Charles spoke sternly to her until
she burst into tears, and then he petted her and told her that her
duty as a queen compelled her to submit to many things which a lady in
private life need not endure.
she burst into tears, and then he petted her and told her that her
duty as a queen compelled her to submit to many things which a lady in
private life need not endure.
Orr - Famous Affinities of History, Romacen of Devotion
By
this treacherous trick he hoped to end the relations between his rival
and the queen; but when the letters were carried to Christina she
instantly recognized their true source. She saw that she was betrayed
by her former favorite and that he had taken a revenge which might
seriously compromise her.
This led to a tragedy, of which the facts were long obscure. They were
carefully recorded, however, by the queen's household chaplain, Father
Le Bel; and there is also a narrative written by one Marco Antonio
Conti, which confirms the story. Both were published privately in 1865,
with notes by Louis Lacour.
The narration of the priest is dreadful in its simplicity and minuteness
of detail. It may be summed up briefly here, because it is the testimony
of an eye-witness who knew Christina.
Christina, with the marquis and a large retinue, was at Fontainebleau in
November, 1657. A little after midnight, when all was still, the priest,
Father Le Bel, was aroused and ordered to go at once to the Galerie des
Cerfs, or Hall of Stags, in another part of the palace. When he asked
why, he was told:
"It is by the order of her majesty the Swedish queen. "
The priest, wondering, hurried on his garments. On reaching the gloomy
hall he saw the Marquis Monaldeschi, evidently in great agitation, and
at the end of the corridor the queen in somber robes. Beside the
queen, as if awaiting orders, stood three figures, who could with some
difficulty be made out as three soldiers of her guard.
The queen motioned to Father Le Bel and asked him for a packet which she
had given him for safe-keeping some little time before. He gave it to
her, and she opened it. In it were letters and other documents, which,
with a steely glance, she displayed to Monaldeschi. He was confused by
the sight of them and by the incisive words in which Christina showed
how he had both insulted her and had tried to shift the blame upon
Sentanelli.
Monaldeschi broke down completely. He fell at the queen's feet and wept
piteously, begging for pardon, only to be met by the cold answer:
"You are my subject and a traitor to me. Marquis, you must prepare to
die! "
Then she turned away and left the hall, in spite of the cries of
Monaldeschi, to whom she merely added the advice that he should make his
peace with God by confessing to Father Le Bel.
After she had gone the marquis fell into a torrent of self-exculpation
and cried for mercy. The three armed men drew near and urged him to
confess for the good of his soul. They seemed to have no malice against
him, but to feel that they must obey the orders given them. At the
frantic urging of the marquis their leader even went to the queen to ask
whether she would relent; but he returned shaking his head, and said:
"Marquis, you must die. "
Father Le Bel undertook a like mission, but returned with the message
that there was no hope. So the marquis made his confession in French
and Latin, but even then he hoped; for he did not wait to receive
absolution, but begged still further for delay or pardon.
Then the three armed men approached, having drawn their swords. The
absolution was pronounced; and, following it, one of the guards slashed
the marquis across the forehead. He stumbled and fell forward, making
signs as if to ask that he might have his throat cut. But his throat
was partly protected by a coat of mail, so that three or four strokes
delivered there had slight effect. Finally, however, a long, narrow
sword was thrust into his side, after which the marquis made no sound.
Father Le Bel at once left the Galerie des Cerfs and went into the
queen's apartment, with the smell of blood in his nostrils. He found her
calm and ready to justify herself. Was she not still queen over all who
had voluntarily become members of her suite? This had been agreed to in
her act of abdication. Wherever she set her foot, there, over her own,
she was still a monarch, with full power to punish traitors at her will.
This power she had exercised, and with justice. What mattered it that
she was in France? She was queen as truly as Louis XIV. was king.
The story was not long in getting out, but the truth was not wholly
known until a much later day. It was said that Sentanelli had slapped
the marquis in a fit of jealousy, though some added that it was done
with the connivance of the queen. King Louis, the incarnation of
absolutism, knew the truth, but he was slow to act. He sympathized with
the theory of Christina's sovereignty. It was only after a time that
word was sent to Christina that she must leave Fontainebleau. She took
no notice of the order until it suited her convenience, and then she
went forth with all the honors of a reigning monarch.
This was the most striking episode in all the strange story of her
private life. When her cousin Charles, whom she had made king, died
without an heir she sought to recover her crown; but the estates of the
realm refused her claim, reduced her income, and imposed restraints upon
her power. She then sought the vacant throne of Poland; but the Polish
nobles, who desired a weak ruler for their own purposes, made another
choice. So at last she returned to Rome, where the Pope received her
with a splendid procession and granted her twelve thousand crowns a year
to make up for her lessened Swedish revenue.
From this time she lived a life which she made interesting by her
patronage of learning and exciting by her rather unseemly quarrels with
cardinals and even with the Pope. Her armed retinue marched through the
streets with drawn swords and gave open protection to criminals who had
taken refuge with her. She dared to criticize the pontiff, who merely
smiled and said:
"She is a woman! "
On the whole, the end of her life was pleasant. She was much admired for
her sagacity in politics. Her words were listened to at every court in
Europe. She annotated the classics, she made beautiful collections, and
she was regarded as a privileged person whose acts no one took amiss.
She died at fifty-three, and was buried in St. Peter's.
She was bred a man, she was almost a son to her great father; and yet,
instead of the sonorous epitaph that is inscribed beside her tomb,
perhaps a truer one would be the words of the vexed Pope:
"E DONNA! "
KING CHARLES II. AND NELL GWYN
One might classify the kings of England in many ways. John was
undoubtedly the most unpopular. The impetuous yet far-seeing Henry
II. , with the other two great warriors, Edward I. and Edward III. ,
and William of Orange, did most for the foundation and development of
England's constitutional law. Some monarchs, such as Edward II. and the
womanish Henry VI. , have been contemptible. Hard-working, useful kings
have been Henry VII. , the Georges, William IV. , and especially the last
Edward.
If we consider those monarchs who have in some curious way touched the
popular fancy without reference to their virtues we must go back to
Richard of the Lion Heart, who saw but little of England, yet was the
best essentially English king, and to Henry V. , gallant soldier and
conqueror of France. Even Henry VIII. had a warm place in the affection
of his countrymen, few of whom saw him near at hand, but most of whom
made him a sort of regal incarnation of John Bull--wrestling and tilting
and boxing, eating great joints of beef, and staying his thirst with
flagons of ale--a big, healthy, masterful animal, in fact, who gratified
the national love of splendor and stood up manfully in his struggle with
the Pope.
But if you look for something more than ordinary popularity--something
that belongs to sentiment and makes men willing to become martyrs for
a royal cause--we must find these among the Stuart kings. It is odd,
indeed, that even at this day there are Englishmen and Englishwomen who
believe their lawful sovereign to be a minor Bavarian princess in whose
veins there runs the Stuart blood. Prayers are said for her at English
shrines, and toasts are drunk to her in rare old wine.
Of course, to-day this cult of the Stuarts is nothing but a fad. No
one ever expects to see a Stuart on the English throne. But it is
significant of the deep strain of romance which the six Stuarts who
reigned in England have implanted in the English heart. The old Jacobite
ballads still have power to thrill. Queen Victoria herself used to have
the pipers file out before her at Balmoral to the "skirling" of "Bonnie
Dundee," "Over the Water to Charlie," and "Wha'll Be King but Charlie! "
It is a sentiment that has never died. Her late majesty used to say that
when she heard these tunes she became for the moment a Jacobite; just
as the Empress Eugenie at the height of her power used pertly to remark
that she herself was the only Legitimist left in France.
It may be suggested that the Stuarts are still loved by many Englishmen
because they were unfortunate; yet this is hardly true, after all. Many
of them were fortunate enough. The first of them, King James, an absurd
creature, speaking broad Scotch, timid, foolishly fond of favorites, and
having none of the dignity of a monarch, lived out a lengthy reign. The
two royal women of the family--Anne and Mary--had no misfortunes of a
public nature. Charles II. reigned for more than a quarter of a century,
lapped in every kind of luxury, and died a king.
The first Charles was beheaded and afterward styled a "saint"; yet the
majority of the English people were against his arrogance, or else he
would have won his great struggle against Parliament. The second James
was not popular at all. Nevertheless, no sooner had he been expelled,
and been succeeded by a Dutchman gnawing asparagus and reeking of
cheeses, than there was already a Stuart legend. Even had there been
no pretenders to carry on the cult, the Stuarts would still have passed
into history as much loved by the people.
It only shows how very little in former days the people expected of
a regnant king. Many monarchs have had just a few popular traits, and
these have stood out brilliantly against the darkness of the background.
No one could have cared greatly for the first James, but Charles I. was
indeed a kingly personage when viewed afar. He was handsome, as a
man, fully equaling the French princess who became his wife. He had no
personal vices. He was brave, and good to look upon, and had a kingly
mien. Hence, although he sought to make his rule over England a tyranny,
there were many fine old cavaliers to ride afield for him when he raised
his standard, and who, when he died, mourned for him as a "martyr. "
Many hardships they underwent while Cromwell ruled with his iron hand;
and when that iron hand was relaxed in death, and poor, feeble Richard
Cromwell slunk away to his country-seat, what wonder is it that young
Charles came back to England and caracoled through the streets of London
with a smile for every one and a happy laugh upon his lips? What wonder
is it that the cannon in the Tower thundered a loud welcome, and that
all over England, at one season or another, maypoles rose and Christmas
fires blazed? For Englishmen at heart are not only monarchists, but they
are lovers of good cheer and merrymaking and all sorts of mirth.
Charles II. might well at first have seemed a worthier and wiser
successor to his splendid father. As a child, even, he had shown himself
to be no faint-hearted creature. When the great Civil War broke out he
had joined his father's army. It met with disaster at Edgehill, and
was finally shattered by the crushing defeat of Naseby, which afterward
inspired Macaulay's most stirring ballad.
Charles was then only a child of twelve, and so his followers did wisely
in hurrying him out of England, through the Scilly isles and Jersey to
his mother's place of exile. Of course, a child so very young could be
of no value as a leader, though his presence might prove an inspiration.
In 1648, however, when he was eighteen years of age, he gathered a fleet
of eighteen ships and cruised along the English coast, taking prizes,
which he carried to the Dutch ports. When he was at Holland's
capital, during his father's trial, he wrote many messages to the
Parliamentarians, and even sent them a blank charter, which they might
fill in with any stipulations they desired if only they would save and
restore their king.
When the head of Charles rolled from the velvet-covered block his son
showed himself to be no loiterer or lover of an easy life. He hastened
to Scotland, skilfully escaping an English force, and was proclaimed as
king and crowned at Scone, in 1651. With ten thousand men he dashed into
England, where he knew there were many who would rally at his call. But
it was then that Cromwell put forth his supreme military genius and with
his Ironsides crushed the royal troops at Worcester.
Charles knew that for the present all was lost. He showed courage and
address in covering the flight of his beaten soldiers; but he soon
afterward went to France, remaining there and in the Netherlands for
eight years as a pensioner of Louis XIV. He knew that time would fight
for him far more surely than infantry and horse. England had not been
called "Merry England" for nothing; and Cromwell's tyranny was likely to
be far more resented than the heavy hand of one who was born a king.
So Charles at Paris and Liege, though he had little money at the time,
managed to maintain a royal court, such as it was.
Here there came out another side of his nature. As a child he had
borne hardship and privation and had seen the red blood flow upon
the battlefield. Now, as it were, he allowed a certain sensuous,
pleasure-loving ease to envelop him. The red blood should become the
rich red burgundy; the sound of trumpets and kettledrums should give way
to the melody of lutes and viols. He would be a king of pleasure if he
were to be king at all. And therefore his court, even in exile, was a
court of gallantry and ease. The Pope refused to lend him money, and the
King of France would not increase his pension, but there were many who
foresaw that Charles would not long remain in exile; and so they gave
him what he wanted and waited until he could give them what they would
ask for in their turn.
Charles at this time was not handsome, like his father. His complexion
was swarthy, his figure by no means imposing, though always graceful.
When he chose he could bear himself with all the dignity of a monarch.
He had a singularly pleasant manner, and a word from him could win over
the harshest opponent.
The old cavaliers who accompanied their master in exile were like
Napoleon's veterans in Elba. With their tall, powerful forms they
stalked about the courtyards, sniffing their disapproval at these
foreign ways and longing grimly for the time when they could once more
smell the pungent powder of the battle-field. But, as Charles had hoped,
the change was coming. Not merely were his own subjects beginning
to long for him and to pray in secret for the king, but continental
monarchs who maintained spies in England began to know of this. To them
Charles was no longer a penniless exile. He was a king who before long
would take possession of his kingdom.
A very wise woman--the Queen Regent of Portugal--was the first to act on
this information. Portugal was then very far from being a petty state.
It had wealth at home and rich colonies abroad, while its flag was seen
on every sea. The queen regent, being at odds with Spain, and wishing to
secure an ally against that power, made overtures to Charles, asking him
whether a match might not be made between him and the Princess Catharine
of Braganza. It was not merely her daughter's hand that she offered,
but a splendid dowry. She would pay Charles a million pounds in gold and
cede to England two valuable ports.
The match was not yet made, but by 1659 it had been arranged. The
Spaniards were furious, for Charles's cause began to appear successful.
She was a quaint and rather piteous little figure, she who was destined
to be the wife of the Merry Monarch. Catharine was dark, petite, and by
no means beautiful; yet she had a very sweet expression and a heart of
utter innocence. She had been wholly convent-bred. She knew nothing of
the world. She was told that in marriage she must obey in all things,
and that the chief duty of a wife was to make her husband happy.
Poor child! It was a too gracious preparation for a very graceless
husband. Charles, in exile, had already made more than one discreditable
connection and he was already the father of more than one growing son.
First of all, he had been smitten by the bold ways of one Lucy Walters.
Her impudence amused the exiled monarch. She was not particularly
beautiful, and when she spoke as others did she was rather tiresome; but
her pertness and the inexperience of the king when he went into exile
made her seem attractive. She bore him a son, in the person of that
brilliant adventurer whom Charles afterward created Duke of Monmouth.
Many persons believe that Charles had married Lucy Walters, just as
George IV. may have married Mrs. Fitzherbert; yet there is not the
slightest proof of it, and it must be classed with popular legends.
There was also one Catherine Peg, or Kep, whose son was afterward
made Earl of Plymouth. It must be confessed that in his attachments
to English women Charles showed little care for rank or station. Lucy
Walters and Catherine Peg were very illiterate creatures.
In a way it was precisely this sort of preference that made Charles
so popular among the people. He seemed to make rank of no account, but
would chat in the most familiar and friendly way with any one whom he
happened to meet. His easy, democratic manner, coupled with the grace
and prestige of royalty, made friends for him all over England. The
treasury might be nearly bankrupt; the navy might be routed by the
Dutch; the king himself might be too much given to dissipation; but his
people forgave him all, because everybody knew that Charles would clap
an honest citizen on the back and joke with all who came to see him feed
the swans in Regent's Park.
The popular name for him was "Rowley," or "Old Rowley"--a nickname
of mysterious origin, though it is said to have been given him from a
fancied resemblance to a famous hunter in his stables. Perhaps it is the
very final test of popularity that a ruler should have a nickname known
to every one.
Cromwell's death roused all England to a frenzy of king-worship. The
Roundhead, General Monk, and his soldiers proclaimed Charles King of
England and escorted him to London in splendid state. That was a day
when national feeling reached a point such as never has been before or
since. Oughtred, the famous mathematician, died of joy when the royal
emblems were restored. Urquhart, the translator of Rabelais, died, it is
said, of laughter at the people's wild delight--a truly Rabelaisian end.
There was the king once more; and England, breaking through its long
period of Puritanism, laughed and danced with more vivacity than ever
the French had shown. All the pipers and the players and panderers to
vice, the mountebanks, the sensual men, and the lawless women poured
into the presence of the king, who had been too long deprived of the
pleasure that his nature craved. Parliament voted seventy thousand
pounds for a memorial to Charles's father, but the irresponsible king
spent the whole sum on the women who surrounded him. His severest
counselor, Lord Clarendon, sent him a remonstrance.
"How can I build such a memorial," asked Charles, "when I don't know
where my father's remains are buried! "
He took money from the King of France to make war against the Dutch,
who had befriended him. It was the French king, too, who sent him that
insidious, subtle daughter of Brittany, Louise de Keroualle--Duchess
of Portsmouth--a diplomat in petticoats, who won the king's wayward
affections, and spied on what he did and said, and faithfully reported
all of it to Paris. She became the mother of the Duke of Lenox, and
she was feared and hated by the English more than any other of his
mistresses. They called her "Madam Carwell," and they seemed to have an
instinct that she was no mere plaything of his idle hours, but was like
some strange exotic serpent, whose poison might in the end sting the
honor of England.
There is a pitiful little episode in the marriage of Charles with his
Portuguese bride, Catharine of Braganza. The royal girl came to him
fresh from the cloisters of her convent. There was something about her
grace and innocence that touched the dissolute monarch, who was by no
means without a heart. For a time he treated her with great respect,
and she was happy. At last she began to notice about her strange
faces--faces that were evil, wanton, or overbold. The court became more
and more a seat of reckless revelry.
Finally Catharine was told that the Duchess of Cleveland--that splendid
termagant, Barbara Villiers--had been appointed lady of the bedchamber.
She was told at the same time who this vixen was--that she was no fit
attendant for a virtuous woman, and that her three sons, the Dukes of
Southampton, Grafton, and Northumberland, were also the sons of Charles.
Fluttered and frightened and dismayed, the queen hastened to her husband
and begged him not to put this slight upon her. A year or two before,
she had never dreamed that life contained such things as these; but now
it seemed to contain nothing else.
Charles spoke sternly to her until
she burst into tears, and then he petted her and told her that her
duty as a queen compelled her to submit to many things which a lady in
private life need not endure.
After a long and poignant struggle with her own emotions the little
Portuguese yielded to the wishes of her lord. She never again reproached
him. She even spoke with kindness to his favorites and made him feel
that she studied his happiness alone. Her gentleness affected him so
that he always spoke to her with courtesy and real friendship. When the
Protestant mobs sought to drive her out of England he showed his
courage and manliness by standing by her and refusing to allow her to be
molested.
Indeed, had Charles been always at his best he would have had a very
different name in history. He could be in every sense a king. He had a
keen knowledge of human nature. Though he governed England very badly,
he never governed it so badly as to lose his popularity.
The epigram of Rochester, written at the king's own request, was
singularly true of Charles. No man relied upon his word, yet men loved
him. He never said anything that was foolish, and he very seldom did
anything that was wise; yet his easy manners and gracious ways endeared
him to those who met him.
One can find no better picture of his court than that which Sir Walter
Scott has drawn so vividly in Peveril of the Peak; or, if one wishes
first-hand evidence, it can be found in the diaries of Evelyn and of
Samuel Pepys. In them we find the rakes and dicers, full of strange
oaths, deep drunkards, vile women and still viler men, all striving for
the royal favor and offering the filthiest lures, amid routs and balls
and noisy entertainments, of which it is recorded that more than once
some woman gave birth to a child among the crowd of dancers.
No wonder that the little Portuguese queen kept to herself and did not
let herself be drawn into this swirling, roaring, roistering saturnalia.
She had less influence even than Moll Davis, whom Charles picked out
of a coffee-house, and far less than "Madam Carwell," to whom it is
reported that a great English nobleman once presented pearls to the
value of eight thousand pounds in order to secure her influence in a
single stroke of political business.
Of all the women who surrounded Charles there was only one who cared
anything for him or for England. The rest were all either selfish or
treacherous or base. This one exception has been so greatly written of,
both in fiction and in history, as to make it seem almost unnecessary to
add another word; yet it may well be worth while to separate the fiction
from the fact and to see how much of the legend of Eleanor Gwyn is true.
The fanciful story of her birthplace is most surely quite unfounded. She
was not the daughter of a Welsh officer, but of two petty hucksters who
had their booth in the lowest precincts of London. In those days the
Strand was partly open country, and as it neared the city it showed the
mansions of the gentry set in their green-walled parks. At one end of
the Strand, however, was Drury Lane, then the haunt of criminals and
every kind of wretch, while nearer still was the notorious Coal Yard,
where no citizen dared go unarmed.
Within this dreadful place children were kidnapped and trained to
various forms of vice. It was a school for murderers and robbers and
prostitutes; and every night when the torches flared it vomited forth
its deadly spawn. Here was the earliest home of Eleanor Gwyn, and out of
this den of iniquity she came at night to sell oranges at the entrance
to the theaters. She was stage-struck, and endeavored to get even a
minor part in a play; but Betterton, the famous actor, thrust her aside
when she ventured to apply to him.
It must be said that in everything that was external, except her beauty,
she fell short of a fastidious taste. She was intensely ignorant even
for that time. She spoke in a broad Cockney dialect. She had lived the
life of the Coal Yard, and, like Zola's Nana, she could never remember
the time when she had known the meaning of chastity.
Nell Gwyn was, in fact, a product of the vilest slums of London; and
precisely because she was this we must set her down as intrinsically a
good woman--one of the truest, frankest, and most right-minded of
whom the history of such women has anything to tell. All that external
circumstances could do to push her down into the mire was done; yet she
was not pushed down, but emerged as one of those rare souls who have in
their natures an uncontaminated spring of goodness and honesty. Unlike
Barbara Villiers or Lucy Walters or Louise de Keroualle, she was neither
a harpy nor a foe to England.
Charles is said first to have met her when he, incognito, with another
friend, was making the rounds of the theaters at night. The king spied
her glowing, nut-brown face in one of the boxes, and, forgetting his
incognito, went up and joined her. She was with her protector of the
time, Lord Buckhurst, who, of course, recognized his majesty.
Presently the whole party went out to a neighboring coffee-house, where
they drank and ate together. When it came time to pay the reckoning the
king found that he had no money, nor had his friend. Lord Buckhurst,
therefore, paid the bill, while Mistress Nell jeered at the other two,
saying that this was the most poverty-stricken party that she had ever
met.
Charles did not lose sight of her. Her frankness and honest manner
pleased him. There came a time when she was known to be a mistress
of the king, and she bore a son, who was ennobled as the Duke of St.
Albans, but who did not live to middle age. Nell Gwyn was much with
Charles; and after his tempestuous scenes with Barbara Villiers, and the
feeling of dishonor which the Duchess of Portsmouth made him experience,
the girl's good English bluntness was a pleasure far more rare than
sentiment.
Somehow, just as the people had come to mistrust "Madam Carwell," so
they came to like Nell Gwyn. She saw enough of Charles, and she liked
him well enough, to wish that he might do his duty by his people; and
she alone had the boldness to speak out what she thought. One day she
found him lolling in an arm-chair and complaining that the people were
not satisfied.
"You can very easily satisfy them," said Nell Gwyn. "Dismiss your women
and attend to the proper business of a king. "
Again, her heart was touched at the misfortunes of the old soldiers who
had fought for Charles and for his father during the Civil War, and who
were now neglected, while the treasury was emptied for French favorites,
and while the policy of England itself was bought and sold in France.
Many and many a time, when other women of her kind used their lures
to get jewels or titles or estates or actual heaps of money, Nell Gwyn
besought the king to aid these needy veterans. Because of her efforts
Chelsea Hospital was founded. Such money as she had she shared with the
poor and with those who had fought for her royal lover.
As I have said, she is a historical type of the woman who loses her
physical purity, yet who retains a sense of honor and of honesty
which nothing can take from her. There are not many such examples, and
therefore this one is worth remembering.
Of anecdotes concerning her there are many, but not often has their real
import been detected. If she could twine her arms about the monarch's
neck and transport him in a delirium of passion, this was only part of
what she did. She tried to keep him right and true and worthy of
his rank; and after he had ceased to care much for her as a lover he
remembered that she had been faithful in many other things.
Then there came the death-bed scene, when Charles, in his inimitable
manner, apologized to those about him because he was so long in dying.
A far sincerer sentence was that which came from his heart, as he cried
out, in the very pangs of death:
"Do not let poor Nelly starve! "
MAURICE OF SAXONY AND ADRIENNE LECOUVREUR
It is an old saying that to every womanly woman self-sacrifice is almost
a necessity of her nature. To make herself of small account as compared
with the one she loves; to give freely of herself, even though she may
receive nothing in return; to suffer, and yet to feel an inner poignant
joy in all this suffering--here is a most wonderful trait of womanhood.
Perhaps it is akin to the maternal instinct; for to the mother, after
she has felt the throb of a new life within her, there is no sacrifice
so great and no anguish so keen that she will not welcome it as the
outward sign and evidence of her illimitable love.
In most women this spirit of self-sacrifice is checked and kept within
ordinary bounds by the circumstances of their lives. In many small
things they do yield and they do suffer; yet it is not in yielding and
in suffering that they find their deepest joy.
There are some, however, who seem to have been born with an abnormal
capacity for enduring hardship and mental anguish; so that by a sort
of contradiction they find their happiness in sorrow. Such women are
endowed with a remarkable degree of sensibility. They feel intensely. In
moments of grief and disappointment, and even of despair, there steals
over them a sort of melancholy pleasure. It is as if they loved dim
lights and mournful music and scenes full of sad suggestion.
If everything goes well with them, they are unwilling to believe that
such good fortune will last. If anything goes wrong with them, they are
sure that this is only the beginning of something even worse. The music
of their lives is written in a minor key.
Now, for such women as these, the world at large has very little
charity. It speaks slightingly of them as "agonizers. " It believes that
they are "fond of making scenes. " It regards as an affectation something
that is really instinctive and inevitable. Unless such women are
beautiful and young and charming they are treated badly; and this is
often true in spite of all their natural attractiveness, for they seem
to court ill usage as if they were saying frankly:
"Come, take us! We will give you everything and ask for nothing. We do
not expect true and enduring love. Do not be constant or generous or
even kind. We know that we shall suffer. But, none the less, in our
sorrow there will be sweetness, and even in our abasement we shall feel
a sort of triumph. "
In history there is one woman who stands out conspicuously as a type
of her melancholy sisterhood, one whose life was full of disappointment
even when she was most successful, and of indignity even when she was
most sought after and admired. This woman was Adrienne Lecouvreur,
famous in the annals of the stage, and still more famous in the annals
of unrequited--or, at any rate, unhappy--love.
Her story is linked with that of a man no less remarkable than herself,
a hero of chivalry, a marvel of courage, of fascination, and of
irresponsibility.
Adrienne Lecouvreur--her name was originally Couvreur--was born toward
the end of the seventeenth century in the little French village of
Damery, not far from Rheims, where her aunt was a laundress and her
father a hatter in a small way. Of her mother, who died in childbirth,
we know nothing; but her father was a man of gloomy and ungovernable
temper, breaking out into violent fits of passion, in one of which, long
afterward, he died, raving and yelling like a maniac.
Adrienne was brought up at the wash-tub, and became accustomed to a
wandering life, in which she went from one town to another. What she had
inherited from her mother is, of course, not known; but she had all her
father's strangely pessimistic temper, softened only by the fact
that she was a girl. From her earliest years she was unhappy; yet her
unhappiness was largely of her own choosing. Other girls of her own
station met life cheerfully, worked away from dawn till dusk, and then
had their moments of amusement, and even jollity, with their companions,
after the fashion of all children. But Adrienne Lecouvreur was unhappy
because she chose to be. It was not the wash-tub that made her so,
for she had been born to it; nor was it the half-mad outbreaks of her
father, because to her, at least, he was not unkind. Her discontent
sprang from her excessive sensibility.
Indeed, for a peasant child she had reason to think herself far more
fortunate than her associates. Her intelligence was great. Ambition was
awakened in her before she was ten years of age, when she began to
learn and to recite poems--learning them, as has been said, "between the
wash-tub and the ironing-board," and reciting them to the admiration of
older and wiser people than she. Even at ten she was a very beautiful
child, with great lambent eyes, an exquisite complexion, and a lovely
form, while she had the further gift of a voice that thrilled the
listener and, when she chose, brought tears to every eye. She
was, indeed, a natural elocutionist, knowing by instinct all those
modulations of tone and varied cadences which go to the hearer's heart.
It was very like Adrienne Lecouvreur to memorize only such poems as were
mournful, just as in after life she could win success upon the stage
only in tragic parts. She would repeat with a sort of ecstasy the
pathetic poems that were then admired; and she was soon able to give up
her menial work, because many people asked her to their houses so that
they could listen to the divinely beautiful voice charged with the
emotion which was always at her command.
When she was thirteen her father moved to Paris, where she was placed at
school--a very humble school in a very humble quarter of the city.
Yet even there her genius showed itself at that early age. A number
of children and young people, probably influenced by Adrienne, formed
themselves into a theatrical company from the pure love of acting.
A friendly grocer let them have an empty store-room for their
performances, and in this store-room Adrienne Lecouvreur first acted in
a tragedy by Corneille, assuming the part of leading woman.
Her genius for the stage was like the genius of Napoleon for war. She
had had no teaching. She had never been inside of any theater; and yet
she delivered the magnificent lines with all the power and fire and
effectiveness of a most accomplished actress. People thronged to see her
and to feel the tempest of emotion which shook her as she sustained her
part, which for the moment was as real to her as life itself.
At first only the people of the neighborhood knew anything about these
amateur performances; but presently a lady of rank, one Mme. du Gue,
came out of curiosity and was fascinated by the little actress. Mme. du
Gue offered the spacious courtyard of her own house, and fitted it with
some of the appurtenances of a theater. From that moment the fame of
Adrienne spread throughout all Paris. The courtyard was crowded by
gentlemen and ladies, by people of distinction from the court, and at
last even by actors and actresses from the Comedie Franchise.
It is, in fact, a remarkable tribute to Adrienne that in her thirteenth
year she excited so much jealousy among the actors of the Comedie that
they evoked the law against her. Theaters required a royal license,
and of course poor little Adrienne's company had none. Hence legal
proceedings were begun, and the most famous actresses in Paris talked
of having these clever children imprisoned! Upon this the company sought
the precincts of the Temple, where no legal warrant could be served
without the express order of the king himself.
There for a time the performances still went on. Finally, as the other
children were not geniuses, but merely boys and girls in search of fun,
the little company broke up. Its success, however, had determined for
ever the career of Adrienne. With her beautiful face, her lithe and
exquisite figure, her golden voice, and her instinctive art, it was
plain enough that her future lay upon the stage; and so at fourteen
or fifteen she began where most actresses leave off--accomplished and
attractive, and having had a practical training in her profession.
Diderot, in that same century, observed that the truest actor is one who
does not feel his part at all, but produces his effects by intellectual
effort and intelligent observation. Behind the figure on the stage, torn
with passion or rollicking with mirth, there must always be the cool
and unemotional mind which directs and governs and controls. This same
theory was both held and practised by the late Benoit Constant Coquelin.
To some extent it was the theory of Garrick and Fechter and Edwin Booth;
though it was rejected by the two Keans, and by Edwin Forrest, who
entered so throughly into the character which he assumed, and who let
loose such tremendous bursts of passion that other actors dreaded to
support him on the stage in such parts as Spartacus and Metamora.
It is needless to say that a girl like Adrienne Lecouvreur flung herself
with all the intensity of her nature into every role she played. This
was the greatest secret of her success; for, with her, nature rose
superior to art. On the other hand, it fixed her dramatic limitations,
for it barred her out of comedy. Her melancholy, morbid disposition was
in the fullest sympathy with tragic heroines; but she failed when she
tried to represent the lighter moods and the merry moments of those who
welcome mirth. She could counterfeit despair, and unforced tears would
fill her eyes; but she could not laugh and romp and simulate a gaiety
that was never hers.
Adrienne would have been delighted to act at one of the theaters in
Paris; but they were closed to her through jealousy. She went into the
provinces, in the eastern part of France, and for ten years she was a
leading lady there in many companies and in many towns. As she blossomed
into womanhood there came into her life the love which was to be at once
a source of the most profound interest and of the most intense agony.
It is odd that all her professional success never gave her any
happiness. The life of the actress who traveled from town to town, the
crude and coarse experiences which she had to undergo, the disorder and
the unsettled mode of living, all produced in her a profound disgust.
She was of too exquisite a fiber to live in such a way, especially in a
century when the refinements of existence were for the very few.
She speaks herself of "obligatory amusements, the insistence of men, and
of love affairs. " Yet how could such a woman as Adrienne Lecouvreur keep
herself from love affairs? The motion of the stage and its mimic griefs
satisfied her only while she was actually upon the boards. Love offered
her an emotional excitement that endured and that was always changing.
It was "the profoundest instinct of her being"; and she once wrote:
"What could one do in the world without loving? "
Still, through these ten years she seems to have loved only that she
might be unhappy. There was a strange twist in her mind. Men who were
honorable and who loved her with sincerity she treated very badly. Men
who were indifferent or ungrateful or actually base she seemed to choose
by a sort of perverse instinct. Perhaps the explanation of it is that
during those ten years, though she had many lovers, she never really
loved. She sought excitement, passion, and after that the mournfulness
which comes when passion dies. Thus, one man after another came into her
life--some of them promising marriage--and she bore two children, whose
fathers were unknown, or at least uncertain. But, after all, one can
scarcely pity her, since she had not yet in reality known that great
passion which comes but once in life. So far she had learned only a sort
of feeble cynicism, which she expressed in letters and in such sayings
as these:
"There are sweet errors which I would not venture to commit again. My
experiences, all too sad, have served to illumine my reason. "
"I am utterly weary of love and prodigiously tempted to have no more of
it for the rest of my life; because, after all, I don't wish either to
die or to go mad. "
Yet she also said: "I know too well that no one dies of grief. "
She had had, indeed, some very unfortunate experiences. Men of rank had
loved her and had then cast her off. An actor, one Clavel, would
have married her, but she would not accept his offer. A magistrate in
Strasburg promised marriage; and then, when she was about to accept him,
he wrote to her that he was going to yield to the wishes of his family
and make a more advantageous alliance. And so she was alternately
caressed and repulsed--a mere plaything; and yet this was probably all
that she really needed at the time--something to stir her, something to
make her mournful or indignant or ashamed.
It was inevitable that at last Adrienne Lecouvreur should appear in
Paris. She had won such renown throughout the provinces that even
those who were intensely jealous of her were obliged to give her due
consideration. In 1717, when she was in her twenty-fifth year, she
became a member of the Comedie Franchise. There she made an immediate
and most brilliant impression. She easily took the leading place. She
was one of the glories of Paris, for she became the fashion outside the
theater. For the first time the great classic plays were given, not
in the monotonous singsong which had become a sort of theatrical
convention, but with all the fire and naturalness of life.
Being the fashion, Mlle. Lecouvreur elevated the social rank of actors
and of actresses. Her salon was thronged by men and women of rank.
Voltaire wrote poems in her honor. To be invited to her dinners was
almost like receiving a decoration from the king. She ought to have been
happy, for she had reached the summit of her profession and something
more.
Yet still she was unhappy. In all her letters one finds a plaintive
tone, a little moaning sound that shows how slightly her nature had been
changed. No longer, however, did she throw herself away upon dullards or
brutes. An English peer--Lord Peterborough--not realizing that she was
different from other actresses of that loose-lived age, said to her
coarsely at his first introduction:
"Come now! Show me lots of wit and lots of love. "
The remark was characteristic of the time. Yet Adrienne had learned
at least one thing, and that was the discontent which came from light
affairs. She had thrown herself away too often. If she could not love
with her entire being, if she could not give all that was in her to be
given, whether of her heart or mind or soul, then she would love no more
at all.
At this time there came to Paris a man remarkable in his own century,
and one who afterward became almost a hero of romance. This was Maurice,
Comte de Saxe, as the French called him, his German name and title being
Moritz, Graf von Sachsen, while we usually term him, in English, Marshal
Saxe. Maurice de Saxe was now, in 1721, entering his twenty-fifth year.
Already, though so young, his career had been a strange one; and it was
destined to be still more remarkable. He was the natural son of Duke
Augustus II. of Saxony, who later became King of Poland, and who is
known in history as Augustus the Strong.
Augustus was a giant in stature and in strength, handsome, daring,
unscrupulous, and yet extremely fascinating. His life was one of revelry
and fighting and display. When in his cups he would often call for a
horseshoe and twist it into a knot with his powerful fingers. Many were
his mistresses; but the one for whom he cared the most was a beautiful
and high-spirited Swedish girl of rank, Aurora von Konigsmarck. She was
descended from a rough old field-marshal who in the Thirty Years'
War had slashed and sacked and pillaged and plundered to his heart's
content. From him Aurora von Konigsmarck seemed to have inherited a high
spirit and a sort of lawlessness which charmed the stalwart Augustus of
Poland.
Their son, Maurice de Saxe, inherited everything that was good in his
parents, and a great deal that was less commendable. As a mere child
of twelve he had insisted on joining the army of Prince Eugene, and
had seen rough service in a very strenuous campaign. Two years later he
showed such daring on the battle-field that Prince Eugene summoned him
and paid him a compliment under the form of a rebuke.
"Young man," he said, "you must not mistake mere recklessness for
valor.
this treacherous trick he hoped to end the relations between his rival
and the queen; but when the letters were carried to Christina she
instantly recognized their true source. She saw that she was betrayed
by her former favorite and that he had taken a revenge which might
seriously compromise her.
This led to a tragedy, of which the facts were long obscure. They were
carefully recorded, however, by the queen's household chaplain, Father
Le Bel; and there is also a narrative written by one Marco Antonio
Conti, which confirms the story. Both were published privately in 1865,
with notes by Louis Lacour.
The narration of the priest is dreadful in its simplicity and minuteness
of detail. It may be summed up briefly here, because it is the testimony
of an eye-witness who knew Christina.
Christina, with the marquis and a large retinue, was at Fontainebleau in
November, 1657. A little after midnight, when all was still, the priest,
Father Le Bel, was aroused and ordered to go at once to the Galerie des
Cerfs, or Hall of Stags, in another part of the palace. When he asked
why, he was told:
"It is by the order of her majesty the Swedish queen. "
The priest, wondering, hurried on his garments. On reaching the gloomy
hall he saw the Marquis Monaldeschi, evidently in great agitation, and
at the end of the corridor the queen in somber robes. Beside the
queen, as if awaiting orders, stood three figures, who could with some
difficulty be made out as three soldiers of her guard.
The queen motioned to Father Le Bel and asked him for a packet which she
had given him for safe-keeping some little time before. He gave it to
her, and she opened it. In it were letters and other documents, which,
with a steely glance, she displayed to Monaldeschi. He was confused by
the sight of them and by the incisive words in which Christina showed
how he had both insulted her and had tried to shift the blame upon
Sentanelli.
Monaldeschi broke down completely. He fell at the queen's feet and wept
piteously, begging for pardon, only to be met by the cold answer:
"You are my subject and a traitor to me. Marquis, you must prepare to
die! "
Then she turned away and left the hall, in spite of the cries of
Monaldeschi, to whom she merely added the advice that he should make his
peace with God by confessing to Father Le Bel.
After she had gone the marquis fell into a torrent of self-exculpation
and cried for mercy. The three armed men drew near and urged him to
confess for the good of his soul. They seemed to have no malice against
him, but to feel that they must obey the orders given them. At the
frantic urging of the marquis their leader even went to the queen to ask
whether she would relent; but he returned shaking his head, and said:
"Marquis, you must die. "
Father Le Bel undertook a like mission, but returned with the message
that there was no hope. So the marquis made his confession in French
and Latin, but even then he hoped; for he did not wait to receive
absolution, but begged still further for delay or pardon.
Then the three armed men approached, having drawn their swords. The
absolution was pronounced; and, following it, one of the guards slashed
the marquis across the forehead. He stumbled and fell forward, making
signs as if to ask that he might have his throat cut. But his throat
was partly protected by a coat of mail, so that three or four strokes
delivered there had slight effect. Finally, however, a long, narrow
sword was thrust into his side, after which the marquis made no sound.
Father Le Bel at once left the Galerie des Cerfs and went into the
queen's apartment, with the smell of blood in his nostrils. He found her
calm and ready to justify herself. Was she not still queen over all who
had voluntarily become members of her suite? This had been agreed to in
her act of abdication. Wherever she set her foot, there, over her own,
she was still a monarch, with full power to punish traitors at her will.
This power she had exercised, and with justice. What mattered it that
she was in France? She was queen as truly as Louis XIV. was king.
The story was not long in getting out, but the truth was not wholly
known until a much later day. It was said that Sentanelli had slapped
the marquis in a fit of jealousy, though some added that it was done
with the connivance of the queen. King Louis, the incarnation of
absolutism, knew the truth, but he was slow to act. He sympathized with
the theory of Christina's sovereignty. It was only after a time that
word was sent to Christina that she must leave Fontainebleau. She took
no notice of the order until it suited her convenience, and then she
went forth with all the honors of a reigning monarch.
This was the most striking episode in all the strange story of her
private life. When her cousin Charles, whom she had made king, died
without an heir she sought to recover her crown; but the estates of the
realm refused her claim, reduced her income, and imposed restraints upon
her power. She then sought the vacant throne of Poland; but the Polish
nobles, who desired a weak ruler for their own purposes, made another
choice. So at last she returned to Rome, where the Pope received her
with a splendid procession and granted her twelve thousand crowns a year
to make up for her lessened Swedish revenue.
From this time she lived a life which she made interesting by her
patronage of learning and exciting by her rather unseemly quarrels with
cardinals and even with the Pope. Her armed retinue marched through the
streets with drawn swords and gave open protection to criminals who had
taken refuge with her. She dared to criticize the pontiff, who merely
smiled and said:
"She is a woman! "
On the whole, the end of her life was pleasant. She was much admired for
her sagacity in politics. Her words were listened to at every court in
Europe. She annotated the classics, she made beautiful collections, and
she was regarded as a privileged person whose acts no one took amiss.
She died at fifty-three, and was buried in St. Peter's.
She was bred a man, she was almost a son to her great father; and yet,
instead of the sonorous epitaph that is inscribed beside her tomb,
perhaps a truer one would be the words of the vexed Pope:
"E DONNA! "
KING CHARLES II. AND NELL GWYN
One might classify the kings of England in many ways. John was
undoubtedly the most unpopular. The impetuous yet far-seeing Henry
II. , with the other two great warriors, Edward I. and Edward III. ,
and William of Orange, did most for the foundation and development of
England's constitutional law. Some monarchs, such as Edward II. and the
womanish Henry VI. , have been contemptible. Hard-working, useful kings
have been Henry VII. , the Georges, William IV. , and especially the last
Edward.
If we consider those monarchs who have in some curious way touched the
popular fancy without reference to their virtues we must go back to
Richard of the Lion Heart, who saw but little of England, yet was the
best essentially English king, and to Henry V. , gallant soldier and
conqueror of France. Even Henry VIII. had a warm place in the affection
of his countrymen, few of whom saw him near at hand, but most of whom
made him a sort of regal incarnation of John Bull--wrestling and tilting
and boxing, eating great joints of beef, and staying his thirst with
flagons of ale--a big, healthy, masterful animal, in fact, who gratified
the national love of splendor and stood up manfully in his struggle with
the Pope.
But if you look for something more than ordinary popularity--something
that belongs to sentiment and makes men willing to become martyrs for
a royal cause--we must find these among the Stuart kings. It is odd,
indeed, that even at this day there are Englishmen and Englishwomen who
believe their lawful sovereign to be a minor Bavarian princess in whose
veins there runs the Stuart blood. Prayers are said for her at English
shrines, and toasts are drunk to her in rare old wine.
Of course, to-day this cult of the Stuarts is nothing but a fad. No
one ever expects to see a Stuart on the English throne. But it is
significant of the deep strain of romance which the six Stuarts who
reigned in England have implanted in the English heart. The old Jacobite
ballads still have power to thrill. Queen Victoria herself used to have
the pipers file out before her at Balmoral to the "skirling" of "Bonnie
Dundee," "Over the Water to Charlie," and "Wha'll Be King but Charlie! "
It is a sentiment that has never died. Her late majesty used to say that
when she heard these tunes she became for the moment a Jacobite; just
as the Empress Eugenie at the height of her power used pertly to remark
that she herself was the only Legitimist left in France.
It may be suggested that the Stuarts are still loved by many Englishmen
because they were unfortunate; yet this is hardly true, after all. Many
of them were fortunate enough. The first of them, King James, an absurd
creature, speaking broad Scotch, timid, foolishly fond of favorites, and
having none of the dignity of a monarch, lived out a lengthy reign. The
two royal women of the family--Anne and Mary--had no misfortunes of a
public nature. Charles II. reigned for more than a quarter of a century,
lapped in every kind of luxury, and died a king.
The first Charles was beheaded and afterward styled a "saint"; yet the
majority of the English people were against his arrogance, or else he
would have won his great struggle against Parliament. The second James
was not popular at all. Nevertheless, no sooner had he been expelled,
and been succeeded by a Dutchman gnawing asparagus and reeking of
cheeses, than there was already a Stuart legend. Even had there been
no pretenders to carry on the cult, the Stuarts would still have passed
into history as much loved by the people.
It only shows how very little in former days the people expected of
a regnant king. Many monarchs have had just a few popular traits, and
these have stood out brilliantly against the darkness of the background.
No one could have cared greatly for the first James, but Charles I. was
indeed a kingly personage when viewed afar. He was handsome, as a
man, fully equaling the French princess who became his wife. He had no
personal vices. He was brave, and good to look upon, and had a kingly
mien. Hence, although he sought to make his rule over England a tyranny,
there were many fine old cavaliers to ride afield for him when he raised
his standard, and who, when he died, mourned for him as a "martyr. "
Many hardships they underwent while Cromwell ruled with his iron hand;
and when that iron hand was relaxed in death, and poor, feeble Richard
Cromwell slunk away to his country-seat, what wonder is it that young
Charles came back to England and caracoled through the streets of London
with a smile for every one and a happy laugh upon his lips? What wonder
is it that the cannon in the Tower thundered a loud welcome, and that
all over England, at one season or another, maypoles rose and Christmas
fires blazed? For Englishmen at heart are not only monarchists, but they
are lovers of good cheer and merrymaking and all sorts of mirth.
Charles II. might well at first have seemed a worthier and wiser
successor to his splendid father. As a child, even, he had shown himself
to be no faint-hearted creature. When the great Civil War broke out he
had joined his father's army. It met with disaster at Edgehill, and
was finally shattered by the crushing defeat of Naseby, which afterward
inspired Macaulay's most stirring ballad.
Charles was then only a child of twelve, and so his followers did wisely
in hurrying him out of England, through the Scilly isles and Jersey to
his mother's place of exile. Of course, a child so very young could be
of no value as a leader, though his presence might prove an inspiration.
In 1648, however, when he was eighteen years of age, he gathered a fleet
of eighteen ships and cruised along the English coast, taking prizes,
which he carried to the Dutch ports. When he was at Holland's
capital, during his father's trial, he wrote many messages to the
Parliamentarians, and even sent them a blank charter, which they might
fill in with any stipulations they desired if only they would save and
restore their king.
When the head of Charles rolled from the velvet-covered block his son
showed himself to be no loiterer or lover of an easy life. He hastened
to Scotland, skilfully escaping an English force, and was proclaimed as
king and crowned at Scone, in 1651. With ten thousand men he dashed into
England, where he knew there were many who would rally at his call. But
it was then that Cromwell put forth his supreme military genius and with
his Ironsides crushed the royal troops at Worcester.
Charles knew that for the present all was lost. He showed courage and
address in covering the flight of his beaten soldiers; but he soon
afterward went to France, remaining there and in the Netherlands for
eight years as a pensioner of Louis XIV. He knew that time would fight
for him far more surely than infantry and horse. England had not been
called "Merry England" for nothing; and Cromwell's tyranny was likely to
be far more resented than the heavy hand of one who was born a king.
So Charles at Paris and Liege, though he had little money at the time,
managed to maintain a royal court, such as it was.
Here there came out another side of his nature. As a child he had
borne hardship and privation and had seen the red blood flow upon
the battlefield. Now, as it were, he allowed a certain sensuous,
pleasure-loving ease to envelop him. The red blood should become the
rich red burgundy; the sound of trumpets and kettledrums should give way
to the melody of lutes and viols. He would be a king of pleasure if he
were to be king at all. And therefore his court, even in exile, was a
court of gallantry and ease. The Pope refused to lend him money, and the
King of France would not increase his pension, but there were many who
foresaw that Charles would not long remain in exile; and so they gave
him what he wanted and waited until he could give them what they would
ask for in their turn.
Charles at this time was not handsome, like his father. His complexion
was swarthy, his figure by no means imposing, though always graceful.
When he chose he could bear himself with all the dignity of a monarch.
He had a singularly pleasant manner, and a word from him could win over
the harshest opponent.
The old cavaliers who accompanied their master in exile were like
Napoleon's veterans in Elba. With their tall, powerful forms they
stalked about the courtyards, sniffing their disapproval at these
foreign ways and longing grimly for the time when they could once more
smell the pungent powder of the battle-field. But, as Charles had hoped,
the change was coming. Not merely were his own subjects beginning
to long for him and to pray in secret for the king, but continental
monarchs who maintained spies in England began to know of this. To them
Charles was no longer a penniless exile. He was a king who before long
would take possession of his kingdom.
A very wise woman--the Queen Regent of Portugal--was the first to act on
this information. Portugal was then very far from being a petty state.
It had wealth at home and rich colonies abroad, while its flag was seen
on every sea. The queen regent, being at odds with Spain, and wishing to
secure an ally against that power, made overtures to Charles, asking him
whether a match might not be made between him and the Princess Catharine
of Braganza. It was not merely her daughter's hand that she offered,
but a splendid dowry. She would pay Charles a million pounds in gold and
cede to England two valuable ports.
The match was not yet made, but by 1659 it had been arranged. The
Spaniards were furious, for Charles's cause began to appear successful.
She was a quaint and rather piteous little figure, she who was destined
to be the wife of the Merry Monarch. Catharine was dark, petite, and by
no means beautiful; yet she had a very sweet expression and a heart of
utter innocence. She had been wholly convent-bred. She knew nothing of
the world. She was told that in marriage she must obey in all things,
and that the chief duty of a wife was to make her husband happy.
Poor child! It was a too gracious preparation for a very graceless
husband. Charles, in exile, had already made more than one discreditable
connection and he was already the father of more than one growing son.
First of all, he had been smitten by the bold ways of one Lucy Walters.
Her impudence amused the exiled monarch. She was not particularly
beautiful, and when she spoke as others did she was rather tiresome; but
her pertness and the inexperience of the king when he went into exile
made her seem attractive. She bore him a son, in the person of that
brilliant adventurer whom Charles afterward created Duke of Monmouth.
Many persons believe that Charles had married Lucy Walters, just as
George IV. may have married Mrs. Fitzherbert; yet there is not the
slightest proof of it, and it must be classed with popular legends.
There was also one Catherine Peg, or Kep, whose son was afterward
made Earl of Plymouth. It must be confessed that in his attachments
to English women Charles showed little care for rank or station. Lucy
Walters and Catherine Peg were very illiterate creatures.
In a way it was precisely this sort of preference that made Charles
so popular among the people. He seemed to make rank of no account, but
would chat in the most familiar and friendly way with any one whom he
happened to meet. His easy, democratic manner, coupled with the grace
and prestige of royalty, made friends for him all over England. The
treasury might be nearly bankrupt; the navy might be routed by the
Dutch; the king himself might be too much given to dissipation; but his
people forgave him all, because everybody knew that Charles would clap
an honest citizen on the back and joke with all who came to see him feed
the swans in Regent's Park.
The popular name for him was "Rowley," or "Old Rowley"--a nickname
of mysterious origin, though it is said to have been given him from a
fancied resemblance to a famous hunter in his stables. Perhaps it is the
very final test of popularity that a ruler should have a nickname known
to every one.
Cromwell's death roused all England to a frenzy of king-worship. The
Roundhead, General Monk, and his soldiers proclaimed Charles King of
England and escorted him to London in splendid state. That was a day
when national feeling reached a point such as never has been before or
since. Oughtred, the famous mathematician, died of joy when the royal
emblems were restored. Urquhart, the translator of Rabelais, died, it is
said, of laughter at the people's wild delight--a truly Rabelaisian end.
There was the king once more; and England, breaking through its long
period of Puritanism, laughed and danced with more vivacity than ever
the French had shown. All the pipers and the players and panderers to
vice, the mountebanks, the sensual men, and the lawless women poured
into the presence of the king, who had been too long deprived of the
pleasure that his nature craved. Parliament voted seventy thousand
pounds for a memorial to Charles's father, but the irresponsible king
spent the whole sum on the women who surrounded him. His severest
counselor, Lord Clarendon, sent him a remonstrance.
"How can I build such a memorial," asked Charles, "when I don't know
where my father's remains are buried! "
He took money from the King of France to make war against the Dutch,
who had befriended him. It was the French king, too, who sent him that
insidious, subtle daughter of Brittany, Louise de Keroualle--Duchess
of Portsmouth--a diplomat in petticoats, who won the king's wayward
affections, and spied on what he did and said, and faithfully reported
all of it to Paris. She became the mother of the Duke of Lenox, and
she was feared and hated by the English more than any other of his
mistresses. They called her "Madam Carwell," and they seemed to have an
instinct that she was no mere plaything of his idle hours, but was like
some strange exotic serpent, whose poison might in the end sting the
honor of England.
There is a pitiful little episode in the marriage of Charles with his
Portuguese bride, Catharine of Braganza. The royal girl came to him
fresh from the cloisters of her convent. There was something about her
grace and innocence that touched the dissolute monarch, who was by no
means without a heart. For a time he treated her with great respect,
and she was happy. At last she began to notice about her strange
faces--faces that were evil, wanton, or overbold. The court became more
and more a seat of reckless revelry.
Finally Catharine was told that the Duchess of Cleveland--that splendid
termagant, Barbara Villiers--had been appointed lady of the bedchamber.
She was told at the same time who this vixen was--that she was no fit
attendant for a virtuous woman, and that her three sons, the Dukes of
Southampton, Grafton, and Northumberland, were also the sons of Charles.
Fluttered and frightened and dismayed, the queen hastened to her husband
and begged him not to put this slight upon her. A year or two before,
she had never dreamed that life contained such things as these; but now
it seemed to contain nothing else.
Charles spoke sternly to her until
she burst into tears, and then he petted her and told her that her
duty as a queen compelled her to submit to many things which a lady in
private life need not endure.
After a long and poignant struggle with her own emotions the little
Portuguese yielded to the wishes of her lord. She never again reproached
him. She even spoke with kindness to his favorites and made him feel
that she studied his happiness alone. Her gentleness affected him so
that he always spoke to her with courtesy and real friendship. When the
Protestant mobs sought to drive her out of England he showed his
courage and manliness by standing by her and refusing to allow her to be
molested.
Indeed, had Charles been always at his best he would have had a very
different name in history. He could be in every sense a king. He had a
keen knowledge of human nature. Though he governed England very badly,
he never governed it so badly as to lose his popularity.
The epigram of Rochester, written at the king's own request, was
singularly true of Charles. No man relied upon his word, yet men loved
him. He never said anything that was foolish, and he very seldom did
anything that was wise; yet his easy manners and gracious ways endeared
him to those who met him.
One can find no better picture of his court than that which Sir Walter
Scott has drawn so vividly in Peveril of the Peak; or, if one wishes
first-hand evidence, it can be found in the diaries of Evelyn and of
Samuel Pepys. In them we find the rakes and dicers, full of strange
oaths, deep drunkards, vile women and still viler men, all striving for
the royal favor and offering the filthiest lures, amid routs and balls
and noisy entertainments, of which it is recorded that more than once
some woman gave birth to a child among the crowd of dancers.
No wonder that the little Portuguese queen kept to herself and did not
let herself be drawn into this swirling, roaring, roistering saturnalia.
She had less influence even than Moll Davis, whom Charles picked out
of a coffee-house, and far less than "Madam Carwell," to whom it is
reported that a great English nobleman once presented pearls to the
value of eight thousand pounds in order to secure her influence in a
single stroke of political business.
Of all the women who surrounded Charles there was only one who cared
anything for him or for England. The rest were all either selfish or
treacherous or base. This one exception has been so greatly written of,
both in fiction and in history, as to make it seem almost unnecessary to
add another word; yet it may well be worth while to separate the fiction
from the fact and to see how much of the legend of Eleanor Gwyn is true.
The fanciful story of her birthplace is most surely quite unfounded. She
was not the daughter of a Welsh officer, but of two petty hucksters who
had their booth in the lowest precincts of London. In those days the
Strand was partly open country, and as it neared the city it showed the
mansions of the gentry set in their green-walled parks. At one end of
the Strand, however, was Drury Lane, then the haunt of criminals and
every kind of wretch, while nearer still was the notorious Coal Yard,
where no citizen dared go unarmed.
Within this dreadful place children were kidnapped and trained to
various forms of vice. It was a school for murderers and robbers and
prostitutes; and every night when the torches flared it vomited forth
its deadly spawn. Here was the earliest home of Eleanor Gwyn, and out of
this den of iniquity she came at night to sell oranges at the entrance
to the theaters. She was stage-struck, and endeavored to get even a
minor part in a play; but Betterton, the famous actor, thrust her aside
when she ventured to apply to him.
It must be said that in everything that was external, except her beauty,
she fell short of a fastidious taste. She was intensely ignorant even
for that time. She spoke in a broad Cockney dialect. She had lived the
life of the Coal Yard, and, like Zola's Nana, she could never remember
the time when she had known the meaning of chastity.
Nell Gwyn was, in fact, a product of the vilest slums of London; and
precisely because she was this we must set her down as intrinsically a
good woman--one of the truest, frankest, and most right-minded of
whom the history of such women has anything to tell. All that external
circumstances could do to push her down into the mire was done; yet she
was not pushed down, but emerged as one of those rare souls who have in
their natures an uncontaminated spring of goodness and honesty. Unlike
Barbara Villiers or Lucy Walters or Louise de Keroualle, she was neither
a harpy nor a foe to England.
Charles is said first to have met her when he, incognito, with another
friend, was making the rounds of the theaters at night. The king spied
her glowing, nut-brown face in one of the boxes, and, forgetting his
incognito, went up and joined her. She was with her protector of the
time, Lord Buckhurst, who, of course, recognized his majesty.
Presently the whole party went out to a neighboring coffee-house, where
they drank and ate together. When it came time to pay the reckoning the
king found that he had no money, nor had his friend. Lord Buckhurst,
therefore, paid the bill, while Mistress Nell jeered at the other two,
saying that this was the most poverty-stricken party that she had ever
met.
Charles did not lose sight of her. Her frankness and honest manner
pleased him. There came a time when she was known to be a mistress
of the king, and she bore a son, who was ennobled as the Duke of St.
Albans, but who did not live to middle age. Nell Gwyn was much with
Charles; and after his tempestuous scenes with Barbara Villiers, and the
feeling of dishonor which the Duchess of Portsmouth made him experience,
the girl's good English bluntness was a pleasure far more rare than
sentiment.
Somehow, just as the people had come to mistrust "Madam Carwell," so
they came to like Nell Gwyn. She saw enough of Charles, and she liked
him well enough, to wish that he might do his duty by his people; and
she alone had the boldness to speak out what she thought. One day she
found him lolling in an arm-chair and complaining that the people were
not satisfied.
"You can very easily satisfy them," said Nell Gwyn. "Dismiss your women
and attend to the proper business of a king. "
Again, her heart was touched at the misfortunes of the old soldiers who
had fought for Charles and for his father during the Civil War, and who
were now neglected, while the treasury was emptied for French favorites,
and while the policy of England itself was bought and sold in France.
Many and many a time, when other women of her kind used their lures
to get jewels or titles or estates or actual heaps of money, Nell Gwyn
besought the king to aid these needy veterans. Because of her efforts
Chelsea Hospital was founded. Such money as she had she shared with the
poor and with those who had fought for her royal lover.
As I have said, she is a historical type of the woman who loses her
physical purity, yet who retains a sense of honor and of honesty
which nothing can take from her. There are not many such examples, and
therefore this one is worth remembering.
Of anecdotes concerning her there are many, but not often has their real
import been detected. If she could twine her arms about the monarch's
neck and transport him in a delirium of passion, this was only part of
what she did. She tried to keep him right and true and worthy of
his rank; and after he had ceased to care much for her as a lover he
remembered that she had been faithful in many other things.
Then there came the death-bed scene, when Charles, in his inimitable
manner, apologized to those about him because he was so long in dying.
A far sincerer sentence was that which came from his heart, as he cried
out, in the very pangs of death:
"Do not let poor Nelly starve! "
MAURICE OF SAXONY AND ADRIENNE LECOUVREUR
It is an old saying that to every womanly woman self-sacrifice is almost
a necessity of her nature. To make herself of small account as compared
with the one she loves; to give freely of herself, even though she may
receive nothing in return; to suffer, and yet to feel an inner poignant
joy in all this suffering--here is a most wonderful trait of womanhood.
Perhaps it is akin to the maternal instinct; for to the mother, after
she has felt the throb of a new life within her, there is no sacrifice
so great and no anguish so keen that she will not welcome it as the
outward sign and evidence of her illimitable love.
In most women this spirit of self-sacrifice is checked and kept within
ordinary bounds by the circumstances of their lives. In many small
things they do yield and they do suffer; yet it is not in yielding and
in suffering that they find their deepest joy.
There are some, however, who seem to have been born with an abnormal
capacity for enduring hardship and mental anguish; so that by a sort
of contradiction they find their happiness in sorrow. Such women are
endowed with a remarkable degree of sensibility. They feel intensely. In
moments of grief and disappointment, and even of despair, there steals
over them a sort of melancholy pleasure. It is as if they loved dim
lights and mournful music and scenes full of sad suggestion.
If everything goes well with them, they are unwilling to believe that
such good fortune will last. If anything goes wrong with them, they are
sure that this is only the beginning of something even worse. The music
of their lives is written in a minor key.
Now, for such women as these, the world at large has very little
charity. It speaks slightingly of them as "agonizers. " It believes that
they are "fond of making scenes. " It regards as an affectation something
that is really instinctive and inevitable. Unless such women are
beautiful and young and charming they are treated badly; and this is
often true in spite of all their natural attractiveness, for they seem
to court ill usage as if they were saying frankly:
"Come, take us! We will give you everything and ask for nothing. We do
not expect true and enduring love. Do not be constant or generous or
even kind. We know that we shall suffer. But, none the less, in our
sorrow there will be sweetness, and even in our abasement we shall feel
a sort of triumph. "
In history there is one woman who stands out conspicuously as a type
of her melancholy sisterhood, one whose life was full of disappointment
even when she was most successful, and of indignity even when she was
most sought after and admired. This woman was Adrienne Lecouvreur,
famous in the annals of the stage, and still more famous in the annals
of unrequited--or, at any rate, unhappy--love.
Her story is linked with that of a man no less remarkable than herself,
a hero of chivalry, a marvel of courage, of fascination, and of
irresponsibility.
Adrienne Lecouvreur--her name was originally Couvreur--was born toward
the end of the seventeenth century in the little French village of
Damery, not far from Rheims, where her aunt was a laundress and her
father a hatter in a small way. Of her mother, who died in childbirth,
we know nothing; but her father was a man of gloomy and ungovernable
temper, breaking out into violent fits of passion, in one of which, long
afterward, he died, raving and yelling like a maniac.
Adrienne was brought up at the wash-tub, and became accustomed to a
wandering life, in which she went from one town to another. What she had
inherited from her mother is, of course, not known; but she had all her
father's strangely pessimistic temper, softened only by the fact
that she was a girl. From her earliest years she was unhappy; yet her
unhappiness was largely of her own choosing. Other girls of her own
station met life cheerfully, worked away from dawn till dusk, and then
had their moments of amusement, and even jollity, with their companions,
after the fashion of all children. But Adrienne Lecouvreur was unhappy
because she chose to be. It was not the wash-tub that made her so,
for she had been born to it; nor was it the half-mad outbreaks of her
father, because to her, at least, he was not unkind. Her discontent
sprang from her excessive sensibility.
Indeed, for a peasant child she had reason to think herself far more
fortunate than her associates. Her intelligence was great. Ambition was
awakened in her before she was ten years of age, when she began to
learn and to recite poems--learning them, as has been said, "between the
wash-tub and the ironing-board," and reciting them to the admiration of
older and wiser people than she. Even at ten she was a very beautiful
child, with great lambent eyes, an exquisite complexion, and a lovely
form, while she had the further gift of a voice that thrilled the
listener and, when she chose, brought tears to every eye. She
was, indeed, a natural elocutionist, knowing by instinct all those
modulations of tone and varied cadences which go to the hearer's heart.
It was very like Adrienne Lecouvreur to memorize only such poems as were
mournful, just as in after life she could win success upon the stage
only in tragic parts. She would repeat with a sort of ecstasy the
pathetic poems that were then admired; and she was soon able to give up
her menial work, because many people asked her to their houses so that
they could listen to the divinely beautiful voice charged with the
emotion which was always at her command.
When she was thirteen her father moved to Paris, where she was placed at
school--a very humble school in a very humble quarter of the city.
Yet even there her genius showed itself at that early age. A number
of children and young people, probably influenced by Adrienne, formed
themselves into a theatrical company from the pure love of acting.
A friendly grocer let them have an empty store-room for their
performances, and in this store-room Adrienne Lecouvreur first acted in
a tragedy by Corneille, assuming the part of leading woman.
Her genius for the stage was like the genius of Napoleon for war. She
had had no teaching. She had never been inside of any theater; and yet
she delivered the magnificent lines with all the power and fire and
effectiveness of a most accomplished actress. People thronged to see her
and to feel the tempest of emotion which shook her as she sustained her
part, which for the moment was as real to her as life itself.
At first only the people of the neighborhood knew anything about these
amateur performances; but presently a lady of rank, one Mme. du Gue,
came out of curiosity and was fascinated by the little actress. Mme. du
Gue offered the spacious courtyard of her own house, and fitted it with
some of the appurtenances of a theater. From that moment the fame of
Adrienne spread throughout all Paris. The courtyard was crowded by
gentlemen and ladies, by people of distinction from the court, and at
last even by actors and actresses from the Comedie Franchise.
It is, in fact, a remarkable tribute to Adrienne that in her thirteenth
year she excited so much jealousy among the actors of the Comedie that
they evoked the law against her. Theaters required a royal license,
and of course poor little Adrienne's company had none. Hence legal
proceedings were begun, and the most famous actresses in Paris talked
of having these clever children imprisoned! Upon this the company sought
the precincts of the Temple, where no legal warrant could be served
without the express order of the king himself.
There for a time the performances still went on. Finally, as the other
children were not geniuses, but merely boys and girls in search of fun,
the little company broke up. Its success, however, had determined for
ever the career of Adrienne. With her beautiful face, her lithe and
exquisite figure, her golden voice, and her instinctive art, it was
plain enough that her future lay upon the stage; and so at fourteen
or fifteen she began where most actresses leave off--accomplished and
attractive, and having had a practical training in her profession.
Diderot, in that same century, observed that the truest actor is one who
does not feel his part at all, but produces his effects by intellectual
effort and intelligent observation. Behind the figure on the stage, torn
with passion or rollicking with mirth, there must always be the cool
and unemotional mind which directs and governs and controls. This same
theory was both held and practised by the late Benoit Constant Coquelin.
To some extent it was the theory of Garrick and Fechter and Edwin Booth;
though it was rejected by the two Keans, and by Edwin Forrest, who
entered so throughly into the character which he assumed, and who let
loose such tremendous bursts of passion that other actors dreaded to
support him on the stage in such parts as Spartacus and Metamora.
It is needless to say that a girl like Adrienne Lecouvreur flung herself
with all the intensity of her nature into every role she played. This
was the greatest secret of her success; for, with her, nature rose
superior to art. On the other hand, it fixed her dramatic limitations,
for it barred her out of comedy. Her melancholy, morbid disposition was
in the fullest sympathy with tragic heroines; but she failed when she
tried to represent the lighter moods and the merry moments of those who
welcome mirth. She could counterfeit despair, and unforced tears would
fill her eyes; but she could not laugh and romp and simulate a gaiety
that was never hers.
Adrienne would have been delighted to act at one of the theaters in
Paris; but they were closed to her through jealousy. She went into the
provinces, in the eastern part of France, and for ten years she was a
leading lady there in many companies and in many towns. As she blossomed
into womanhood there came into her life the love which was to be at once
a source of the most profound interest and of the most intense agony.
It is odd that all her professional success never gave her any
happiness. The life of the actress who traveled from town to town, the
crude and coarse experiences which she had to undergo, the disorder and
the unsettled mode of living, all produced in her a profound disgust.
She was of too exquisite a fiber to live in such a way, especially in a
century when the refinements of existence were for the very few.
She speaks herself of "obligatory amusements, the insistence of men, and
of love affairs. " Yet how could such a woman as Adrienne Lecouvreur keep
herself from love affairs? The motion of the stage and its mimic griefs
satisfied her only while she was actually upon the boards. Love offered
her an emotional excitement that endured and that was always changing.
It was "the profoundest instinct of her being"; and she once wrote:
"What could one do in the world without loving? "
Still, through these ten years she seems to have loved only that she
might be unhappy. There was a strange twist in her mind. Men who were
honorable and who loved her with sincerity she treated very badly. Men
who were indifferent or ungrateful or actually base she seemed to choose
by a sort of perverse instinct. Perhaps the explanation of it is that
during those ten years, though she had many lovers, she never really
loved. She sought excitement, passion, and after that the mournfulness
which comes when passion dies. Thus, one man after another came into her
life--some of them promising marriage--and she bore two children, whose
fathers were unknown, or at least uncertain. But, after all, one can
scarcely pity her, since she had not yet in reality known that great
passion which comes but once in life. So far she had learned only a sort
of feeble cynicism, which she expressed in letters and in such sayings
as these:
"There are sweet errors which I would not venture to commit again. My
experiences, all too sad, have served to illumine my reason. "
"I am utterly weary of love and prodigiously tempted to have no more of
it for the rest of my life; because, after all, I don't wish either to
die or to go mad. "
Yet she also said: "I know too well that no one dies of grief. "
She had had, indeed, some very unfortunate experiences. Men of rank had
loved her and had then cast her off. An actor, one Clavel, would
have married her, but she would not accept his offer. A magistrate in
Strasburg promised marriage; and then, when she was about to accept him,
he wrote to her that he was going to yield to the wishes of his family
and make a more advantageous alliance. And so she was alternately
caressed and repulsed--a mere plaything; and yet this was probably all
that she really needed at the time--something to stir her, something to
make her mournful or indignant or ashamed.
It was inevitable that at last Adrienne Lecouvreur should appear in
Paris. She had won such renown throughout the provinces that even
those who were intensely jealous of her were obliged to give her due
consideration. In 1717, when she was in her twenty-fifth year, she
became a member of the Comedie Franchise. There she made an immediate
and most brilliant impression. She easily took the leading place. She
was one of the glories of Paris, for she became the fashion outside the
theater. For the first time the great classic plays were given, not
in the monotonous singsong which had become a sort of theatrical
convention, but with all the fire and naturalness of life.
Being the fashion, Mlle. Lecouvreur elevated the social rank of actors
and of actresses. Her salon was thronged by men and women of rank.
Voltaire wrote poems in her honor. To be invited to her dinners was
almost like receiving a decoration from the king. She ought to have been
happy, for she had reached the summit of her profession and something
more.
Yet still she was unhappy. In all her letters one finds a plaintive
tone, a little moaning sound that shows how slightly her nature had been
changed. No longer, however, did she throw herself away upon dullards or
brutes. An English peer--Lord Peterborough--not realizing that she was
different from other actresses of that loose-lived age, said to her
coarsely at his first introduction:
"Come now! Show me lots of wit and lots of love. "
The remark was characteristic of the time. Yet Adrienne had learned
at least one thing, and that was the discontent which came from light
affairs. She had thrown herself away too often. If she could not love
with her entire being, if she could not give all that was in her to be
given, whether of her heart or mind or soul, then she would love no more
at all.
At this time there came to Paris a man remarkable in his own century,
and one who afterward became almost a hero of romance. This was Maurice,
Comte de Saxe, as the French called him, his German name and title being
Moritz, Graf von Sachsen, while we usually term him, in English, Marshal
Saxe. Maurice de Saxe was now, in 1721, entering his twenty-fifth year.
Already, though so young, his career had been a strange one; and it was
destined to be still more remarkable. He was the natural son of Duke
Augustus II. of Saxony, who later became King of Poland, and who is
known in history as Augustus the Strong.
Augustus was a giant in stature and in strength, handsome, daring,
unscrupulous, and yet extremely fascinating. His life was one of revelry
and fighting and display. When in his cups he would often call for a
horseshoe and twist it into a knot with his powerful fingers. Many were
his mistresses; but the one for whom he cared the most was a beautiful
and high-spirited Swedish girl of rank, Aurora von Konigsmarck. She was
descended from a rough old field-marshal who in the Thirty Years'
War had slashed and sacked and pillaged and plundered to his heart's
content. From him Aurora von Konigsmarck seemed to have inherited a high
spirit and a sort of lawlessness which charmed the stalwart Augustus of
Poland.
Their son, Maurice de Saxe, inherited everything that was good in his
parents, and a great deal that was less commendable. As a mere child
of twelve he had insisted on joining the army of Prince Eugene, and
had seen rough service in a very strenuous campaign. Two years later he
showed such daring on the battle-field that Prince Eugene summoned him
and paid him a compliment under the form of a rebuke.
"Young man," he said, "you must not mistake mere recklessness for
valor.
