long absence of their sons and their king. The old men no longer dare to consult the oracles, fearing to learn that all is lost. The beauty of this lament roused the first murmur of applause, each word, each syllable, chiming out across that vast semicircle with a clearness and an effect impossible to describe.

Now it is the sentinel, who from his watch-tower has caught the first glimpse of the returning army. We hear him dashing like a torrent down the turret stair; at the doorway, his garments blown by the wind, his body bending forward in a splendid pose of joy and exultation, he announces in a voice of thunder the arrival of the king.

So completely are the twenty thousand spectators under the spell of the drama that at this news one can feel a thrill pass over the throng, whom the splendid verses hold palpitating under their charm, awaiting only the end of the tirade to break into applause.

From that moment the performance is one long triumph.

Clytemnestra (Madame Lerou) comes with her suite to receive the king (Mounet-Sully), the conqueror! I never realized before all the perfection that training can give the speaking voice. Each syllable seemed to ring out with a bell-like clearness. As she gradually rose in the last act to the scene with Orestes, I understood the use of the great wall behind the actors. It increased the power of the voices and lent them a sonority difficult to believe. The effect was overwhelming when, unable to escape death, Clytemnestra cries out her horrible imprecations.

Mounet-Sully surpassed himself. Paul Mounet gave us the complete illusion of a monster thirsting for blood, even his mother's! When striking her as she struck his father, he answers her despairing query, "Thou wouldst not slay thy mother?" "Woman, thou hast ceased to be a mother!" Dudlay (as Cassandra) reaches a splendid climax when she prophesies the misfortune hanging over her family, which she is powerless to avert.

It is impossible in feeble prose to give any idea of the impression those lines produce in the stupendous theatre, packed to its utmost limits - the wild night, with a storm in the air, a stage which seems like a clearing in some forest inhabited by Titans, the terrible tragedy of AEschylus following the graceful fete of Apollo.

After the unavoidable confusion at the beginning, the vast audience listen in profound silence to an expression of pure art. They are no longer actors we hear, but demi-gods. With voices of the storm, possessed by some divine afflatus, thundering out verses of fire - carried out of themselves in a whirlwind of passion, like antique prophets and Sibyls foretelling the misfortunes of the world!

That night will remain immutably fixed in my memory, if I live to be as old as the theatre itself. We were so moved, my companion and I, and had seen the crowd so moved, that fearing to efface the impression if we returned the second night to see ANTIGONE, we came quietly away, pondering over it all, and realizing once again that a thing of beauty is a source of eternal delight.