The lady in the middle was the dowager princess, mother of the victor of Rocroy, Norlingen and Lens, who was just beginning, since he had become an object of persecution, and the persecution had landed him at Vincennes, to be called the Great Condé, a name which posterity has continued to bestow upon him. This lady, upon whose features could still be detected traces of that beauty which made her the object of the last and maddest of all the passions of Henri IV., had been wounded in her mother love, and in her pride as princess of the blood, by a facchino Italiano, who was called Mazarini when he was Cardinal Bentivoglio's servant, but who was now called His Eminence Cardinal Mazarin, since he had become Anne of Austria's lover, and First Minister of the Kingdom of France.
He it was who dared to imprison Condé, and to send the noble prisoner's wife and mother into exile at Chantilly.
The lady at her right was Claire-Clémence de Maillé, Princesse de Condé, who, in accordance with an aristocratic custom of the time, was called Madame la Princesse simply, to signify that the wife of the head of the Condé family was the first princess of the blood, the princess par excellence: she was always proud, but her pride had gained in intensity since her persecution, and she had become haughty and supercilious.
It was the fact that her husband's imprisonment raised her to the rank of a heroine, after being compelled to play only a secondary part so long as he was free; her state was more deplorable than widowhood, and her son, the Duc d'Enghien, just completing his seventh year, was more interesting than an orphan. The eyes of the nation were upon her, and without fear of being laughed at, she dressed in mourning. Since the forced exile of these two weeping women by direction of Anne of Austria their piercing shrieks had changed to muttered threats: from being the victims of oppression they had become rebels. Madame la Princesse, Themistocles in a mobcap, had her Miltiades in petticoats, and the laurels of Madame de Longueville, for an instant Queen of Paris, disturbed her slumbers.
The duenna at the left was the Marquise de Tourville, who did not venture to write novels, but exercised her pen upon political subjects: she did not make war in person like the valorous Pompée, nor did she, like him, receive a bullet at the battle of Corbie; but her husband, who was a highly esteemed officer, was wounded at La Rochelle and killed at Fribourg,—the result being that she inherited his fortune, and fancied that she inherited at the same time his genius for war. Since she joined the Princesses de Condé at Chantilly she had sketched three plans of campaign, all of which had successively aroused the enthusiasm of the ladies of the suite, and had been, not abandoned, but postponed until the moment when the sword should be drawn and the scabbard thrown away. She did not dare put on her husband's uniform, although she sometimes longed to do so; but she had his sword hanging in her room over the head of her bed, and now and then, when she was alone, she would draw it from its sheath with an exceedingly martial air.
Chantilly, notwithstanding its holiday aspect, was in reality nothing but a vast barrack, and a diligent search would have discovered powder in the cellars, and bayonets in the hedgerows.
The three ladies, in their lugubrious promenade, bent their steps toward the main door of the château, and seemed to be expecting the arrival of some messenger with important news. Several times the princess dowager had said, shaking her head and sighing:—
"We shall fail, my daughter! we shall be humiliated."
"We must expect to pay something as the price of the great glory we are to win," said Madame de Tourville, without relaxing the stiffness of her demeanor in any respect; "there is no victory without a combat!"