EXTRAORDINARY SCENE IN THE PLACE DE LA CONCORDE.
The wildest manifestation of the afternoon was in the Place de la Concorde, where an immense mob fell to dancing about the statue of Strasburg. Everybody knows the sullen threat with which that statue has been placarded for so many years. It runs ‘L. D. P. (the initials standing for “Ligue de Patriotes”) Qui Vive? La France. 1870–18—.’ When the prodigious noise created by the mob seemed at its highest, it was cloven, as it were, by a din still greater, and a solid phalanx of men forced a way into the already crowded square. In the centre of this phalanx twenty or thirty men marched, bearing a long ladder, the heads of many of them being thrust between the rungs. In the middle of the ladder was seated a working painter in a blue blouse. The man was literally wild with excitement, and was roaring ‘Quatre vingt douze’ to a sort of mad, improvised tune, in which the packed marchers about him joined with the fell stress of their lungs. In one hand the man flourished aloft a pot of red paint, with the contents of which he occasionally bedewed his unheeding companions, some of whom had playfully bedaubed their own and others’ features, so that they looked as if they had just come fresh from some scene of massacre. In the other hand the man held aloft a sheaf of brushes, and in an instant the vast crowd seized the motive of his presence there, and the meaning of the rhythmic repetition of ‘Quatre vingt douze!’
EXTRAORDINARY SCENE IN THE PLACE DE LA CONCORDE:
THE MOB TEARING THE MOURNING EMBLEMS FROM THE STATUE OF STRASBURG.
A way was cleared for the advancing cohort as if by magic. The ladder, still supporting the painter, was drawn up lengthwise before the statue, and the workman knelt to his task. At first it was impossible for him to work, for the bearers of the ladder were jigging to the tune they sang; but by and by they were persuaded to quiet, and a very striking and impressive silence fell upon the crowd. The man, with great deliberation, and with a much firmer hand than he might have been supposed to own at a time of such excitement, drew the outline of the figures 9 and 2 in white chalk, at as great a size as the space of the placard admitted. His movements were watched with an actually breathless interest, and when, after the completion of his drawing, he rose and clasped the knees of the statue in his arms with a joyful and affectionate cry, two or three people in my neighbourhood sobbed aloud. The man knelt down again and filled in with red paint the outline he had drawn. One grim personage, with a squint and a pock-marked face, who held a short, well-blacked clay between his teeth, shouldered me at this moment, and said, ‘C’est le sang de la France, ça.’ He thought so well of this that he moved away among the crowd repeating it, nudging his neighbours to call attention to the saying, and pointing a dirty forefinger at the red paint of the figures to indicate its meaning. I was waiting for an outburst of enthusiasm when the figures were completed, but to my amazement the mob accepted the proclamation they conveyed with a grave silence, as if it had been in some way authentic and official, and as if for the first time they recognised the terrible significance of the hour. Their quiet did not endure long, for one of their number, having contrived to scramble on to the ladder, clambered up the statue, and amid great cheers tore from it the ragged emblems of mourning which have so long disfigured it.
Then came an episode, the like of which would be possible nowhere but in Paris. The whole thing might have been arranged for scenic effect, and the distinguished artist who made the coup had never, brilliant as his triumphs have been, arrived on the stage at so opportune a moment, or encountered so overwhelming a reception. The new-comer was no other than M. Jean de Reszke, who was on his way to dine with a friend before appearing as Faust in Gounod’s masterpiece this evening. His coachman was slowly making way along the crowded road when the great singer was recognised. He was greeted with a roar of applause, and a dozen members of the crowd threw open the closed landau he sat in, while a thousand voices clamoured for the Marseillaise. The statue had, at that instant, been denuded of its last rag of mourning, and M. de Reszke, who had risen bareheaded in the carriage, was whipped out of it in a trice, and borne, nolens volens, to the figure, and placed aloft on the pedestal. His companion, a lady attired with much distinction, was at first evidently alarmed, but soon gathered the peaceful intention of the crowd, and seizing the meaning of the moment, she stripped from her own shoulders a handsome scarlet cloak, and threw it towards M. de Reszke. It was immediately passed on to him, and he, with considerable difficulty, and at the risk of a tumble on the heads of the people below him, succeeded in casting the cloak over the shoulders of the statue. At this, all the previous noises which cleft the air of Paris this afternoon seemed as nothing. The cheering was simply deafening and maddening, and lasted for full three minutes. At length perfect silence was restored, and M. de Reszke began to sing the Marseillaise. He was pale at first, and obviously unstrung at the spectacle of this prodigious audience, and for the first few notes his voice was broken and ineffective. He gathered confidence, however, before he had completed the singing of the first line, and gave the rest of the song with an inspiring vigour and élan.
From the beginning of the whole extraordinary scene people had been flocking in from every quarter, and I believe that I am well within bounds when I say that the singer had an audience of a hundred and twenty thousand. The chorus was one of the most stupendous and moving things which can ever have been heard by human ears. It rose from the densely-packed mass of humanity in one amazing roll and roar of sound, and its echoes came straggling faintly from the Rue de Rivoli and the Tuileries Gardens, from the Avénue des Champs Elysées, from the Rue Royale, from the Pont de la Concorde, and the embankment on the further side of the river. When the whole song was finished it was redemanded, and was sung through again with undiminished relish both by the soloist and the chorus. Finally, the singer was permitted to descend from the pedestal, and was escorted to his carriage. The crowd had taken out the horses, and M. de Reszke and his companion were drawn away by some hundreds of volunteers. The great singer’s nationality has made him the idol of Paris during all the late days of strained expectation. Every night the Opera-house has been thronged, and every song from his lips has been received with literal thunders of applause.