The Count of Monte Cristo + The Three Musketeers + The Man in the Iron Mask (3 Unabridged Classics). Alexandre Dumas
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beheld the new arrival, and, turning to him, he said hastily, “Do you know the woman who has just entered that box?”
“Yes; what do you think of her?”
“Oh, she is perfectly lovely — what a complexion! And such magnificent hair! Is she French?”
“No; a Venetian.”
“And her name is — “
“Countess G—— .”
“Ah, I know her by name!” exclaimed Albert; “she is said to possess as much wit and cleverness as beauty. I was to have been presented to her when I met her at Madame Villefort’s ball.”
“Shall I assist you in repairing your negligence?” asked Franz.
“My dear fellow, are you really on such good terms with her as to venture to take me to her box?”
“Why, I have only had the honor of being in her society and conversing with her three or four times in my life; but you know that even such an acquaintance as that might warrant my doing what you ask.” At that instant, the countess perceived Franz, and graciously waved her hand to him, to which he replied by a respectful inclination of the head. “Upon my word,” said Albert, “you seem to be on excellent terms with the beautiful countess.”
“You are mistaken in thinking so,” returned Franz calmly; “but you merely fall into the same error which leads so many of our countrymen to commit the most egregious blunders, — I mean that of judging the habits and customs of Italy and Spain by our Parisian notions; believe me, nothing is more fallacious than to form any estimate of the degree of intimacy you may suppose existing among persons by the familiar terms they seem upon; there is a similarity of feeling at this instant between ourselves and the countess — nothing more.”
“Is there, indeed, my good fellow? Pray tell me, is it sympathy of heart?”
“No; of taste,” continued Franz gravely.
“And in what manner has this congeniality of mind been evinced?”
“By the countess’s visiting the Colosseum, as we did last night, by moonlight, and nearly alone.”
“You were with her, then?”
“I was.”
“And what did you say to her?”
“Oh, we talked of the illustrious dead of whom that magnificent ruin is a glorious monument!”
“Upon my word,” cried Albert, “you must have been a very entertaining companion alone, or all but alone, with a beautiful woman in such a place of sentiment as the Colosseum, and yet to find nothing better a talk about than the dead! All I can say is, if ever I should get such a chance, the living should be my theme.”
“And you will probably find your theme ill-chosen.”
“But,” said Albert, breaking in upon his discourse, “never mind the past; let us only remember the present. Are you not going to keep your promise of introducing me to the fair subject of our remarks?”
“Certainly, directly the curtain falls on the stage.”
“What a confounded time this first act takes. I believe, on my soul, that they never mean to finish it.”
“Oh, yes, they will; only listen to that charming finale. How exquisitely Coselli sings his part.”
“But what an awkward, inelegant fellow he is.”
“Well, then, what do you say to La Specchia? Did you ever see anything more perfect than her acting?”
“Why, you know, my dear fellow, when one has been accustomed to Malibran and Sontag, such singers as these don’t make the same impression on you they perhaps do on others.”
“At least, you must admire Moriani’s style and execution.”
“I never fancied men of his dark, ponderous appearance singing with a voice like a woman’s.”
“My good friend,” said Franz, turning to him, while Albert continued to point his glass at every box in the theatre, “you seem determined not to approve; you are really too difficult to please.” The curtain at length fell on the performances, to the infinite satisfaction of the Viscount of Morcerf, who seized his hat, rapidly passed his fingers through his hair, arranged his cravat and wristbands, and signified to Franz that he was waiting for him to lead the way. Franz, who had mutely interrogated the countess, and received from her a gracious smile in token that he would be welcome, sought not to retard the gratification of Albert’s eager impatience, but began at once the tour of the house, closely followed by Albert, who availed himself of the few minutes required to reach the opposite side of the theatre to settle the height and smoothness of his collar, and to arrange the lappets of his coat. This important task was just completed as they arrived at the countess’s box. At the knock, the door was immediately opened, and the young man who was seated beside the countess, in obedience to the Italian custom, instantly rose and surrendered his place to the strangers, who, in turn, would be expected to retire upon the arrival of other visitors.
Franz presented Albert as one of the most distinguished young men of the day, both as regarded his position in society and extraordinary talents; nor did he say more than the truth, for in Paris and the circle in which the viscount moved, he was looked upon and cited as a model of perfection. Franz added that his companion, deeply grieved at having been prevented the honor of being presented to the countess during her sojourn in Paris, was most anxious to make up for it, and had requested him (Franz) to remedy the past misfortune by conducting him to her box, and concluded by asking pardon for his presumption in having taken it upon himself to do so. The countess, in reply, bowed gracefully to Albert, and extended her hand with cordial kindness to Franz; then, inviting Albert to take the vacant seat beside her, she recommended Franz to take the next best, if he wished to view the ballet, and pointed to the one behind her own chair. Albert was soon deeply engrossed in discoursing upon Paris and Parisian matters, speaking to the countess of the various persons they both knew there. Franz perceived how completely he was in his element; and, unwilling to interfere with the pleasure he so evidently felt, took up Albert’s glass, and began in his turn to survey the audience. Sitting alone, in the front of a box immediately opposite, but situated on the third row, was a woman of exquisite beauty, dressed in a Greek costume, which evidently, from the ease and grace with which she wore it, was her national attire. Behind her, but in deep shadow, was the outline of a masculine figure; but the features of this latter personage it was not possible to distinguish. Franz could not forbear breaking in upon the apparently interesting conversation passing between the countess and Albert, to inquire of the former if she knew who was the fair Albanian opposite, since beauty such as hers was well worthy of being observed by either sex. “All I can tell about her,” replied the countess, “is, that she has been at Rome since the beginning of the season; for I saw her where she now sits the very first night of the season, and since then she has never missed a performance. Sometimes she is accompanied by the person who is now with her, and at others she is merely attended by a black servant.”
“And what do you think of her personal appearance?”
“Oh, I consider her perfectly lovely — she is just my idea of what Medora must have been.”
Franz and the countess exchanged a smile, and then the latter resumed her conversation with Albert, while Franz returned to his previous survey of the house and company. The curtain rose on the ballet, which was one of those excellent specimens of the Italian school, admirably arranged and put on the stage by Henri, who has established for himself a great reputation throughout Italy for his taste and skill in the choreographic art — one of those masterly productions of grace, method, and elegance in which the whole corps de ballet, from the principal dancers to the humblest supernumerary, are all engaged on the stage at the same time; and a hundred and fifty persons may be seen exhibiting the same attitude, or elevating the same arm or leg with a simultaneous movement, that would lead you to suppose that but one mind, one act of volition, influenced the moving mass — the ballet was called “Poliska.”