* An officer wrote me during the Franco-Prussian war that at Rezonville, in 1870, when brilliantly charging at the head of his men, Michel Ney, then a colonel of dragoons, received three sabre-cuts over his head and face, and after killing five Prussians rolled under his wounded horse. He eventually recovered.
Count Clary, a cousin of Napoleon III, when I met him, had only recently emerged from his worsted chrysalis;** and Albert Bazaine, the marshal's own nephew, was impatiently waiting to be raised from the depressing position of a piou-piou, that he might enjoy the full social benefits of his relationship to the commander-in-chief.
* He was promoted to the rank of captain before the return of the French army, and commanded a contre-guerilla known as the "Free Company of Mexican partizans" (see D'Hericault, loc. cit., p. 79), which did brave work in the state of Michoacan against the bands of General Regules and others, and later in the neighborhood of Mexico, without ever exciting the bitter hatred which the contreguerilla of Colonel Dupin, holding the state of Vera Cruz, drew upon itself. (See "Queretaro," by Haus, p. 56.)
The position of these gentlemen in a capital where the army was, so to speak, under arms, and where no civilian's dress, therefore, was allowed to a soldier, was ambiguous and gave rise to amusing anomalies. For instance, they, of course, could not be admitted to official balls or entertainments where uniforms were de rigueur, as only officers were invited. They paid calls, however, and thus mixed on neutral ground with their officers; and so these nondescript military larvae managed to enjoy life until the day came when they might become official butterflies.
As for the Marquis de Massa, the day had long gone by when, driving in his own trap to the gate of the Paris barracks after a night spent out on leave through the leniency of General Floury, he set to work to curry his own horse. His keen wit and happy repartee, his good-humored sarcasm, and, above all, the magnetism of a personality that scorned deceit and gave itself for no better or worse than it was, combined to make him a favorite among the devotees of pleasure whom Napoleon III and Empress Eugenie had gathered about them; and notwithstanding his empty pockets, his roofless chateau in Auvergne, and his sparsely braided sleeve, he was an habitue of the Austrian embassy and of the best salons in Paris, and made for himself a conspicuous place in the innermost circle of the court of Compiegne and the Tuileries. He had written a number of light plays for the amateur stage of Parisian society, and his dramatic efforts had been interpreted by players whose high-sounding names might be found on pages of history.
His first attempt was the "Cascades de Mouchy," on December 9, 1863. The representation was given at the Chateau de Mouchy, to which "all Paris" traveled for the purpose. In the words of the "Figaro": "It was a complete mobilization of Parisian society." The Duc de Mouchy, a man of the old nobility, had recently married Princess Anna Murat; and the actors as well as the audience represented the wit, talent, wealth, and power of the Second Empire.
In collaboration with Prince de Metternich, then Austrian ambassador at the court of the Tuileries, and an amateur musician of no mean order, he had written the libretto of a ballet called "Le Roi d'Yvetot." This was given on the professional stage, but met with little success, if exception is made of the "first night," when again "all Paris" turned out to see the prince lead the orchestra, and to applaud the brilliant young author after the curtain fell.
In 1865 he wrote a revue, which was performed with great eclat before the court at Compiegne. In this really clever piece the principal occurrences of the year were touched upon and reviewed. The literary event of 1865 in France had been the publication of Napoleon's work "Les Commentaires de Cesar," and this the young courtier took as a title for his play. Once again all the wit and beauty of the court of Eugenie united to make the occasion a brilliant tribute to the imperial historian. The Comte and Comtesse de Pourtales, the Marquis and Marquise de Gallifet, the Duc and Duchesse de Mouchy, the Princesse de Sagan, the Marquis de Caux (who afterward married Adelina Patti), the Princesse de Metternich,—indeed, the elite of cosmopolis,—appeared upon the stage, and in clever verse and epigrammatic song amusingly dealt with the gossip of the day.
M. de Massa's success was mainly due to the good-natured independence of his work. He told the truth to his audience, even though it might be composed of the great of the land. He chaffed the women upon their manners, and sometimes their morals, and the men upon their idleness and their evil ways. He showed up the speculative fever which, like an epidemic, had swept over the higher ranks of Parisian society under the Second Empire.* No weakness could be sure of escaping his satire. But in dealing with all this the scalpel of the cynic was concealed under the graceful touch of the man of the world. He did not assume the tone of a moralist or of a misanthrope. He was not even an observing spectator, but a good-natured enfant du siecle, a sinner among sinners, for whom life was one long comedy.
* For instance, one stanza sung by M. de St. Maurice: