Собор Парижской богоматери / Notre-Dame de Paris
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Eventually, that caught the attention of the scholar Joanne, who started laughing and, without caring that he was interrupting the spectacle, shouted—
“Look! He’s asking alms [1] !”
Any one who has thrown a stone into a frog pond can form an idea of the effect produced by these words. The prologue stopped short, and all heads turned tumultuously towards the beggar, who saw this a good opportunity and began to whine—“Charity, please!”
1
He’s asking alms! – Он просит милостыню!
Gringoire was highly displeased. He shouted to the four personages on the stage, “Go on! What the devil!—go on!”
The actors had obeyed, and the public, seeing that they were beginning to speak again, began once more to listen.
The mystery was, in fact, a very fine work. The exposition was simple. The four allegorical personages were somewhat weary with having traversed the three sections of the world, without having found suitable opportunity for getting rid of their golden dolphin. The crowd listened patiently. In the very middle of a quarrel between Merchandise and Nobility, at the moment when Monsieur Labor was saying this wonderful line,—
In forest ne’er was seen a more triumphant beast; the door of the reserved gallery opened; and the voice of the usher announced abruptly, “His eminence, Monseigneur the Cardinal de Bourbon.”
Chapter III
Monsieur еhe Cardinal
The entrance of his eminence upset the audience. All heads turned towards the gallery. “The cardinal! The cardinal!” repeated all mouths. The unhappy prologue stopped short for the second time.
The cardinal halted for a moment. Each person wished to get a better view of him.
He was, in fact, an exalted personage. Charles, Cardinal de Bourbon, Archbishop and Comte of Lyon, Primate of the Gauls, was allied both to Louis XI, through his brother, and to Charles the Bold through his mother. He was a fine man; he led a joyous cardinal’s life, and was very agreeable to the populace of Paris.
It was this popularity, no doubt, which preserved him from any bad reception at the hands of the mob.
He entered, and bowed with a smile, and and then slowly made his way towards his scarlet velvet arm-chair. His cortege—what we should nowadays call his staff—of bishops and abb'es went in after him.
Then arrived, with gravity, the eight and forty ambassadors of Maximilian of Austria, with the reverend Father in God, Jehan, Abbot of Saint-Bertin, at the head, and Jacques de Goy, Sieur Dauby, Grand Bailiff of Ghent. A deep silence settled over the assembly, accompanied by stifled laughter at the preposterous names. There were bailiffs, aldermen, burgomasters;—all stiff, formal, dressed out in velvet and damask.
There was one exception, however. It was a subtle, intelligent man, before whom the cardinal made three steps and a profound bow. His name was only “Guillaume Rym, counsellor and pensioner of the City of Ghent.”
Few persons were then aware who Guillaume Rym was. A rare genius who in a time of revolution would have made a brilliant appearance on the surface of events, but who in the fifteenth century was reduced to cavernous intrigues, and to “living in mines,” as the Duc de Saint-Simon expresses it.
Chapter IV
Master Jacques Coppenole
A man of lofty stature, with a large face and broad shoulders, entered along with Guillaume Rym. The usher stopped him.
“Hold, my friend, you cannot pass!”
The man shouldered him aside.
“Don’t you see that I am one of them?”
“Your name?” demanded the usher.
“Jacques Coppenole.”
“Your titles?”
“Hosier at the sign of the ‘Three Little Chains,’ of Ghent.”
The usher recoiled. One might bring one’s self to announce aldermen and burgomasters, but a hosier was too much.
Guillaume Rym, with his polished smile, approached the usher.
“Announce Master Jacques Coppenole, clerk of the aldermen of the city of Ghent,” he whispered, very low.
“Usher,” interposed the cardinal, aloud, “announce Master Jacques Coppenole, clerk of the aldermen of the illustrious city of Ghent.”
Coppenole proudly saluted his eminence, who returned the salute. Then each sought his place.
The reader has, probably, not forgotten the beggar who had been clinging to the fringes of the cardinal’s gallery ever since the beginning of the prologue. The arrival of the guests had by no means caused him to relax his hold, even though he was remarkably close to them now. The Flemish ambassador, bestow a friendly tap on his ragged shoulder. The beggar turned round; there was surprise, recognition, a lighting up of the two countenances, and so forth; then the two began to converse in a low tone, holding each other’s hands.
Now, one thing was completely forgotten by the crowd. Pierre Gringoire and his prologue.
This was precisely what he feared.
From the moment of the cardinal’s entrance, Gringoire was worried for the safety of his prologue. At first he had asked the actors to continue, and to raise their voices; then, seeing that no one was listening, he had stopped them; all in vain.
Nevertheless, our poet decided what to do next.
“Monsieur,” he said, turning towards one of his neighbors, a fine, big man, with a patient face, “suppose we begin again.”
“What?” said his neighbor.
“The Mystery,” said Gringoire.
“As you like,” returned his neighbor.
This sufficed for Gringoire, and he began to shout: “Begin the mystery again! Begin again!”
The bailiff approached the cardinal, and awkwardly explained to him that noonday had arrived before his eminence, and that the comedians had been forced to begin without waiting for his eminence.
The cardinal burst into a laugh.
“Monseigneur,” said Guillaume Rym, “let us be content with having escaped half of the comedy. There is at least that much gained.”