IN Ondine
compared to the government of such subjects as those whom I was supposed to be able to command; for these were subjects who considered themselves far above mortal control, or, more properly speaking, each was a queen in her own right—alone, absolute, supreme.... But there existed difficulties even beyond a manager’s calculations. Material obstacles were easily overcome. When it was feared that Carlotta Grisi would not be able to leave Paris in time to rehearse and appear for the occasion, a vessel was chartered from the Steam Navigation Company to waft the sylph at a moment’s notice across the Channel; a special train was engaged and ready at Dover; relays of horses were in waiting to aid the flight of the danseuse all the way from Paris to Calais. In the execution of the project the difficulty was again manifold. Every twinkle of each foot in every pas had to be nicely weighed in the balance, so as to give no preponderance. Each danseuse was to shine in her peculiar style and grace to the last stretch of perfection; but no one was to outshine the others, unless in her own individual belief. Lastly, the famous Pas de Quatre was composed with all the art of which the distinguished ballet-master, Perrot, was capable.
“All was at length adjusted. Satisfaction was in every mind; the Pas de Quatre was rehearsed—was announced; the very morning of the event had arrived; no further hindrances were expected. Suddenly, while I was engaged with the lawyers in my room, poor Perrot rushed unannounced into my presence in a state of intense despair. He uttered frantic exclamations, tore his hair, and at last found breath to say that all was over—the Pas de Quatre had fallen to the ground, and could never be given. With difficulty the unfortunate ballet-master was calmed down to a sufficient state of reason to be able to explain the cause of his anguish. When all was ready, I had desired Perrot to regulate the order in which the separate pas of each danseuse should come. The place of honour, the last in such cases, as in regal processions, had been ceded without over-much hesitation to Mademoiselle Taglioni. Of the remaining ladies who claimed equal rights, founded on talent and popularity, neither would appear before the others. ‘Mon Dieu!’ exclaimed the ballet-master, ‘Cerito will not begin before Carlotta, nor Carlotta before Cerito; there is no way to make them stir—all is finished.’ ‘The solution is easy,’ said I; ‘let the oldest take her unquestionable right to the envied position.’ The ballet-master smote his forehead, smiled assent, and bounded from the room upon the stage. The judgment of the manager was announced. The ladies tittered, laughed, drew back, and were now as much disinclined to accept the right of position as they had been before eager to claim it. The order of the ladies being settled, the Grand Pas de Quatre was finally performed on the same night before a delighted audience, who little knew how nearly they had been deprived of their promised treat.”
It is scarcely possible now to conceive the excitement which this performance created. It overshadowed for the time every other national interest. The reports were eagerly awaited by the Continent. Foreign courts received accounts of it enclosed in the official despatches. It was a European event.
But even in the heyday of its prosperity there was a premonition of the waning of the popularity of ballet. In the very year of this triumphant dance, Jenny Lind was heard for the first time in London. The human voice was about to drive the speechless ballet from the theatre.
CHAPTER IV
THE DECLINE OF THE BALLET
THE history of every art-form is a record of growth, maturity, decay and rebirth. The life of art appears to be subject to cycles, the recurrence of which is as certain and as inexplicable as those of nature. When perfect facility of execution has been attained, the period of decline is at hand. Nothing is left to the artist but to attempt to elaborate forms that are already perfect. The mode of art which has reached its zenith has expressed everything which the age had to say through that particular medium. Executive skill may still remain but the creative spirit is no longer present to inform it. The result almost necessarily is a barren accomplishment which has ceased to have any significance. The artist seeks to conceal his lack of inspiration by purely mechanical dexterity. He produces that over-elaboration of detail which is the sure mark of decadent art. An art which is full-blown can never begin to bud again until it has drawn up the sap of a new emotion and again has something significant to express to the age.