World's End. Richard Jefferies
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of twenty whom he was training up in the right road, and perhaps of other witnesses.
There was such a thing as divorce—this might not destroy the child’s right, but it would place him out of Lucia’s hands. There must be no handle for Lucia’s enemies to grasp at. She must be manoeuvred so as to make Sternhold frantic without committing herself.
Lucia was aflame for such a course. She had restrained herself for years. She was burning to be free, on fire for “life” and excitement; above all, for admiration, for praise—the intoxicating breath of the multitude that cheers to the echo! The Stage! the dance—music—the fiery gaze of a thousand eyes following each motion! There must have been something of the true artist in her. The grandest position, the most unlimited wealth, would not have satisfied her without the stage.
She had married Sternhold in the hope of appearing as other women did in the theatres owned by their lovers. She had tried to broach the subject to Sternhold; he had held up his hands in horror, and she constrained herself and bided her time.
Nearly four years now—four years! The coarse jests, the loud laughter, the shouts and screams and cat-calls of the low threepenny gaff or music hall from which she had been snatched—even such a life as that seemed to her far, far superior to this irksome confinement, this slavery which was not even gilded. Aurelian was right in his conjecture that she could not be much longer held in—she must burst out.
Half-formed schemes had been working themselves into shape in her mind for months past. She would leave her boy with Aurelian, take her jewels and sables, sell them, borrow money upon the estate which Sternhold had made hers by deed of gift, go to London or Paris, and plunge headlong into “life,” paying any price for the one grand ambition of her existence.
The craving—the fury, it might almost be called—the furious desire for admiration from men which seized upon her at times, would certainly, sooner or later, have hurled her on to a desperate step.
At this moment Aurelian came with his carefully-considered plan. She met him open-armed. With one blow she could avenge herself upon Sternhold, with one blow gratify herself and destroy him—destroy him body and soul. This moment—this hour!
But not so fast. First, Aurelian obtained the money—no small sum. Next, said he, this thing must not be done by halves. It was useless for her to appear on some small stage; she must at one bound become the talk of all the town. This required care, thought, and organisation. Those great successes that seemed so suddenly attained without an effort, as by a wave of the hand, had really been preceded by months and months of preparation, and depended in great part upon the matured judgment and clever advice of men who had watched the public for years.
Impatient as she was, Lucia again controlled herself, and did as she was bid. Aurelian made it his business first to discover where she could appear with most effect. He soon selected the place, Paris! he obtained an interview with the proper authorities, and confided to them a part of his secret. They saw their way to profit, and agreed.
The next thing was the character she should take, and the second, the season. This last the manager, or rather owner, who was in raptures with the thing, easily decided. It must be at the height of the Paris season. He was a popular man, who could gather together a mighty crowd of his own acquaintances.
If poor Sternhold, sitting in his apartment at Dodd’s Hotel, could have heard these “fast” young men discussing the approaching appearance of his wife, Aurelian would have gone no further.
The choice of character Aurelian insisted upon deciding, and he chose Lady Godiva. As has been stated, Lucia had extraordinary hair, both for length and abundance, and, unlike long hair generally, it was curly. Had it been fine and delicate hair she could have boasted that few women in Europe could equal her. The coarseness of its texture would not be visible upon the stage.
She had really a magnificent figure. The character of Lady Godiva was one exactly fitted for her. It is needless to say that there was little or no acting—no study of parts, no insight into the meaning required, as in the case of Shakespeare’s heroines. The piece was simply a spectacle devised to bring out one central figure into the boldest relief.
The greatest difficulty the conspirators—for so they may be fairly called—had to contend with was the necessity of keeping Sternhold completely in the dark, and yet at the same time getting together a large audience, which could only be done by advertising. But Aurelian was capable of dealing with more difficult dilemmas than this. His plan was very simple and yet effective. The manager had a piece in his répertoire which, owing to the fame or infamy of a certain fascinating lady, was the rage of the town. Suddenly this creature disappeared—went off to Vienna with a titled gentleman—and after blazing as a meteor of the first water there for a short time, as suddenly dropped out of sight altogether.
The manager, at Aurelian’s suggestion, gave out that this lady had turned up, and was going to again act at his house on a certain night.
The excitement was intense. It was an awful falsehood, for the poor girl was in reality dead. (She met with her death under some strange and suspicious circumstances, which were, by influence, suppressed.) Her beauty, great as it was, had lost its charm in the tomb; yet her name, in flaring letters, was prominent all over Paris.
The deception was kept up to the very end; and the company of the theatre, by dint of double pay, were got to carry it out to perfection. An exceptional number of waiters were, however, hired, and no one but the manager and Aurelian had any idea what the object of this troop of apparently idle fellows could be.
The house filled to the last seat. The poor dead girl’s name was on every lip—her frailties were discussed with horrid flippancy; the orchestra began, and Lucia Marese Baskette robed, or rather unrobed, as Lady Godiva.
The owner of the theatre was there, and with him a whole host of men about town, most of whom were partly in the secret, but not quite.
Just before the time arrived for the curtain to rise, this troop of idle waiters entered the arena, swarmed into the boxes, into the galleries and pit, distributing to every single individual who had entered a handbill, announcing that, instead of Miss, “Mrs Sternhold Baskette, the beautiful wife of Sternhold Baskette, Esq, the richest man in the world, the owner of twenty millions sterling worth of property, would appear as Lady Godiva; a part for which her splendid physique and magnificent hair peculiarly fitted her.” At the same moment a large poster was put out in front of the curtain, bearing the same announcement.
The effect was singular. The house, which had been full of noise before, became as still as death. People were astounded. They could not believe it possible; yet, at the same time, they knew that the manager dared not play a trick. Theatres had been wrecked before now by indignant audiences. They waited in silence.
The curtain rose. I cannot pause to describe the gradual enthusiasm which arose, nor to draw a picture of the grand tableau. But there are many living who remember that memorable night, who declare that anything equal to it has never been seen upon the stage.
Lucia rode on a milk-white palfrey, and looked extraordinarily handsome. The house rose—the audience went mad. Recalled and recalled, again and again that white palfrey paced to and fro, and the mighty multitude would not allow the scene to pass.
The mesmeric influence of the excitement filled Lucia with a glowing beauty; with a brilliance which made her seem a goddess—of her order. No one remarked whether the piece was properly gone through after this. I think it was not. From all that I can learn, I believe the audience watched Godiva to and fro till the palfrey or its rider grew exhausted, and then left en masse.
Paris was aflame next day. The papers said nothing—they were wise. There is, however, something more powerful even than the newspaper—it is conversation. Lucia had got conversation—her name was heard everywhere. It was not only the acting, or show—it could not be called acting—it was the fact of her position as Sternhold’s wife. She stood upon the pinnacle of his fame for wealth, brazen and shameless in the eyes of the world. Brazen and shameless, yet secure; for Aurelian never left her. He watched her