Free The Whites and the Blues by 1802-1870 Alexandre Dumas

people Seek the triumphal arches raised on high, Thick with my glory crowned, and full adorned With all my labors; underneath their shade Convened, they wait my presence to begin The sacred rites, the strict coercive oath, Inviolable surety of our freedom—
    the most enthusiastic of the people darted upon the stage, in order to embrace the player and press his hand, while the ladies waved their handkerchiefs and threw bouquets. Nothing was lacking to the triumph of Yoltaire and Brutus, and above all Fleury, the young actor, for he carried off the honors of the evening.
    As has been said, the second piece was by the French man Demoustier, and was called "Filial Love, or the Wooden Leg.'' It was one of those idyls prompted by the Republic's muse; for it is a remarkable fact that never was dramatic literature more roseate than during the years '92, '93 and '94—that is the time that produced "The Death of Abel," "The Peacemaker," and "The Farmer's Beautiful Wife." It seemed as if, after the blood-stained iniquities of the street, the people had need of these insipidities to restore their equilibrium. Nero crowned himself with flowers after the burning of Rome.
    But an incident occurred which, though it had to do with the morning's battle, threatened to put an end to the performance. Madame Fromont, who played the part of Louise, the only woman in the piece, had lost both her father and her husband in the morning's skirmish. It was therefore almost impossible for her, under the circum stances, to play the part of a lover, or, in fact, any part at all.
    The curtain rose between the two plays and Titus-Fleury reappeared. At first the audience applauded, then,

    seeing that lie had something to say, they were silent. In fact he had come with tears in his eyes to say, in the name of Madame Fromont, that the management be allowed to re place "Filial Love" with "Rose and Colas," since Madame Fromont mourned her father and husband, who had been killed for the Republic. Cries of "Yes, yes!" mingled with cheers, were heard all over the house, and Fleury had al ready bowed to depart, when Terrell, rising, made a sign that he wished to speak. At once several voices cried: "It is Tdtrell, the friend of the people! Tetrell, the terror of the aristocrats 1 Let him speak! Long live Terrell 1"
    CHAPTER VIII
    THE PROVOCATION
    TfiTRELL was more elegant than ever on this evening; he wore a blue coat with large lapels and gold but tons, and a white pique* vest, which turned back until it covered almost the whole front of his coat. A tri color belt, with gold fringe, encircled his waist, and in it he had stuck pistols with ivory-chased butts and barrels inlaid with gold. His sabre with its scabbard of red morocco, insolently thrown over the balcony, hung over the parterre like another sword of Damocles.
    Tetrell began by striking the railing of the balcony until the dust flew from the velvet. Then he cried angrily:
    4 ' Citizens, what does all this mean ? I thought I was at Lacedaemona, but it seems that I am mistaken, and that this is Corinth or Sybaris. Does a republican woman dare shel ter herself behind such excuses in the presence of Republi cans ? We mistake ourselves for those miserable slaves on the other bank of the Rhine, these dogs of aristocrats, who, when we have whipped them, tire their lungs out, crying "Libra!" Two men have died for their country, leaving a memory of immortal glory. The women of Sparta when

    they presented their shields to their sons and husbands v did so with these words: 'With them, or upon them!' And when they returned upon them, that is to say dead, they attired themselves in their most gorgeous raiment. Citizeness Fromont is pretty; she will not long want for lovers I All the handsome fellows have not been killed at the ELaguenau gate; as for her father, there is not an old patriot but envies him the honor of his death. Therefore, citizen Fleury, do not hope to move us with the pretended grief of a citizeness