On another occasion his wife discovered him presiding over a court-martial in full regimentals, with a large rat in the centre of the room, which had just been suspended with all the formalities of a military execution. It appeared that the unfortunate beast had transgressed the laws of war; it had climbed the ramparts of a card-board fortress, and had actually eaten two pith sentries on duty at the bastions. It was to be exposed to the public view as an example during three days following! Catharine, unluckily, was so lost to the fitness of things as to betray open merriment. The Grand Duke was furious; and she had to retire, excusing herself with difficulty on account of her ignorance of military discipline. The affair sensibly aggravated the estrangement between them.
Of Elizabeth, who led an eccentric life with her own peculiar intimates, Catharine knew little; but she was the victim of an unrelenting if petty tyranny, which kept jealous watch over every word and movement, deprived her of any attendant of whom she made a friend, and dictated every minute circumstance of her life. It was like nothing so much as a dame school, even to the various tutors and governesses ordered her by the Czarina. When her father died she was allowed a week's mourning; at the end of that time the Empress sent a command to leave off; "she was a grand duchess, and her father was not a king." But Catharine was not of the stuff from which are modelled the monuments of docility. Little by little, as her character develops, she acquires a proud and lonely self-dependence. She awakens to intellectual interests; from the first, indeed, she had flung herself with ardor into the study of Russian history and language. During these early years books are her great distraction; "dixhuit années d'ennui et de solitude," we read in a epitaph written by herself, "lui firent lire bien des livres."
After a trial in the wilderness of third-rate contemporary fiction, Voltaire stirs her intellect. And he leads her, too, spellbound by that incomparable verve and intellectual agility of his; she surrenders herself to the illusion of his brilliant assurances, dancing like some triumphant will-o'-the-wisp over the obscure deeps and perplexities of things. In a hundred ways, evil and good, she will remain the pupil of Voltaire. He has his part in her social test of philosophical speculations; he has his part also, be sure of it, in her long devotion to ideals of monarchy expressed for her in Henri Quatre and Louis Quatorze.
After Voltaire and Madame de Sévigné, Montesquieu, Baronius, Tacitus, Bayle, Brantôme, and the early volumes of the Encyclopædia. But her gay, expansive nature was not capable, for long, of purely intellectual or stoic consolation. In a moral environment such as that of Elizabeth's court it was too easy for the reader of Brantôme to seek elsewhere the "love" romances had spoken of, but marriage had denied her. She was remarked by all in her day for her gift of fascination. To outward observers she seemed at this time a radiant and happy presence, as Burke saw Marie Antoinette, the morning-star of a pleasure-loving society, "full of life, and splendor, and joy." She says that she never considered herself extremely beautiful, but "she was able to please, et cela était mon fort." All contemporary testimony bears out this singular faculty of attracting others, rarest of natural gifts, but to a woman such as Catharine a very perilous one.
Not even those set to spy upon her could resist her personal magnetism. She could be beautiful or terrible, playful or majestic, at pleasure. At St. Petersburg there were few wits, and her intellectual superiority to those about her was sufficient to gain her the nickname among her husband's friends of "Madame la Ressource." Despite Peter's difficult relations with her, he would refer to her in most of his perplexities, especially when political, connected with his duchy of Holstein. "I don't understand things very well myself," he would explain to strangers, "but my wife understands everything." We observe in the Autobiography a fixed idea to "gain over" as many people as possible, to attach them to her interests; partly because of the opposition to the Czarina's circle, which gradually came to characterize the "Jeune Cour," but specially in the service of those vague, ambitious foreshadowings which from her first years in Russia had possessed her mind. Clear-sighted, with a keen sense of her husband's inadequacy to his position, warned by the implacable hostility of his mistress Elizabeth Vorontsoff and her relations, above all with a passionate thirst to realize her presentiment of greatness, she was instinctively preparing for some emergency, she knew not exactly what. As for the more precise premonitions of the memoirs, they are what would naturally appear to her after the fait accompli. Ambition, calculation looking before and after, patience in adversity, quickness to note and use the weakness of those about her, a steady indifference to unessentials, a political intelligence unhampered by the keener sensibilities—these are the master traits of the Catharine of the Autobiography.
So far, then, of these earlier years, while we have the memoirs with us. We must now pass quickly over many things. The motto of the Romanoffs might be taken from Macbeth: "The near in blood, the nearer bloody."[44] But in that sombre history there is no darker page than the conspiracy of 1762.
In January Elizabeth died and the Grand Duke ascended the throne, quietly enough, as Peter III. But the position of Catharine was worse than before. The Czar was completely under the influence of her enemies; he insulted her in public; and it seemed certain that his next step would be to divorce her, throw her into prison, and marry Elizabeth Vorontsoff. He had once already ordered her arrest, which his uncle had afterward persuaded him to retract. The very reforms with which he had begun his reign worked against him. He had made himself unpopular not only with the clergy, but with the Preobrajenski Guards, which, like the prætorians of the Roman Empire, disposed of the throne. He smoked and drank till three or five o'clock in the morning, writes the French ambassador; yet he would be up again at seven manœuvring his troops. He would order a hundred cannon to be fired together that he might have a foretaste of war, and his eccentricities in general were intensified by absolute power. The history of the coup-d'état is still obscure. A considerable party, however, formed round Catharine: the brothers Gregory and Alexis Orloff won over several regiments, and the princess Dashkoff gained adherents in society. Matters were precipitated by the accidental arrest of one of the conspirators; and although their plans were incoherent, the good-fortune of Catharine carried her through. At five o'clock in the morning of July 9th Alexis Orloff entered her room at Peterhoff, and told her to set out for St. Petersburg, where she was to be proclaimed immediately. She hastened there with the Orloffs. Three regiments, to whom vodka had judiciously been dispensed beforehand, took the oath of allegiance with enthusiasm; and others followed suit. Peter was thunderstruck. On the advice of Marshal Muennich he embarked for Cronstadt, where he was challenged, and demanded admittance as emperor. "Il n'y a plus d'empéreur!" replied the commandant, Talitsine. He hurried back again, and after agonies of indecision finally abdicated. "He had lost his crown," as Frederick said scornfully, "like a naughty child sent to bed with a whipping."
So far the revolution had been bloodless, but its darker hour was to come. "I placed the deposed Emperor under the command of A. Orloff, with four 'chosen' officers and a detachment of 'quiet' and 'sober' men, and sent him to a distance of twenty-seven versts from St. Petersburg to a place called Ropsha, 'very retired,' but very pleasant"—so runs Catharine's account to Poniatowski. On the 15th he was dead; of "hemorrhoidal colic," said the official announcement; strangled, as Europe rightly believed, by Alexis Orloff with his own hands. It is hardly possible that this hideous murder was without Catharine's at least tacit consent. She certainly condoned the crime. There was danger in a name; and her sentiment was doubtless that of Lord Essex when the fate of Stafford hung in the balance: "Stone dead hath no fellow!" Already, where the Neva turns toward the Baltic, one wretched boy-Czar languished beneath the melancholy fortress of the Schluesselburg. Two years, and he too, after having known the bitterness of life, will be violently done to death in his turn. But Voltaire wrote to Madame du Deffand: "I am aware that people reproach her with some bagatelles à propos of that husband of hers; however, one really cannot intermeddle in these family squabbles!"
Such was the tragedy of Peter III. He dies, as Catharine said, unpitied: a fool, echo her friends, who perished in his folly. But history is precise and simple; truth complex and difficult. Was there no light, no touch of nobility at all in that strange chaotic temperament? No reverence in the boy who would kneel to the picture of the great Frederick? No generosity in the Czar who sacrificed victory to a sentiment; who abolished the hateful "secret chancery," torture, monopolies, and refused a statue of gold offered by St. Petersburg, "desiring rather to raise a monument in the hearts of the people"? There was something inarticulate there, surely—in the would-be musician who must shut himself up for hours to scrawk madly, passionately, on a crazy violin, and whose last request was for his confidant and instrument. "What is history," said Napoleon, "but a fiction agreed upon?" Such, nevertheless, is the form and spirit of the hapless Peter as portrayed by his enemies.
This was the Catharine of Elizabeth's court, and protagonist of that revolution which first made her known to Europe. But it was the sovereign who dazzled her contemporaries, and still lives splendidly with the "Great Czar" in the annals of Russia. That exuberant personality of hers is so eloquent, so omnipresent in the sphere of politics, that one is often the most luminous illustration of the other. There is a note you will find common to her grandiose schemes of territorial expansion, of intellectual enlightenment and domestic reform. It is the note of theatricality, of extravagance, of excess. The strangest chimeric phantasy sometimes here possesses her, hitherto prosaic enough in so many ways; and it communicates itself to men like the Orloffs, Patiomkin, Suvaroff. It is, I think, M. Leroy-Beaulieu, who remarks that in Russia the shows of things are more important than reality. So rite, ceremonial, the spectacular, the symbolic, seem to have a power there greater than in any other people of civilization.