“Remember, monsieur, that we have purchases to make—we visit the capital but rarely.”
“Quite true; I was forgetting the solitude of your retreat. Such charms might make any lapse of memory excusable.”
“Oh, monsieur! I should be, indeed, touched by this flattery, if I could but see the face of him who uttered it.”
“Pardon me, fair Countess, if I do not respond to even the least of your wishes; we shall both appear in our true colours one of these days. Meanwhile, remember our proverb that says, ‘It’s not the cowl makes the monk.’ When you shall hear this again, it will be in your château of Vaugirarde, and——”
“Is that the consigne, then?” said she, laughing.
“Yes, that is the consigne,—don’t forget it;” and, with a graceful salutation, the Maréchal withdrew to perfect his further arrangements.
There was a listener to this scene, that none of its actors ever guessed at—the poor actor, who, having lost his way among forests of pasteboard and palaces of painted canvass, at last found himself at the back of a pavilion, from which the speakers were not more than two paces distant. Scarcely had the Maréchal departed, than he followed his steps, and made all haste to an obscure auberge outside the barriers, where a companion, poor and friendless as himself, awaited him. There is no need to trace what ensued at this meeting. The farce-writer might, indeed, make it effective enough, ending as it does in the resolve, that since an engagement was denied them at Paris, they’d try their fortune at Fontainebleau, by personating the two strangers, who were to arrive by a hazard at the Château de Vaugirarde.
The whole plot is now seen. They set out, and in due time arrive at the château. Their wardrobe and appearance generally are the very reverse of what the fair Countess expected, but as their stage experiences supply a certain resemblance to rank and distinction—at least to her notions of such—she never doubts that they are the promised visitors, and is convinced by the significant declaration, that if their wayworn looks and strange costume seem little indicative of their actual position, yet the Countess should remember, “It is not the cowl makes the monk.”
The constraint with which each assumes a new character forms the second era of the piece. The lover, far from suspecting the real pretensions he should strive to personate—the Countess, as much puzzled by the secrecy of her guest’s conduct, and by guesses as to his actual rank and fortune. It is while these doubts are in full conflict, and when seated at supper, that the King and Richelieu appear, announced as two travellers, whose carriage being overturned and broken, are fain to crave the hospitality of the château.
The discomfiture of Richelieu and the anger of the King at finding the ground occupied, contrast well with the patronising graces of the mock Countess and the insolent demeanour of the lover, who whispers in her ear that the new arrivals are strolling players, and that he has seen them repeatedly in the provinces. All Richelieu’s endeavours to set matters right, unobserved by the King, are abortive; while his Majesty is scarce more fortunate in pressing his suit with the fair Countess, by whose grace and beauty he is fascinated. In the very midst of the insolent badinage of the real actors, an officer of the household arrives, with important despatches. Their delivery brooks no delay, and he at once presents himself, and, kneeling, hands them to the King. Shame, discomfiture, terror, and dismay, seize on the intruding players. The King, however, is merciful. After a smart reproof all is forgiven; his Majesty sagely observing, that although “the Cowl may not make the Monk,” the Ermine has no small share in forming the Monarch.