The Hunchback of Notre Dame - Victor Hugo [25]
The author of the Cid could not have said “Pierre Corneille” with any greater degree of pride.
Our readers may have noticed that some time had already passed since Jupiter had gone behind the hangings, and before the author of the new morality revealed himself so abruptly to the simple admiration of Gisquette and Liénarde. Strange to say, all that multitude, which a few instants previous was so furiously uproarious, now waited calmly for the fulfillment of the actor’s promise, which proves that enduring truth, still verified in our own theatres, that the best way to make your audience wait patiently is to assure them that you will begin right away.
However, the young scholar Joannes was not asleep.
“Hello, ho!” he cried out suddenly, in the midst of the calm expectation which followed confusion. “Jupiter, Madame Virgin, devilish mountebanks! are you mocking us? The play! the play! Begin, or we will stir you up again!”
This was quite enough.
The sound of musical instruments pitched in various keys was heard from the interior of the scaffolding. The tapestry was raised; four characters painted and clad in motley garb came out, climbed the rude stage ladder, and, gaining the upper platform, ranged themselves in line before the public, bowing low; then the symphony ceased. The mystery was about to begin.
These four personages, having been abundantly repaid for their bows by applause, began, amid devout silence, a prologue which we gladly spare the reader. Moreover, as happens even nowadays, the audience was far more interested in the costumes of the actors than in the speeches which they recited; and, to tell the truth, they were quite right. They were all four dressed in gowns partly yellow and partly white, which only differed from each other in material; the first was of gold and silver brocade, the second of silk, the third of wool, the fourth of linen. The first of these characters had a sword in his right hand, the second two golden keys, the third a pair of scales, the fourth a spade; and to aid those indolent understandings which might not have penetrated the evident meaning of these attributes, might be read embroidered in big black letters—on the hem of the brocade gown, “I AM NOBILITY,” on the hem of the silk gown, “I AM RELIGION,” on the hem of the woollen gown, “I AM COMMERCE,” and on the hem of the linen gown, “I AM LABOR.” The sex of the two male allegories was clearly shown to every sensible beholder by their shorter gowns and by their peculiar headdress, —a flat cap called a cramignole; while the two feminine allegories, clad in longer garments, wore hoods.
One must also have been wilfully dull not to gather from the poetical prologue that Labor was wedded to Commerce, and Religion to Nobility, and that the two happy pairs owned in common a superb golden dolphin,p which they desired to bestow only on the fairest of the fair: They were therefore journeying through the world in search of this beauty; and having in turn rejected the Queen of Golconda, the Princess of Trebizond, the daughter of the Chain of Tartary, etc., Labor and Religion, Nobility and Trade, were now resting on the marble table in the Palace of Justice, spouting to their simple audience as many long sentences and maxims as would suffice the Faculty of Arts for all the examinations, sophisms, determi nances, figures, and acts required at the examinations at which the masters took their degrees.
All this was indeed very fine.
But in the crowd upon whom the four allegorical personages poured such floods of metaphor, each trying to outdo the other, there was no more attentive ear, no more anxious heart, no more eager eye, no neck more outstretched, than the eye, the ear, the neck, and the heart of the author, the poet, the worthy Pierre Gringoire, who could not resist, a moment previous, the delight of telling his name to two pretty girls. He had withdrawn a few paces from them, behind his pillar; and there he listened, looked, and enjoyed. The kindly plaudits which greeted the opening lines of