EMPRESS-MOTHER
Don’t listen to us longer, dearest Anne.
[Exit Anne.]
—You will uphold my judging by and by,
That as a suitor we are quit of him,
And that blind Austria will rue the hour
Wherein she plucks for him her fairest flower!
[The scene shuts.]
SCENE VIII
PARIS. THE GRAND GALLERY OF THE LOUVRE AND THE SALON-CARRE ADJOINING
[The view is up the middle of the Gallery, which is now a spectacle
of much magnificence. Backed by the large paintings on the walls
are double rows on each side of brightly dressed ladies, the pick
of Imperial society, to the number of four thousand, one thousand
in each row; and behind these standing up are two rows on each side
of men of privilege and fashion. Officers of the Imperial Guard
are dotted about as marshals.
Temporary barriers form a wide passage up the midst, leading to the
Salon-Carre, which is seen through the opening to be fitted up as
a chapel, with a gorgeous altar, tall candles, and cross. In front
of the altar is a platform with a canopy over it. On the platform
are two gilt chairs and a prie-dieu.
The expectant assembly does not continuously remain in the seats,
but promenades and talks, the voices at times rising to a din amid
the strains of the orchestra, conducted by the EMPEROR’S Director
of Music. Refreshments in profusion are handed round, and the
extemporized cathedral resolves itself into a gigantic cafe of
persons of distinction under the Empire.]
SPIRIT SINISTER
All day have they been waiting for their galanty-show, and now the
hour of performance is on the strike. It may be seasonable to muse
on the sixteenth Louis and the bride’s great-aunt, as the nearing
procession is, I see, appositely crossing the track of the tumbril
which was the last coach of that respected lady.... It is now
passing over the site of the scaffold on which she lost her head.
... Now it will soon be here.
[Suddenly the heralds enter the Gallery at the end towards the
Tuileries, the spectators ranging themselves in their places.
In a moment the wedding procession of the EMPEROR and EMPRESS
becomes visible. The civil marriage having already been performed,
Napoléon and Marie Louise advance together along the vacant pathway
towards the Salon-Carre, followed by the long suite of illustrious
personages, and acclamations burst from all parts of the Grand
Gallery.
SPIRIT OF THE PITIES
Whose are those forms that pair in pompous train
Behind the hand-in-hand half-wedded ones,
With faces speaking sense of an adventure
Which may close well, or not so?
RECORDING ANGEL [reciting]
First there walks
The Emperor’s brother Louis, Holland’s King;
Then Jérôme of Westphalia with his spouse;
The mother-queen, and Julie Queen of Spain,
The Prince Borghese and the Princess Pauline,
Beauharnais the Vice-King of Italy,
And Murat King of Naples, with their Queens;
Baden’s Grand-Duke, Arch-Chancellor Cambacérès,
Berthier, Lebrun, and, not least, Talleyrand.
Then the Grand Marshal and the Chamberlain,
The Lords-in-Waiting, the Grand Equerry,
With waiting-ladies, women of the chamber,
An others called by office, rank, or fame.
SPIRIT OF RUMOUR
New, many, to Imperial dignities;
Which, won by character and quality
In those who now enjoy them, will become
The birthright of their sons in aftertime.
SPIRIT OF THE YEARS
It fits thee not to augur, quick-eared Shade.
Ephemeral at the best all honours be,
These even more ephemeral than their kind,
So random-fashioned, swift, perturbable!
SPIRIT OF THE PITIES
Napoléon looks content—nay, shines with joy.
SPIRIT OF THE YEARS
Yet see it pass, as by a conjuror’s wand.
[Thereupon Napoléon’s face blackens as if the shadow of a winter
night had fallen upon it. Resentful and threatening, he stops the
procession and looks up and down the benches.]