Free Hunchback of Notre Dame (Barnes & Noble Classics Series) by Victor Hugo Page B

greasy felt hat which the beggar held with his invalid arm. The beggar accepted the alms and the sarcasm without wincing, and went on in piteous tones, “Charity, kind people!”
    This episode greatly distracted the attention of the audience; and many of the spectators, Robin Poussepain and all the students at their head, joyfully applauded the odd duet, improvised, in the middle of the prologue, by the student with his shrill voice and the beggar with his imperturbable whine.
    Gringoire was much displeased. Recovering from his first surprise, he began shouting to the characters on the stage: “Go on! Why do you stop? Go on!” not even condescending to cast a look of scorn at the two interrupters.
    At this moment he felt himself pulled by the hem of his surcoat; he turned, in rather an ill-humor, and had hard work to force a smile. It was the fair arm of Gisquette la Gencienne, which, passed through the rails, thus entreated his attention.
    “Sir,” said the young girl, “will they go on?”
    “Of course,” replied Gringoire, quite shocked at the question.
    “In that case, sir,” she went on, “would you have the kindness to explain to me—”
    “What they are going to say?” interrupted Gringoire. “Well! listen.”
    “No,” said Gisquette, “but what they have already said.”
    Gringoire started violently, like a man touched on a sensitive spot.
    “Plague take the foolish, stupid little wench!” he muttered between his teeth.
    From that moment Gisquette was lost in his estimation.
    However, the actors had obeyed his command, and the public, seeing that they had begun to speak again, again began to listen, not without necessarily losing many beauties from this kind of rough joining of the two parts of the piece, so abruptly dissevered. Gringoire brooded bitterly over this fact in silence. Still, quiet was gradually restored, the student was silent, the beggar counted a few coins in his hat, and the play went on.
    It was really a very fine work, and one which it seems to us might well be made use of today, with a few changes. The plot, somewhat long and somewhat flat,—that is, written according to rule,—was simple; and Gringoire, in the innocent sanctuary of his innermost soul, admired its clearness. As may be imagined, the four allegorical characters were rather fatigued after traversing three quarters of the globe without managing to dispose of their golden dolphin suitably. Thereupon ensued fresh eulogies of the marvellous fish, with a thousand delicate allusions to the young lover of Margaret of Flanders, then very sadly secluded at Amboise, and little suspecting that Labor and Religion, Nobility and Commerce, had just travelled around the world for his sake. The aforesaid dauphin was young, was handsome, was strong, and especially (magnificent source of all royal virtues!) he was the son of the Lion of France. I declare that this bold metaphor is admirable; and that the natural history of the theater, on a day of allegories and royal epithalamia, is not to be alarmed at the thought of a dolphin being the son of a lion. It is just these rare and Pindaric mixtures which prove the degree of enthusiasm. Nevertheless, to play the critic, we must confess that the poet might have managed to develop this beautiful idea in less than two hundred lines. True, the mystery was to last from noon until four o‘clock, by the order of the provost; something must be done to fill up the time. Besides, the people listened patiently.
    All at once, in the very middle of a quarrel between Mademoiselle Commerce and Madame Nobility, just as Master Labor pronounced this wonderful line,—the door leading to the platform, which had hitherto remained so inopportunely closed, was still more inopportunely opened, and the ringing voice of the usher abruptly announced: “His Eminence, Monseigneur the Cardinal de Bourbon!”
    “Ne‘er saw the woods a beast more beautiful,”

CHAPTER III
    The Cardinal
    P oor Gringoire! The