The De Melzi stretched a white, bejeweled hand out, and the seething Alberto, under pain of appearing openly impolite, was forced to comply. “No, I will not take the cigarette you point out,” said the saucy prima donna, as the tenor extended the open case. “It might disagree with me, who knows? and I have predicted that in the part of Elsa to-morrow night at Smutchester I shall achieve a ‘dazzling success.’” And she smiled with brilliant malice upon Alberto Fumaroli, who played Lohengrin. “They are discriminating—the audiences of that big, black, melancholy place—they never mistake geese for swans.”
“Ach, no!” said the Impresario, looking up from his tatting—he was engaged upon a green silk purse for Madame Da Capo, a wrinkled little doll of an old lady with whom he was romantically in love. “They will not take a dournure, some declamation, and half a dozen notes in the upper register bour dout botage. Sing to them well, they will be ready to give you their heads. But sing to them badly, and they will be ready to pelt yours. Twenty years ago they did. I remember a graceless impostor, a ragazzo (foisted upon me for a season by a villain of an agent), who annoyed them in Almaviva.... Ebbene! the elections were in progress—there was a dimonstranza. I can smell those antique eggs, those decomposed oranges, now.”
“Heart’s dearest, thou must not excite thyself,” interrupted Madame; “it is so bad for thee. Play at the poker-game, mes enfants,” she continued, “and leave my good child, my beloved little one, alone!” Saying this, Madame drew from her vast under-pocket a neat case containing an ivory comb, and, removing the fearfully and wonderfully braided traveling cap of the Impresario, fell to combing his few remaining hairs until, soothed by the process, Carlo, who had been christened Karl, fell asleep with his head on Madame’s shoulder; snoring peacefully, despite the screams, shrieks, howls, and maledictions which were the invariable accompaniment of the poker-game.
The train bundled into Smutchester some hours later; a string of cabs conveyed the Impresario, his wife, and the principal members of his company to the Crown Diamonds Hotel. Before he sought his couch that night the revengeful Alberto Fumaroli had interviewed the chef and bribed him with the gift of a box of regalias from the cedar smoking-cabinet of a King, to aid in the carrying-out of the vendetta. Josebattista Funkmuller was not a regal judge of cigars; but these were black, rank, and oily enough to have made an Emperor most imperially sick. Besides, the De Melzi had, or so he declared, once ascribed an indigestion which had ruined, or so she swore, one of her grandest scenas, to an omelette of his making, and the cook was not unwilling that the haughty spirit of the cantatrice should be crushed. His complex nature, his cosmopolitan origin, showed in the plan Josebattista Funkmuller now evolved and placed before the revengeful tenor, who clasped him to his bosom in an ecstasy of delight, planting at the same time a huge, resounding kiss upon both his cheeks.
“It is perfection!” Fumaroli cried. “My friend, it can scarcely fail! If it should, per Bacco! the Fiend himself is upon that insolent creature’s side! But I never heard yet of his helping a woman to resist temptation—oh, mai! it is he who spreads the board and invites Eve.”
And the tenor retired exultant. His sleeping-chamber was next door to that of the hated cantatrice. He dressed upon the succeeding morning to the accompaniment of roulades trilled by the owner of the lovely throat to which Fumaroli would so willingly have given the fatal squeeze. And as Fumaroli, completing his frugal morning ablutions by wiping his beautiful eyes and classic temples very gingerly with a damp towel, paused to listen, a smile of peculiar malignancy was only partly obscured by the folds of the towel. But when the tenor and the soprano encountered at the twelve o’clock déjeuner, Fumaroli’s politeness was excessive, and his large, dark, brilliant eyes responded to every glance of the gleaming black orbs of De Melzi with a languorous, melting significance which almost caused her heart to palpitate beneath her Parisian corsets. Concealed passion lay, it might be, behind an affectation of enmity and ill-will.
“Mai santo cielo!” exclaimed the stout aunt, to whom the cantatrice subsequently revealed her suspicions, “thou guessest always as I myself have thought. The unhappy man is devoured by a grand passion for my Teresa. He grinds his teeth, he calls upon the saints, he grows more bilious every day, and thou more beautiful. One day he will declare himself——”
“And I shall lose an entertaining enemy, to find a stupid lover,” gurgled Teresa. She was looking divine, her dark beauty glowing like a gem in the setting of an Eastern silk of shot turquoise and purple, fifty yards of which an enamored noble of the Ukraine had thrown upon the stage of the Opera House, St. Petersburg, wound round the stem of a costly bouquet. She glanced in the mirror as she kissed the black nose of her Japanese pug. “Every man becomes stupid after a while,” she went on. “Even Josebattista is in love with me. He sends me a little note written on papier jambon to entreat an interview.”
“My soul!” cried the stout aunt, “thou wilt not deny him?”
The saucy singer shook her head as Funkmuller tapped at the door. One need not give in detail the interview that eventuated. It is enough that the intended treachery of Fumaroli was laid bare. His intended victim laughed madly.