"Tout les terrains, les canaux, les carrieres,
Depuis le fer jusqu'au moindre metal,
Les champs, les eaux, les forets, les bruyeres—
Tout represente un certain capital.
Vous le voyez la fievre est generale;
Tout est matiere a speculations . . .
Tout, en effet, excepte la morale
Qu'on n'a pas mise en actions."
After the return of the Corps Expeditionnaire in 1867, when the great International Exposition was attracting to Paris the princes and celebrities of the world, "Les Commentaires de Cesar" was, at the Emperor's request, repeated at the Tuileries before the crowned heads there assembled as his guests.
Notwithstanding the seething forces underlying the brilliant surface and threatening the empire's very existence, the summer of 1867, as superficially seen in Paris, must be regarded as the very apex of Napoleon's career.
The exposition was the last and most gorgeous set piece of the many Napoleonic fireworks, the splendor of which flashed through history, and ended in the dark smoke of Sedan.
The performance at the Tuileries was one of the most select entertainments arranged at this time. The troupe of aristocratic comedians was greeted with enthusiastic applause, and the popular author received an ovation from his audience of monarchs and princes such as fate never bestowed upon Beaumarchais, Marivaux, or even Moliere!
All aglow with the excitement of his social achievements, the Marquis de Massa came to Mexico in 1866 and immediately took his place in the military household of the commander-in-chief.
As soon as he felt sufficiently posted as to the local conditions of
Mexico, he went to work, and the result was a vaudeville entitled
"Messieurs les Voyageurs pour Mexico, en Voiture!"
The marshal's household supplied the principal stars of the improvised dramatic company, the leader of the orchestra, a young Belgian officer, and the prima donna, an "American girl from Paris," as the Mexican papers had it, being brought in only as necessary adjuncts. Another important female part was taken by Albert Bazaine, who was turned into a superb soubrette.
The play was little more than a skit, and the plot—if the thin, sketchy incident that stood in its place may be called one—served only as an excuse for a continuous fusillade of local hits, often of a personal character. These not only kept the audience in a fever of merriment, but long afterward furnished Mexican official and social circles with topics for more or less friendly discussion. Some ill feeling and not a few unpleasant comments were, of course, the result of the little venture; and most of those concerned paid for their fun in some way or other.
The performance took place at San Cosme, at the house of the Vicomtesse de Noue. Maximilian, whose curiosity had been aroused, expressed a desire to have it repeated at the imperial palace; but having heard of certain unmerciful sallies made upon his financial decrees and other measures of his government, he did not attempt to disguise his displeasure. Of course the performance was not repeated.